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hayatheauthor · 1 month

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Creating Fear in Your Characters: A Writers Guide

Creating authentic emotions is vital for immersive storytelling, which is why I decided to make this series on how to write different emotions. After exploring rage, and sadness it's now time to delve into fear!

Fear is a powerful emotion that can manifest in various ways, from subtle apprehension to paralyzing terror. Here's a guide on how to write fear effectively, covering different aspects of your characters' behavior and reactions.

Facial Expressions

Fear often manifests first in facial expressions, conveying the initial shock or unease. Describe these expressions to immerse readers in your character's emotional state:

Widened Eyes and Dilated Pupils: Show the eyes widening in response to a sudden threat, with dilated pupils indicating heightened alertness.

Tense Jaw and Clenched Teeth: Mention the clenching of jaw muscles or teeth, signaling internalized stress or anxiety.

Furrowed Brow and Raised Eyebrows: Describe the furrowing of the forehead and raised eyebrows, revealing worry or confusion.

Quivering Lips or Lip Biting: Note subtle lip movements like quivering or biting, reflecting nervousness or fear.

Frozen or Stiff Facial Muscles: Highlight moments of fear-induced immobility, where facial muscles become tense and rigid.

Body Language and Gestures

Fear can also be expressed through body language and gestures, showcasing your character's instinctual responses to danger or threat:

Backing Away or Recoiling: Describe your character instinctively moving backward or recoiling from the source of fear, signaling a desire to retreat.

Raised Shoulders and Tensed Posture: Show how fear causes the shoulders to rise and the body to tense up, indicating readiness for fight or flight.

Trembling Hands or Shaking Limbs: Mention the trembling of hands or shaking of limbs, reflecting nervousness or anxiety.

Covering Vulnerable Areas: Describe your character instinctively covering vulnerable areas like their neck or torso, symbolizing a protective gesture.

Fidgeting or Restlessness: Note any fidgeting or restlessness, such as tapping feet or wringing hands, as signs of inner turmoil and fear.

Vocal Cues and Dialogue

Fear can alter vocal cues and dialogue, affecting how your character speaks and communicates their emotions:

Quavering Voice or Shaky Speech: Describe the voice quivering or becoming shaky, indicating nervousness or fear.

Rapid Breathing and Gasping: Mention rapid breathing or gasping for air, showcasing the physical impact of fear on the respiratory system.

Stammering or Hesitant Speech: Note any stammering or hesitant speech patterns, reflecting the character's struggle to articulate their thoughts coherently.

Sudden Silence or Lack of Verbal Response: Show moments of sudden silence or the inability to respond verbally, highlighting the overwhelming nature of fear.

Repetitive Phrases or Vocalizations: Describe repetitive phrases or vocalizations, such as muttering prayers or chanting reassurances, as coping mechanisms in fearful situations.

Reactions and Physical Responses

Fear triggers various physical responses in your characters, showcasing the body's instinctual reactions to perceived threats:

Increased Heart Rate and Sweating: Mention the character's heart rate increasing and sweating profusely, reflecting heightened physiological arousal.

Dilated Pupils and Heightened Senses: Describe dilated pupils and heightened sensory perception, as the character's senses become more attuned to potential dangers.

Muscle Tension and Rigidity: Note muscle tension and rigidity, as the body prepares for action or defense in response to fear.

Nausea or Stomach Churning: Show how fear can lead to feelings of nausea or stomach churning, as the body's stress response impacts digestive functions.

Fight, Flight, or Freeze Response: Highlight the character's instinctual response to fear, whether it's a readiness to fight, a desire to flee, or a state of frozen immobility.

Types of Fear and Emotional Depth

Different types of fear can evoke varying emotional responses in your characters, adding depth to their portrayal and the narrative:

Startle Fear: Describe the sudden, reflexive fear triggered by unexpected events or loud noises, leading to a quick, intense reaction.

Apprehensive Fear: Show the lingering sense of unease or dread that accompanies anticipated threats or impending danger, heightening tension over time.

Terror: Depict the overwhelming, paralyzing fear that arises from extreme danger or horrifying experiences, impacting the character's ability to think or act rationally.

Phobias: Explore specific phobias that trigger irrational and intense fear responses, shaping how your character navigates their environment and interactions.

Trauma-Induced Fear: Address fear resulting from past traumas or experiences, influencing the character's behavior and emotional resilience in present situations.

Verbs and Adjectives for Writing Fear

Here's a list of verbs and adjectives to help you convey fear effectively in your writing:

Verbs: tremble, cower, gasp, quiver, shrink, freeze, recoil, sweat, pant, gulp, shudder

Adjectives: terrified, anxious, alarmed, horrified, shaken, jittery, panicked, petrified

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biscuitsandspices · 2 years

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Encouragment for writers that I know seems discouraging at first but I promise it’s motivational-

• Those emotional scenes you’ve planned will never be as good on page as they are in your head. To YOU. Your audience, however, is eating it up. Just because you can’t articulate the emotion of a scene to your satisfaction doesn’t mean it’s not impacting the reader.

