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.obsidian/plugins/obsidian-style-settings
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.obsidian/plugins/obsidian-regex-replace
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.obsidian/plugins/obsidian-git
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.obsidian/snippets/
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.obsidian/themes
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.obsidian/*.json
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.trash/
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{
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||||
"settings": {
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||||
"migrated": 5,
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"iconPacksPath": ".obsidian/icons",
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||||
"fontSize": 16,
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||||
"emojiStyle": "native",
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||||
"iconColor": null,
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||||
"recentlyUsedIcons": [],
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"recentlyUsedIconsSize": 5,
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"rules": [],
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||||
"extraMargin": {
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||||
"top": 0,
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||||
"right": 4,
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||||
"bottom": 0,
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||||
"left": 0
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||||
},
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||||
"iconInTabsEnabled": false,
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||||
"iconInTitleEnabled": false,
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||||
"iconInTitlePosition": "above",
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||||
"iconInFrontmatterEnabled": false,
|
||||
"iconInFrontmatterFieldName": "icon",
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||||
"iconColorInFrontmatterFieldName": "iconColor",
|
||||
"iconsBackgroundCheckEnabled": false,
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||||
"iconsInNotesEnabled": true,
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||||
"iconsInLinksEnabled": true,
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||||
"iconIdentifier": ":",
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||||
"debugMode": false
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||||
}
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||||
}
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{
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||||
"id": "obsidian-icon-folder",
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"name": "Iconize",
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||||
"version": "2.12.1",
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||||
"minAppVersion": "0.9.12",
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||||
"description": "Add icons to anything you desire in Obsidian, including files, folders, and text.",
|
||||
"author": "Florian Woelki",
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||||
"authorUrl": "https://florianwoelki.com/",
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||||
"isDesktopOnly": false
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||||
}
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||||
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@ -1,118 +0,0 @@
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.iconize-inline-title-wrapper {
|
||||
width: var(--line-width);
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||||
margin-inline: var(--content-margin);
|
||||
}
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||||
|
||||
.iconize-title-icon {
|
||||
max-width: var(--max-width);
|
||||
margin-right: var(--size-4-2);
|
||||
}
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||||
|
||||
.iconize-icon-in-link {
|
||||
margin-right: var(--size-2-2);
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||||
display: inline-flex;
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||||
}
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||||
|
||||
.iconize-icon {
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||||
border: 1px solid transparent;
|
||||
margin: 0px 4px 0px 0px;
|
||||
display: flex;
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||||