• Sometimes a sentence, a paragraph, or even a whole scene will not be salvagable. Either it wasn’t necessary to the story to begin with, or you can put it to the side and re-write it later, but for now it’s gotta go. It doesn’t make you a bad writer to have to trim, it makes you a good writer to know to trim.

• There are several stories just like yours. And that’s okay, there’s no story in existence of completely original concepts. What makes your story “original” is that it’s yours. No one else can write your story the way you can.

• You have writing weaknesses. Everyone does. But don’t accept your writing weaknesses as unchanging facts about yourself. Don’t be content with being crap at description, dialogue, world building, etc. Writers that are comfortable being crap at things won’t improve, and that’s not you. It’s going to burn, but work that muscle. I promise you’ll like the outcome.

#hope that helps!#writers on tumblr #writing help #writing advice #writing tumblr #writer tips #writing blog #writing tips #writing tip #writblr #writing #fanfic writers #writeblr #writer blog #writers of tumblr #ya novels #fanfiction #original fiction

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thewriteadviceforwriters · 3 months

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Crafting Compelling Morally Gray Characters: A Guide for Fiction Writers

In literature, there is often a clear distinction between good and evil. Heroes are portrayed as virtuous and villains as wicked. However, in recent years, there has been a rise in the popularity of morally gray characters - those who do not fit neatly into the categories of good or evil. These characters are complex, flawed, and often make decisions that challenge the reader's moral compass. In this guide, I'll help you explore the art of crafting compelling morally gray characters and how to make them stand out in your fiction writing.

What Are Morally Gray Characters?

Morally gray characters, also known as morally ambiguous characters, are those who do not conform to traditional notions of good or evil. They may have both positive and negative traits, and their actions may be motivated by a mix of good and bad intentions. These characters often blur the lines between right and wrong, making them more relatable and intriguing to readers.

Examples of Morally Gray Characters

Some well-known examples of morally gray characters include:

Severus Snape from the Harry Potter series: Initially portrayed as a villain, Snape's true motivations and actions are revealed to be more complex and morally ambiguous.

Jaime Lannister from A Song of Ice and Fire series: Known for his arrogance and incestuous relationship with his sister, Jaime's character evolves throughout the series, showcasing his internal struggle between his duty and his personal desires.

Walter White from Breaking Bad: A high school chemistry teacher turned methamphetamine producer, Walter's character is constantly torn between his desire for power and his moral compass.

Why Are Morally Gray Characters Compelling?

Morally gray characters are compelling because they challenge the reader's perceptions of right and wrong. They are not easily categorized as heroes or villains, making them more relatable and human. These characters also add depth and complexity to a story, making it more interesting and thought-provoking.

The Power of Relatability

One of the main reasons morally gray characters are so compelling is because they are relatable. They are not perfect, and they make mistakes, just like real people. This makes them more human and allows readers to connect with them on a deeper level. When readers can see themselves in a character, it creates a stronger emotional connection to the story.

The Element of Surprise

Morally gray characters also add an element of surprise to a story. Their actions and decisions may not always align with what the reader expects, keeping them on the edge of their seat. This unpredictability makes the story more engaging and can lead to unexpected plot twists.

The Exploration of Morality

Morally gray characters also allow for a deeper exploration of morality in a story. By challenging traditional notions of good and evil, these characters force readers to question their own moral compass and consider the gray areas of morality. This can lead to thought-provoking discussions and a deeper understanding of complex moral issues.

How to Craft Morally Gray Characters

Crafting morally gray characters requires a delicate balance of positive and negative traits, as well as a deep understanding of their motivations and internal struggles. Here are some tips for creating compelling morally gray characters in your writing.

Give Them a Strong Motivation

Every character, regardless of their moral alignment, should have a strong motivation for their actions. For morally gray characters, this motivation should be complex and not easily defined as purely good or evil. It could be a desire for power, revenge, or even a sense of duty. This motivation will drive their decisions and actions throughout the story.

Show Their Flaws and Vulnerabilities

Morally gray characters are not perfect, and they should not be portrayed as such. They should have flaws and vulnerabilities that make them more relatable and human. These flaws could be physical, emotional, or moral, and they should play a role in the character's development and decisions.

Create Internal Conflict

One of the defining characteristics of morally gray characters is their internal conflict. They are torn between their good and bad tendencies, and this struggle should be evident in their thoughts and actions. This internal conflict adds depth to the character and makes them more relatable to readers.

Avoid Stereotypes

When crafting morally gray characters, it's important to avoid falling into stereotypes. These characters should not be one-dimensional or defined solely by their moral ambiguity. They should have unique personalities, backgrounds, and motivations that make them stand out as individuals.

Show Their Growth and Development

As with any well-written character, morally gray characters should experience growth and development throughout the story. They should learn from their mistakes and make decisions that challenge their moral compass. This growth and development will make them more dynamic and interesting to readers.

How to Make Morally Gray Characters Stand Out

With the rise in popularity of morally gray characters, it's important to make yours stand out in a sea of similar characters. Here are some tips for making your morally gray characters unique and memorable.

Give Them a Distinctive Voice

A character's voice is an essential part of their identity. It should be unique and reflective of their personality and motivations. For morally gray characters, their voice should reflect their internal conflict and the complexity of their moral alignment.

Create a Strong Backstory

A character's backstory can provide valuable insight into their motivations and actions. For morally gray characters, a strong backstory can help explain their moral ambiguity and add depth to their character. It can also create empathy and understanding for their decisions.

Use Foils to Highlight Their Morality

Foils are characters who contrast with the main character, highlighting their strengths and weaknesses. For morally gray characters, foils can be used to showcase their moral ambiguity and challenge their beliefs. This can add depth to the character and create interesting dynamics between them and other characters.

Morally gray characters add depth, complexity, and relatability to a story. By challenging traditional notions of good and evil, these characters force readers to question their own moral compass and consider the gray areas of morality.

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writing-with-sophia · 7 months

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20 Victorian-era names for girls

Adelaide: Derived from the Germanic name Adalheidis, meaning "noble" or "of noble birth."

Beatrice: Derived from the Latin name Beatrix, meaning "she who brings happiness" or "blessed."

Charlotte: Of French origin, meaning "free" or "petite."

Clara: Derived from the Latin word clarus, meaning "clear" or "bright."

Edith: Derived from the Old English name Ēadgyð, meaning "prosperous in war" or "blessed."

Eleanor: Derived from the Old French form of the name Aliénor, meaning "bright," "shining," or "light."

Florence: Derived from the Latin name Florentia, meaning "flourishing" or "prosperous."

Genevieve: Derived from the Old Germanic name Genovefa, meaning "woman of the race" or "tribe woman."

Georgiana: Feminine form of George, meaning "farmer" or "earth-worker."

Harriet: Derived from the French name Henriette, meaning "home ruler" or "ruler of the household."

Isabella: Derived from the Hebrew name Elisheba, meaning "God is my oath" or "devoted to God."

Josephine: Feminine form of Joseph, meaning "God will add" or "God increases."

Lillian: Derived from the Latin name Lilium, meaning "lily" or "pure."

Matilda: Derived from the Germanic name Mahthildis, meaning "mighty in battle" or "strength in battle."

Penelope: Of Greek origin, meaning "weaver" or "duck."

Rosalind: Derived from the Germanic elements hros, meaning "horse," and lind, meaning "soft" or "tender."

Victoria: Derived from the Latin word victoria, meaning "victory" or "conqueror."

Winifred: Derived from the Old English name Winefrið, meaning "friend of peace" or "blessed peacemaking."

Prudence: Derived from the Latin word prudentia, meaning "foresight" or "wisdom."

Clementine: Derived from the Latin name Clemens, meaning "merciful" or "gentle."

More names

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3hks · 4 months

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How to Get Better at Writing Without Actually Writing

Are you looking to improve your writing without needing to write? I'll admit, I am definitely that kind of person--I have the hardest time even finding something interesting to write--despite that, I have noticed that my writing has vastly improved over the past year or two when it was hardly a hobby, and here's how I did it!

ANALYZE DIFFERENT WORKS

Yes yes, everyone tells you to READ, READ, and READ, even I will agree. However, unlike what some people tell you, you don't actually have to read all those classics like Heart of Darkness or The Hobbit. Of course, those books are very beneficial, but if you find no interest in those types of books (like me), then don't read them!

If you prefer reading casual stories posted by online authors, whether it be a fanfiction or their own, original story, it still qualifies as reading! As long as you are able to find a work that you particularly enjoy, that's all you need!

When reading, the key to improving at writing is to always study the story. Take a moment to look at certain words or phrases that stick out to you. How does the author use them? What do they mean? Keep track of the characters' development and how it affects them. Additionally, note things like powerful scenes, dialogue, and more to have an idea of how you can create something just as impactful. For example, if a text made you cry, think about how and why you reacted like that. This can actually help you re-create events that hold the same effectiveness, if not more!

To add on, if you really dislike reading just that much, then you can always analyze things like shows, movies, etc. However, this will prove to be less efficient because you often don't get access to the text behind the shows. Still, it's a good way to study the plot, characters, character developments, dialogue, and relationships!

2. PROOFREADING

No, I'm not saying that you should be an editor; this actually ties back to my first tip. Remember how I said that if you don't want to read classics, then don't? Well, this is because forcing yourself to read them is completely unnecessary (unless you like them or want to write like the author, of course). As a matter of fact, reading poorly written stories can be very helpful for improvement!

When we read books or novels that have obvious grammar errors, repetitive words, and choppy sentences, we will realize these mistakes and point them out to ourselves. Being able to scout out faults means that we are able to learn from them and grow! Noticing these things will also help prevent you from making the same or similar mistakes!

3. STUDY TIPS ONLINE

I used to go search up websites on Google whenever I wanted help with a certain topic. Of course, not all of the sites are reliable and/or helpful, but some point out good ideas that a couple of us just need! This can be especially useful regarding the things that we are unfamiliar with when writing. They can offer a base foundation and tips on how to start and finish!