align-self: center;
|
||||
margin: auto 0;
|
||||
}
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||||
|
||||
.nav-folder-title,
|
||||
.nav-file-title {
|
||||
align-items: center;
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||||
}
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||||
|
||||
.iconize-setting input[type='color'] {
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||||
margin: 0 6px;
|
||||
}
|
||||
|
||||
.iconize-modal.prompt-results {
|
||||
margin: 0;
|
||||
overflow-y: auto;
|
||||
display: grid;
|
||||
grid-template-columns: repeat(5, minmax(0, 1fr));
|
||||
}
|
||||
|
||||
.prompt .iconize-subheadline {
|
||||
margin-top: 12px;
|
||||
font-size: 12px;
|
||||
color: gray;
|
||||
grid-column-start: 1;
|
||||
grid-column-end: 6;
|
||||
}
|
||||
|
||||
@media (max-width: 640px) {
|
||||
.iconize-modal.prompt-results {
|
||||
grid-template-columns: repeat(3, minmax(0, 1fr));
|
||||
}
|
||||
.prompt .iconize-subheadline {
|
||||
grid-column-end: 4;
|
||||
}
|
||||
}
|
||||
|
||||
.iconize-modal.prompt-results .suggestion-item {
|
||||
cursor: pointer;
|
||||
white-space: pre-wrap;
|
||||
display: flex;
|
||||
justify-content: flex-end;
|
||||
align-items: center;
|
||||
flex-direction: column-reverse;
|
||||
text-align: center;
|
||||
font-size: 13px;
|
||||
color: var(--text-muted);
|
||||
padding: 16px 8px;
|
||||
line-break: auto;
|
||||
word-break: break-word;
|
||||
line-height: 1.3;
|
||||
}
|
||||
|
||||
.iconize-modal.prompt-results .suggestion-item.suggestion-item__center {
|
||||
justify-content: center;
|
||||
}
|
||||
|
||||
.iconize-icon-preview {
|
||||
font-size: 22px;
|
||||
}
|
||||
|
||||
.iconize-icon-preview img {
|
||||
width: 16px;
|
||||
height: 16px;
|
||||
}
|
||||
|
||||
.iconize-icon-preview svg {
|
||||
width: 24px;
|
||||
height: 24px;
|
||||
color: currentColor;
|
||||
margin-bottom: 4px;
|
||||
}
|
||||
|
||||
.iconize-dragover {
|
||||
position: relative;
|
||||
}
|
||||
|
||||
.iconize-dragover-el {
|
||||
position: absolute;
|
||||
width: 100%;
|
||||
height: 100%;
|
||||
color: var(--text-normal);
|
||||
background-color: var(--background-secondary-alt);
|
||||
display: flex;
|
||||
align-items: center;
|
||||
justify-content: center;
|
||||
}
|
||||
|
||||
/* Custom rule modal. */
|
||||
.iconize-custom-modal .modal-content {
|
||||
display: flex;
|
||||
align-items: center;
|
||||
justify-content: center;
|
||||
}
|
||||
|
||||
.iconize-custom-modal .modal-content input {
|
||||
width: 100%;
|
||||
margin-right: 0.5rem;
|
||||
}
|
||||
|
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|
|||
*Source: [I kind of suck at tagging, so I made this infographic to help make it easier. – @mostlyinthemorning on Tumblr](https://www.tumblr.com/mostlyinthemorning/664760484135895040/i-kind-of-suck-at-tagging-so-i-made-this)*
|
||||
|
||||
## :LiBadgeHelp: Canon
|
||||
**How does it relate to canon?**
|
||||
- Alternate Universe
|
||||
- Canon Compliant
|
||||
- Canon Divergence
|
||||
- Crossover
|
||||
- Fix-it Fic
|
||||
- Future Fic
|
||||
- Missing Scenes & Codas
|
||||
- Pre-canon/Backstory
|
||||
|
||||
## :LiBadgeHelp: Format
|
||||
**Is it something other than a story?**
|
||||
- 5+1 Things
|
||||
- Art
|
||||
- Dialogue-Only
|
||||
- Epistolary
|
||||
- Online & Social Media
|
||||
- Podfic
|
||||
- Poetry
|
||||
- Songfic
|
||||
- Texting
|
||||
|
||||
## :LiBadgeHelp: Tone
|
||||
**How does it make you feel?**
|
||||
- Angst
|
||||
- Crack
|
||||
- Fluff
|
||||
- Humor
|
||||
- Hurt/Comfort
|
||||
- Pining
|
||||
- Smut and <abbr title="Plot? What Plot?/Porn Without Plot">PWP</abbr>
|
||||
- Whump
|
||||
|
||||
## :LiBadgeHelp: Relationship
|
||||
**Describe the relationship**
|
||||
- Platonic
|
||||
- Coming Out
|
||||
- Families
|
||||
- Friendship
|
||||
- Siblings
|
||||
- Getting together
|
||||
- Amnesia
|
||||
- Body Swap
|
||||
- Childhood Friends
|
||||
- Different First Meeting
|
||||
- Drunken Confessions
|
||||
- Enemies to Lovers
|
||||
- Fake Dating
|
||||
- Flirting
|
||||
- Friends to Lovers
|
||||
- Huddling for Warmth
|
||||
- Meet-Cute
|
||||
- Miscommunication
|
||||
- Road Trips
|
||||
- Roommates
|
||||
- Sharing a Bed
|
||||
- Slow Burn
|
||||
- Soulmates
|
||||
- Strangers to Lovers
|
||||
- Trapped in Elevator
|
||||
- PG-13
|
||||
- Cuddling
|
||||
- First Kiss
|
||||
- Kissing and Making Out
|
||||
- Sexy times
|
||||
- Alpha/Beta/Omega dynamics (Omegaverse)
|
||||
- Dirty Talk
|
||||
- First Time
|
||||
- Kink
|
||||
- Roleplay
|
||||
- Sex Pollen
|
||||
- Sexting and Phone Sex