They can also serve as a great inspiration for fresh ideas and new perspectives!

Yes, these three tips are pretty simple; however, I have found that they work very well for me! People vary from person-to-person, so it can't be guaranteed the same effect, but this is the best I got! HAPPY VALENTINES DAY! <3

Happy writing~

3hks :)

#writing #writeblr #writerscommunity #writing tips #creative writing #writing advice #improve at writing #improve at writing without writing #writers on tumblr #writer tips #get better at writing #get better at writing without writing

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sweepweep · 7 months

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In writing, whether it be a published novel, fanfiction, or just for fun, stop trying to base how you write off of other people

I keep seeing so many chains and threads about story pet-peeves, and I know seeing something you do posted there can be deterring, but do your best to ignore them.

Everyone has different pet-peeves and everyone has a different aspect they search for in a story. Not everything will appeal to everyone and that’s ok and that’s incredible.

If you try to eliminate every pet-peeve, try to include everything people said they like, you won’t enjoy writing. Because at that point, it’s no longer your story

The readers can tell when a writer had fun writing vs when it feels forced. So write what you like; be your own target audience. Because eventually, there will be people who appreciate and enjoy your story as much as you do

#writerblr #writeblr #writing encouragement #writers on tumblr #writer tips #writing motivation #writing advice #writing #writing tips #ao3 writer #writers and poets #writerscommunity #writblr #writer things #ao3 author #ao3 #ao3 stuff #ao3 advice #writing positivity

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novlr · 7 months

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“Writing is like breathing, it's possible to learn to do it well, but the point is to do it no matter what.” — Julia Cameron

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ask-the-prose · 11 months

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Do Your Research

This phrase is regularly thrown around writeblr and for good reason. It's important to research what you are writing about to know what to include, what can be fudged, and how to depict whatever you're writing. I see "do your research" most thrown around by well-meaning and highly traditionally educated writers. It's solid advice, after all!

But how do you research?

For those writers who don't already have the research skills necessary to write something comfortably already downloaded into your brain, I put this guide together for you.

Where do I even start?

It's a daunting task, research. But the best place to start is with the most basic, stupidest question you can think of. I'm going to talk about something that I already know a lot about: fighting.

When researching fight scenes, a great way to start is to look up what different weapons are. There are tons out there! So ask the stupid questions. What is a sword? What is a gun? How heavy are they?

Google and Wikipedia can help you a lot with these basic-level questions. They aren't great sources for academic articles, but remember, this is fiction. It doesn't need to be perfect, and it doesn't need to be 100% accurate if you don't want it to be. But knowing what is true to life will help you write well. Just like knowing the rules of writing will help you break them.

You may find in your basic research sweep that you have a lot more specific questions. Write them all down. It doesn't matter if they seem obvious. Write them down because they will be useful later.

How To Use Wikipedia Correctly

Wikipedia is a testament to cooperative human knowledge. It's also easy to edit by anonymous users, which means there is a lot of room for inaccuracies and misleading information. Wikipedia is usually pretty good about flagging when a source is needed or when misleading language is obvious, but Wikipedia itself isn't always the most accurate or in-depth source.

Wikipedia is, however, an excellent collection of sources. When I'm researching a subject that I know nothing about, say Norse mythology, a good starting point is the Wikipedia page for Odin. You'll get a little background on Odin's name and Germanic roots, a little backstory on some of the stories, where they appear, and how they are told.

When you read one of the sentences, and it sparks a new question, write the question down, and then click on the superscript number. This will take you directly to the linked source for the stated fact. Click through to that source. Now you have the source where the claim was made. This source may not be a primary source, but a secondary source can still lead you to new discoveries and details that will help you.

By "source-hopping," you can find your way across the internet to different pieces of information more reliably. This information may repeat itself, but you will also find new sources and new avenues of information that can be just as useful.

You mean I don't need a library?

Use your library. Libraries in many parts of the US are free to join, and they have a wealth of information that can be easily downloaded online or accessed via hardcopy books.

You don't, however, need to read every source in the library for any given topic, and you certainly don't need to read the whole book. Academic books are different from fiction. Often their chapters are divided by topic and concept and not by chronological events like a history textbook.

For example, one of my favorite academic books about legislative policy and how policy is passed in the US, by John Kingdon, discusses multiple concepts. These concepts build off one another, but ultimately if you want to know about one specific concept, you can skip to that chapter. This is common in sociological academic books as well.

Going off of my Norse Mythology example in the last section, a book detailing the Norse deities and the stories connected to them will include chapters on each member of the major pantheon. But if I only care about Odin, I can focus on just the chapters about Odin.

Academic Articles and How To Read Them

I know you all know how to read. But learning how to read academic articles and books is a skill unto itself. It's one I didn't quite fully grasp until grad school. Learn to skim. When looking at articles published in journals that include original research, they tend to follow a set structure, and the order in which you read them is not obvious. At all.

Start with the abstract. This is a summary of the paper that will include, in about half a page to a page, the research question, hypothesis, methods/analysis, and conclusions. This abstract will help you determine if the answer to your question is even in this article. Are they asking the right question?

Next, read the research question and hypothesis. The hypothesis will include details about the theory and why the researcher thinks what they think. The literature review will go into much more depth about theories, what other people have done and said, and how that ties into the research of the present article. You don't need to read that just yet.

Skim the methods and analysis section. Look at every data table and graph included and try to find patterns yourself. You don't need to read every word of this section, especially if you don't understand a lot of the words and jargon used. Some key points to consider are: qualitative vs. quantitative data, sample size, confounding factors, and results.

(Some definitions for those of you who are unfamiliar with these terms. Qualitative data is data that cannot be quantified into a number. These are usually stories and anecdotes. Quantitative data is data that can be transferred into a numerical representation. You can't graph qualitative data (directly), but you can graph quantitative data. Sample size is the number of people or things counted (n when used in academic articles). Your sample size can indicate how generalizable your conclusions are. So pay attention. Did the author interview 300 subjects? Or 30? There will be a difference. A confounding factor is a factor that may affect the working theory. An example of a theory would be "increasing LGBTQ resources in a neighborhood would decrease LGBTQ hate crimes in that area." A confounding factor would be "increased reporting of hate crimes in the area." The theory, including the confounding factor, would look like "increasing LGBTQ resources in a neighborhood would increase the reporting of hate crimes in the area, which increases the number of hate crimes measured in that area." The confounding factor changes the outcome because it is a factor not considered in the original theory. When looking at research, see if you can think of anything that may change the theory based on how that factor interacts with the broader concept. Finally, the results are different from the conclusions. The results tell you what the methods spit out. Analysis tells you what the results say, and conclusions tell you what generalizations can be made based on the analysis.)

Next, read the conclusion section. This section will tell you what general conclusions can be made from the information found in the paper. This will tell you what the author found in their research.

Finally, once you've done all that, go back to the literature review section. You don't have to read it necessarily, but reading it will give you an idea of what is in each sourced paper. Take note of the authors and papers sourced in the literature review and repeat the process on those papers. You will get a wide variety of expert opinions on whatever concept or niche you're researching.

Starting to notice a pattern?

My research methods may not necessarily work for everybody, but they are pretty standard practice. You may notice that throughout this guide, I've told you to "source-hop" or follow the sources cited in whatever source you find first. This is incredibly important. You need to know who people are citing when they make claims.

This guide focused on secondary sources for most of the guide. Primary sources are slightly different. Primary sources require understanding the person who created the source, who they were, and their motivations. You also may need to do a little digging into what certain words or phrases meant at the time it was written based on what you are researching. The Prose Edda, for example, is a telling of the Norse mythology stories written by an Icelandic historian in the 13th century. If you do not speak the language spoken in Iceland in 1232, you probably won't be able to read anything close to the original document. In fact, the document was lost for about 300 years. Now there are translations, and those translations are as close to the primary source you can get on Norse Mythology. But even then, you are reading through several veils of translation. Take these things into account when analyzing primary documents.

Research Takes Practice

You won't get everything you need to know immediately. And researching subjects you have no background knowledge of can be daunting, confusing, and frustrating. It takes practice. I learned how to research through higher formal education. But you don't need a degree to write, so why should you need a degree to collect information? I genuinely hope this guide helps others peel away some of the confusion and frustration so they can collect knowledge as voraciously as I do.

– Indy

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2soulscollide · 1 year

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Write your book STEP BY STEP

hello hello, it's me again!

today i'm bringing you a step-by-step / checklist to finally get your book done. i know it can be a bit complicated to put everything together to make your idea come to life (you're definitely not alone!)

that's why i compiled some tips and made this post, in hopes to help some author out there :D

let's get started.

PREMISE

assuming you already have a good idea in mind, you should start by writing a premise. to help you with that, try to answer these questions:

who is the main character?

what are their goals?

which troubles will they face / what's stopping them from achieving their goals?

do they have an opponent? if so, who?

now that you know the answers to these questions, it's time to write the premise. the premise consists in a sentence that summarizes your whole idea.

PLOT OUTLINE

there are infinite ways to plot your story. you can do it by writing down ideas and linking them together, following a scheme, or any other method.

the most common plot outlines are these:

synopsis outline: one to two pages, where you hit all the major beats of the story

in-depth outline: outline each chapter/scene

snowflake method: develop the premise into a bigger paragraph, and that paragraph into a page (etc.) until you have the whole outline of your story

booken method: plot the start and end of the story, and the main characters

the novel factory created plot sheets for free, and you can choose from eight different templates. you might want to check it out!

KNOW YOUR CHARACTERS

having your outline defined, you should start developing your characters now. the main character's profile might be more detailed than the others, however, it's up to you. there are many character sheets out there on the internet that will help you create flawless characters.

i have a post with resources that might be helpful when creating a character, check it out!

and here you have some prompts and sheets to create a character:

Quick Character Creator - EA Deverell

Extremely detailed character sheet template - @hawkasss

The Best Character Template Ever - Dabble

Character Twenty Questions Worksheet - The Writers Circle

at this point, you should also define the narrator's voice, tone, etc, as well as the pace of your novel.