|
||||
- Voyeurism
|
||||
- Commitment
|
||||
- Arranged Marriage
|
||||
- Established Relationship
|
||||
- Honeymoons
|
||||
- Infidelity
|
||||
- Jealousy
|
||||
- Kid Fic
|
||||
- Long Distance Relationship
|
||||
- Pregnancy
|
||||
- Weddings & Proposals
|
||||
|
||||
## :LiBadgeHelp: Theme
|
||||
**What is the theme?**
|
||||
- Activities and interests
|
||||
- Baking and Cooking
|
||||
- Camping
|
||||
- Celebrations
|
||||
- Crafts and Hobbies
|
||||
- Drinking or Getting High
|
||||
- Fashion
|
||||
- Holidays
|
||||
- Pets
|
||||
- Piercings and Tatoos
|
||||
- Religion
|
||||
- Sports
|
||||
- Theatre and Dance
|
||||
- Yoga
|
||||
- Adaptations
|
||||
- Fairy Tales
|
||||
- Historical
|
||||
- Reality Show
|
||||
- TV/Movie/Book Adaptations
|
||||
- Character Driven
|
||||
- Anxiety and Mental Health
|
||||
- Introspection
|
||||
- Queer Themes
|
||||
- Jobs
|
||||
- Artists
|
||||
- Celebrities
|
||||
- Crime and Suspense
|
||||
- Firefighters
|
||||
- Lifeguards
|
||||
- Media and Journalism
|
||||
- Medical
|
||||
- Military
|
||||
- Musicians
|
||||
- Pilots
|
||||
- Politics
|
||||
- Retail
|
||||
- Royalty
|
||||
- Teachers
|
||||
- Other worldly
|
||||
- Apocalypse
|
||||
- Fairies
|
||||
- Ghosts
|
||||
- Magic and Fantasy
|
||||
- Parallel Universe
|
||||
- Sci-fi
|
||||
- Shapeshifters
|
||||
- Superheroes
|
||||
- Supernatural
|
||||
- Tentacles
|
||||
- Time Travel
|
||||
- Vampires
|
||||
- Witches
|
||||
- Zombies
|
||||
- Places
|
||||
- Bookstores & Libraries
|
||||
- Coffee Shops & Restaurants
|
||||
- College
|
||||
- Flower Shops
|
||||
- High School
|
||||
- Summer Camp
|
||||
- Wineries
|
||||
|
|
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*Source: [Active vs. Passive Voice: What's the Difference? | Grammarly](https://www.grammarly.com/blog/active-vs-passive-voice/)*
|
||||
|
||||
Take a sentence like "I want ice cream now." It's clear and straightforward—you know immediately that the subject, *I*, wants an object, *ice cream*. Now, recast this sentence, flipping it so that the object is in the position of the subject: "Ice cream is wanted by me now." It isn't just longer, but it's also more detached, roundabout, and a little awkward, too.
|
||||
|
||||
Those two sentences are examples of the active voice and the passive voice. Certain kinds of writing are best suited for the active voice, while the passive voice is most appropriate for other kinds of writing. Understanding how, when, and why to use each is key to being an effective writer and speaker.
|
||||
## What is active voice, what is passive voice, and what are their different functions?
|
||||
|
||||
In the active voice, the subject is performing an action:
|
||||
|
||||
*The dog chases the ball.*
|
||||
|
||||
Notice how the subject, *dog*, is performing the action, *chase*, on the target of the action, *ball*. This is a simple, direct example of the active voice.
|
||||
|
||||
In the passive voice, the action's target, *ball*, is positioned first as the focus of the sentence. The sentence gets flipped, and the subject is now being acted upon by the verb. In other words, the subject is *passive*:
|
||||
|
||||
*The ball is being chased by the dog.*
|
||||
|
||||
Active and passive are the two grammatical voices in English. Neither is inherently better than the other, but each is suited to certain types of writing. There's a reason why news anchors sound detached from the stories they're reporting: They often speak using the passive voice. There's also a reason why the authors of opinion pieces sound so sure of their positions: They usually write in the active voice.
|
||||
|
||||
Although the idea of teachers telling their students to avoid the passive voice is repeated so frequently that it feels like a trope, the truth is that the passive voice *does* have its applications. We'll get into those later. For now, let's look at how to recognize the active voice and the passive voice in your writing and in others' work.
|
||||
### Active voice
|
||||
|
||||
As we've learned, in the active voice, the sentence's subject performs the action. Here are two examples of sentences in the active voice:
|
||||
|
||||
*Shira likes birdwatching.*
|
||||
|
||||
*She loves twilight.*
|
||||
|
||||
No matter what verb you use, structuring your sentence so the subject performs the verb is writing in the active voice.
|
||||
|
||||
The active voice has a direct, clear tone. Use it when you want the reader to focus on the subject of your sentence and the action it is doing rather than on the action's target.