LOCATIONS

define the principal locations of your story, the settings, and where the story is taking place. it's important to know how the environment looks, and how your characters feel about it.

for this part, you might find it useful to do some research about some locations, if you're not familiar with them. find inspiration on Pinterest, Tumblr, or even on books, paintings, and art. everything is valid.

if your story takes place in a fantasy environment, you might need to fill out a template to create it or write down the way you imagine it to be. try to get as many details as possible, so there are no holes when developing the novel.

SUBPLOTS

you might want to give more depth to your novel by developing a subplot (or more than one). make sure it doesn't get too confusing or that doesn't take the focus away from the main action.

the subplot can be a romance, another character's relationship, a character's arc, a backstory, etc. this will make your story more real and 3D, more realistic.

develop it as a side story and mix it with the principal plot but don't make it as important as the main story, otherwise, none of the plots will make an impact.

SYNOPSIS

write a synopsis as long as you wish, covering every important part of the story. this will help you to really know your idea, and have a solid structure for it. it can range from 500 to 2,500 words, but you don't have to restrict yourself to a number.

things the synopsis should cover:

the status quo

the complication

initial challenges

midpoint

further challenges

the low point

the climax

the resolution

DRAFT

and we get to the best part which is writing! now that you know everything about your story, characters, locations, and scenes, all you have to do is to put all that together in words. don't feel pressured to make everything look perfect already, just write what comes to your mind. if you have a new idea for the plot, good, write it down! if this character doesn't make sense anymore, okay, get rid of them. just go with the flow, following the structure you've planned, and everything starts to come to life.

i know it's so tempting to go back, read what you wrote, and start editing and polishing, but trust me, don't do that! it's a waste of time, and you will take so much more time to finish your first draft. in fact, i've given up on so many stories because of that...

just when you finish the first draft, you will re-read everything and start editing, fixing plot holes, changing what doesn't fit well, etc. but for now, just write, get the first draft done. enjoy the process, don't rush.

thanks for reading!

i hope this post was helpful!

also, you might be interested in this free workbook with over 90 pages and many exercises! check it out here: THE WRITER'S WORKBOOK

resources for this post:

How to Choose a Plot Outline Method: 4 Techniques for Outlining Novels

How to Write a Novel: A Step-by-Step Guide

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unboundprompts · 7 months

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Hey! I've been following for a while and really appreciate the advice. Do you have any ways to describe someone with a prostecic? I'm struggling to figure out a way to explain my main character's arm that doesn't seem so generic. Thanks so much!

How to Write a Character with a Prosthetic

I don't have any knowledge or experience with prosthetics, so I'm not the best person to ask, but I can direct you to a few people and sources who are:

-> @ancwritingresources has an excellent post with multiple resources about this that can be found Here.

-> @cripplecharacters also has numerous posts regarding prosthetics that they navigate with the tag #prosthetics. A link to those posts Here. I also believe that they are accepting asks, just be specific with your question.

-> @cy-cyborg has posts about this subject as well, Here is a link to their navigation page.

If anyone has other resources/posts/information feel free to share them in the comments/reblog.

#writeblr #writing resources #ask box prompts #writing tips #writing advice #how to write a character with a prosthetic #how to write #writing help #writing tools #writer tips

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hayatheauthor · 1 year

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The Writer's Guide to Authentic Wounds and Fatalities

Writing fatal injuries in a story requires a delicate balance between realism and narrative impact. The portrayal of these life-altering events can evoke strong emotions in readers and shape the trajectory of your characters' journeys. In this blog, I will explore the intricacies of depicting fatal injuries in a manner that feels authentic, engaging, and respectful to the gravity of such circumstances. By understanding the nuances of fatal injuries, you will be equipped to craft compelling narratives that resonate with your readers.

Writing Fatal Injuries

When it comes to writing fatal injuries, it is crucial to approach the subject with care and accuracy. Fatal injuries carry immense consequences for your characters and can shape the trajectory of your story. By delving into the intricacies of portraying fatal injuries authentically, you can ensure that the gravity and impact of such events are effectively conveyed to your readers.

Choosing the right injuries for your story

Selecting the appropriate fatal injuries for your narrative involves considering various factors. Ask yourself: What purpose does this injury serve within the story? How does it affect the characters and the overall plot? Conduct thorough research to identify injuries that align with your story's context and resonate with the emotional journey of your characters.

For example, in a historical drama, you may research common fatal injuries during a particular era, such as battlefield injuries, diseases, or accidents prevalent at the time. In a crime thriller, you might explore the portrayal of fatal gunshot wounds or traumatic injuries resulting from violent encounters. By aligning the injuries with the context and themes of your story, you create a more immersive and believable experience for your readers.

Researching the mechanics of fatal injuries

To portray fatal injuries convincingly, it is essential to delve into the mechanics behind them. Understand the specific anatomical structures and systems involved, as well as the forces or mechanisms that can lead to fatal outcomes. Explore medical resources, consult experts if possible, and gather insights into the physiological and psychological implications of such injuries.

For instance, if your character suffers a fatal stab wound, research the anatomy involved, the potential organs affected, and the potential consequences such as internal bleeding or organ failure. By understanding the specific details and implications of the injury, you can describe the physical and emotional toll it takes on the character with greater accuracy and depth.

Depicting the immediate aftermath

When writing about fatal injuries, vividly describe the immediate aftermath to capture the intense emotions and physical realities. Consider the sensory details, the shock and disbelief experienced by characters, and the chaotic environment that often surrounds such events. Balancing realism with the needs of your story, create a scene that immerses readers and evokes empathy.

For example, if a character experiences a fatal car accident, you can depict the chaos at the scene, the character's disorientation, and the reactions of witnesses. Emphasize the sensory details such as the sound of screeching tires or the smell of burning rubber, creating a visceral experience for your readers.

Emotional and dramatic impact on the narrative

The impact of fatal injuries extends beyond the immediate moment. Explore the ripple effects on other characters, relationships, and the overall plot. Delve into the emotional responses, grief, guilt, anger, or determination that arises in the aftermath of loss. Utilize these emotional arcs to deepen character development and drive the narrative forward.

For instance, the loss of a loved one due to a fatal illness might lead to grief and strained relationships among the remaining family members. The emotional journey of a character grappling with guilt and seeking redemption after causing a fatal accident can become a central theme in your story. By delving into these emotional arcs and their consequences, you add depth and resonance to your narrative.

Writing Minor Injuries

While fatal injuries may capture our attention with their dramatic impact, it is equally important to pay attention to the portrayal of minor injuries in your writing. Minor injuries, though less severe, can still significantly affect your characters and contribute to the authenticity of your story. In this section, we will explore the art of depicting minor injuries, ensuring that they are not overlooked or trivialized. By delving into the nuances of minor injuries, you can add depth and realism to your characters' experiences.

Types of minor injuries to consider

When crafting your story, it is essential to consider a range of minor injuries that can occur. These injuries can include cuts, bruises, sprains, minor burns, or even minor fractures. Each type of injury carries its own unique characteristics, associated pain levels, and recovery processes. By understanding these distinctions, you can create accurate and believable depictions that resonate with your readers.

For example, a character who sustains a cut on their hand may experience sharp pain, the sight of blood, and the need for immediate first aid. On the other hand, a character with a sprained ankle may struggle with mobility, experience swelling, and require rest and care for a few days. By paying attention to these specific details, you can enhance the realism of your storytelling.

Conveying pain and discomfort

When writing about minor injuries, it is important to effectively convey the pain and discomfort experienced by your characters. Consider describing the sensation of pain, the throbbing or stinging feeling, and how it affects their daily activities or interactions. Showcasing the emotional impact of pain, such as frustration, irritation, or vulnerability, can deepen the readers' connection to the character's experience.

For instance, if a character suffers from a sprained wrist, you can describe the dull ache that persists, making simple tasks like typing or holding objects challenging. By capturing these small but significant moments, you immerse readers in the character's struggle and create a more realistic portrayal.

Balancing realism with narrative pace

While it is important to depict minor injuries realistically, it is also crucial to strike a balance with the overall pace and momentum of your story. Consider the significance of the injury within the larger context of your narrative. Some injuries may require more detailed attention and impact the plot, while others may serve as background elements. Adjust the level of detail and focus accordingly, ensuring that the portrayal of minor injuries aligns with the narrative's flow.

For example, a small cut on a character's finger may not require an extensive description unless it becomes infected or triggers an unexpected consequence. By aligning the portrayal of minor injuries with their narrative relevance, you maintain a consistent pace while still acknowledging their impact on your characters' lives.

Writing Bloodshed And Realistic Blood Loss

When writing about wounds and injuries, it is essential to consider the amount of blood loss your characters may experience. Realistic portrayal of bloodshed can enhance the authenticity of your scenes and immerse readers in the gravity of the situation. In this section, we will explore the factors influencing blood loss and techniques for accurately depicting it in your writing.

Understanding blood loss and its impact on the body

To authentically portray blood loss, it's crucial to have a basic understanding of how the human body responds to injury. Research the circulatory system and the role of blood in transporting oxygen and nutrients throughout the body. Consider the different types of blood vessels and their potential for bleeding when injured. This knowledge will help you create realistic scenarios and determine the appropriate level of blood loss for specific injuries.

Factors influencing blood loss in different injury scenarios

The amount of blood loss can vary depending on the severity and location of the injury. Factors such as the size of blood vessels, the rate of bleeding, and the body's ability to clot play a significant role. For example, a deep laceration in an artery will result in more substantial blood loss compared to a superficial cut on the skin. Consider these factors when describing injuries and their resulting bloodshed.

Techniques for accurately portraying blood loss in writing

There are several techniques you can use to convey the realistic impact of blood loss in your writing. Describing the color, consistency, and flow of blood can provide vivid imagery. You can also include physical symptoms such as dizziness, weakness, or fainting that may accompany significant blood loss. Additionally, consider the emotional response of your characters and how they react to the sight of blood or their own injuries.