|
||||
### Passive voice
|
||||
|
||||
In the passive voice, the action's target is the focus, and the verb acts upon the subject. Or, to put it in the passive voice, the subject is acted upon by the verb. Every sentence in the passive voice contains two verbs:
|
||||
- A conjugated form of "to be"
|
||||
- The main verb's past participle
|
||||
|
||||
Take a look at the previous examples, now written in passive voice:
|
||||
|
||||
*Birdwatching is liked by Shira.*
|
||||
|
||||
*Twilight is loved by her.*
|
||||
|
||||
Notice how the targets of the action—also the direct objects of the sentences—are now the focus. The sentences now contain a conjugated form of "to be" ( *is*) and the main verb's past participle ( *liked* and *loved*). Often, sentences in the passive voice are longer than sentences in the active voice simply because they have to include additional words like prepositions. Take a look at this sentence in the passive voice:
|
||||
|
||||
*Summer break is* ***\[conjugated form of "to be"\]*** *loved* ***\[past participle of the main verb\]*** *by* ***\[preposition\]*** *my friends.*
|
||||
|
||||
However, sentences written in the passive voice don't necessarily need a preposition. Take a look at the example sentences below:
|
||||
|
||||
*The check was paid.*
|
||||
|
||||
*He will be remembered.*
|
||||
|
||||
*The Philippines is known for its marine biodiversity.*
|
||||
|
||||
The passive voice has a subtler tone than the active voice has. Sometimes your writing needs this tone, like when you want your reader to focus on the action being described or the action's target rather than on who or what is performing the action. This is why the passive voice is used in lab reports
|
||||
—it conveys scientific objectivity by minimizing the focus on the doer of the action.
|
||||
## Active and passive voice usage
|
||||
|
||||
Although you may have been told that writing in the passive voice is "bad writing," it's actually more nuanced than that. For most of the writing you do, like emails, blog posts, and many kinds of essays, the active voice is a more effective way to communicate the ideas, themes, and facts you're expressing.
|
||||
|
||||
In certain kinds of writing, though, the passive voice is necessary. Think about how news reports about crime and incidents are usually written and delivered:
|
||||
|
||||
*A car was broken into on Elm Street last night.*
|
||||
|
||||
*Cash was stolen from the register.*
|
||||
|
||||
In these kinds of reports, the passive voice is used to emphasize the action that occurred rather than the individual or group who committed the action, often because the perpetrator isn't known or hasn't yet been found guilty of the offense.
|
||||
|
||||
There are other kinds of writing where the action itself, rather than the doer of the action, is the primary focus. These include scientific and, in some cases, historical reports. These use the passive voice to keep the reader's focus on what has happened or is happening. Here are a few examples:
|
||||
*The rats were placed into the maze.*
|
||||
*The governor was inaugurated at the statehouse.*
|
||||
|
||||
Notice how in both of these sentences, the doer of the action isn't mentioned. That's because it's either implied or irrelevant. In the first example, the scientist performing the experiment is the one who placed the rats in the maze. In the second, those conducting the inauguration ceremony aren't relevant to what's being expressed in the sentence.
|
||||
## How to change passive voice to active voice
|
||||
|
||||
After you finish your first draft, read it. You might even want to read it aloud and listen to how it sounds. By reading and listening to your own work, you can catch awkward sentences and unclear phrasing and mark them as points to revise in your next draft. You'll also hear where you used the active and passive voices and how they shift your work's tone as a whole.
|
||||
|
||||
Let's say you've detected a few instances of the passive voice in your argumentative essay:
|
||||
*More flexible scheduling options are deserved by students. Significant amounts of tuition are paid to the university every year, and many feel the level of service being paid for by students is not being received.*
|
||||
|
||||
See how these sentences feel like they're dancing around the topic at hand rather than addressing it head-on? The writer isn't making a particularly persuasive argument, but they can make their writing far more impactful by changing it to the active voice.
|
||||
|
||||
Sentence-by-sentence, identify who or what is performing the action, and make that the subject when you rewrite it. In the first sentence, make *students* the subject, since that's who is performing the action. The main verb in this sentence is *deserve,* and the target is *more flexible scheduling options*, which will become the direct object in your new sentence. With these identified, restructure the sentence so the subject is now directly performing the verb. In the active voice, this sentence would read like this:
|
||||
*Students deserve more flexible scheduling options.*
|
||||
|
||||
See how this version gets right to the point? It makes the writer sound more confident too, which is a priority in argumentative writing. Let's try changing the second sentence to the active voice, which also allows us to condense:
|
||||
*Students pay a significant amount of tuition to the university every year, and many feel they aren't receiving the level of service they're paying for.*
|
||||
|
||||
As you can see from the compound sentence above, you can write *any* kind of sentence in the active or passive voice as long as the sentence has a transitive verb. Whether it's a simple or complex sentence (or even a compound-complex sentence), you can dramatically alter your tone by simply reworking its structure.