By incorporating these techniques, you can create scenes that evoke a visceral response in readers and enhance the authenticity of your writing.

Bruises: Colors, Progression, and Pain

Bruises are a common result of injuries, and understanding how they form, change in color, and cause discomfort can greatly enhance the realism of your writing. By accurately describing bruises, you can bring depth to your characters' injuries and portray their healing process convincingly.

Understanding the stages and colors of bruises

Bruises go through distinct stages of color as they heal. Initially, they may appear red or purple due to the broken blood vessels beneath the skin. Over time, the color changes to blue, green, yellow, and eventually fades to a brown or yellowish hue. Understanding this color progression can help you accurately describe the age of a bruise and the healing process.

For example, a fresh bruise might be vivid purple, indicating recent trauma, while a fading bruise may have a yellowish tinge, suggesting that healing has begun. By incorporating these color details, you can add realism to your characters' injuries and track the passage of time within your narrative.

Depicting the progression of bruises over time

As bruises heal, they often change in appearance and size. Initially, a bruise may be small and localized, but it can gradually spread and become more extensive. Describing this progression can provide a sense of the healing process and the passage of time within your story.

For instance, a character who sustains a significant blow to the face may develop a bruise that starts as a small spot near the eye but expands to cover a larger area over the next few days. By accurately portraying the progression of bruises, you enhance the authenticity of your characters' injuries and their recovery.

Conveying the pain and sensitivity associated with bruises

Bruises can be painful, sensitive to touch, and affect a character's movement and daily activities. Describing the pain and discomfort experienced by your characters can create empathy and immerse readers in their physical ordeals.

Consider conveying the tenderness of a bruise when pressure is applied, the throbbing sensation, or the limitation of movement due to the pain.

Remember The Side Effects

Injuries, whether minor or severe, often come with a range of side effects that can significantly impact your characters' lives. These side effects can extend beyond the physical realm and encompass emotional, psychological, and social aspects.

Physical side effects

Injuries can have profound physical side effects that go beyond the immediate pain and discomfort. Consider the potential consequences such as limited mobility, impaired coordination, chronic pain, or the need for assistive devices like crutches or braces. Describing these physical side effects can add depth to your characters' struggles and provide a realistic portrayal of their healing journey.

For example, a character who sustains a leg injury may experience difficulty walking, require physical therapy, or have long-term complications that affect their day-to-day activities. By addressing these physical side effects, you create a more nuanced depiction of the aftermath of injuries.

Emotional and psychological side effects

Injuries can have a profound emotional and psychological impact on characters. They may experience fear, anxiety, trauma, or a loss of confidence. Consider how the injury affects their self-image, relationships, or mental well-being. Explore the emotional journey your characters undergo as they navigate the aftermath of their injuries.

For instance, a character who survives a near-fatal accident may develop post-traumatic stress disorder (PTSD) and struggle with recurring nightmares or panic attacks. By incorporating these emotional and psychological side effects, you can deepen the complexity of your characters and their responses to traumatic experiences.

Social implications and changes

Injuries can also lead to significant social changes for your characters. They may face challenges in their personal relationships, encounter stigma or discrimination, or experience changes in their roles or identities. Explore how the injury affects their interactions with others and their sense of belonging in the world.

For example, a character who sustains a facial injury may encounter judgment or stares from others, leading to self-consciousness or isolation. By addressing the social implications and changes resulting from injuries, you can create multi-dimensional characters and explore the impact of their injuries on their social dynamics.

By incorporating these various side effects into your writing, you bring depth and authenticity to your characters' experiences and showcase the wide-ranging impact of injuries.

Conclusion

Writing authentic wounds and fatalities requires attention to detail and a deep understanding of the physical, emotional, and psychological aspects involved. By following the guidelines and exploring the subheadings discussed in this guide, you can create compelling and realistic portrayals of injuries in your writing.

Remember to conduct thorough research on the specific injuries you want to depict, understanding their mechanics, symptoms, and potential outcomes. Consider the immediate and long-term effects on your characters, both physically and emotionally. Incorporate sensory details to immerse readers in the experience, describing the pain, bloodshed, colors of bruises, and the progression of healing.

Additionally, don't forget to address the side effects that injuries can have on your characters' lives. Explore the physical limitations, emotional struggles, and social implications that arise from their injuries. By delving into these aspects, you can create well-rounded characters and compelling narratives that resonate with readers.

I hope this blog on forging epic battles will help you in your writing journey. Be sure to comment any tips of your own to help your fellow authors prosper, and follow my blog for new blog updates every Monday and Thursday.

Looking For More Writing Tips And Tricks?

Are you an author looking for writing tips and tricks to better your manuscript? Or do you want to learn about how to get a literary agent, get published and properly market your book? Consider checking out the rest of Haya’s book blog where I post writing and publishing tips for authors every Monday and Thursday! And don’t forget to head over to my TikTok and Instagram profiles @hayatheauthor to learn more about my WIP and writing journey!

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