|
||||
|
||||
If you aren't sure whether a sentence is active or passive based on how it sounds, use the rules we outlined above to identify the two voices in your work. The biggest clue you have a passive voice sentence on your hands will be a form of "to be" followed by a past participle (e.g., *was requested* or *will be missed*). Not every passive voice sentence says who is performing the action, but if it does, you'll see a preposition next to it (e.g., *by zombies* or *by my brother*).
|
||||
|
||||
You can use either voice when you're paraphrasing a longer work. Sometimes, such as in cases where you're paraphrasing a scientific article, you'll need to use the passive voice in your paraphrased version. In others, you might actually make the original clearer by paraphrasing in the active voice.
|
||||
## Active and passive voice examples
|
||||
|
||||
Take a look at these examples of both the active and passive voices in action:
|
||||
|
||||
**Active:** *Is Ajani visiting us today?*
|
||||
|
||||
**Passive:** *Will we be visited by Ajani today?*
|
||||
|
||||
As you see, questions can be written in either voice. Other kinds of sentences, like exclamatory and imperative sentences, are often best written in the active voice:
|
||||
|
||||
**Active:** *Please remove your shoes before entering my house.*
|
||||
|
||||
**Passive:** *Shoes should be removed before entering my house.*
|
||||
|
||||
**Active:** *Lock the door!*
|
||||
|
||||
**Passive:** *Let the door be locked!*
|
||||
|
||||
See how with the first pair, the passive voice makes the request feel more like a suggestion? In the second pair, the passive voice makes the message sound stilted and formal rather than an urgent exclamation.
|
||||
|
||||
Now take a look at these two examples:
|
||||
|
||||
**Active:** *I poured the solution into the beaker and heated it to 100℉.*
|
||||
|
||||
**Passive:** *The solution was poured into the beaker and heated to 100℉.*
|
||||
## Active and passive voice FAQs
|
||||
### What is active voice, what is passive voice, and what's the difference?
|
||||
|
||||
In the active voice, the sentence's subject performs the action on the action's target. In the passive voice, the target of the action is the main focus, and the verb acts upon the subject. There are numerous differences between the two grammatical voices, but the most important is that the active voice is clearer and more direct, while the passive voice is subtler and can feel more detached.
|
||||
### When should you use active vs. passive voice?
|
||||
|
||||
Use the active voice in any sentence that focuses on the doer of the action. Unless the majority of your writing is scientific or reporting incidents involving unknown perpetrators, most of the sentences you write should be in the active voice.
|
||||
|
||||
The passive voice is meant for sentences where you need to emphasize the target of an action or the action itself rather than who or what is performing the verb.
|
||||
### How do you change passive voice to active?
|
||||
|
||||
To change the passive voice to the active voice, determine who is actually performing the action in the sentence, then restructure the sentence so that the performer is the focus, clearly performing the verb upon the sentence's direct object.
|
||||
|
||||
- **Passive:** *Salsa dancing has always been loved by our community.*
|
||||
- **Active:** *Our community has always loved salsa dancing.*
|
||||
|
|
@ -1,37 +0,0 @@
|
|||
*Source: [How to Critique: Best Practices for Workshopping | The World Remains Mysterious](https://www.kittywumpus.net/blog/2014/01/31/how-to-critique-best-practices-for-workshopping/)*
|
||||
|
||||
Both my Writing F&SF Stories and Advanced workshops offer students a chance to critique and be critiqued. To my mind, the latter is actually more useful, because being forced to articulate one’s position on an aspect of writing can be enlightening and instructive. With that in mind, here’s some best practices for such workshops.
|
||||
|
||||
**Overall:**
|
||||
|
||||
1. Start with what works. Let the writer know what you see as the story’s strengths and how they might capitalize on them.
|
||||
2. What keeps you from connecting with the story? What don’t you understand? Sometimes the most useful thing you can give someone is a brief synopsis of what you think is going on in the story, because it may not match their intent.
|
||||
3. Critique big ticket items, not little nitpicks.
|
||||
4. It’s more important to point out what’s broken than to make suggestions how to fix it, because that fix will differ radically from writer to writer.
|
||||
5. How do the beginning and ending work together to create a satisfying story? Is the story that’s provided the one the one promised in the beginning? Is the ending set up in a satisfying way? Is it the result of character actions?
|
||||
6. What’s missing? What don’t you understand?
|
||||
7. What seems extraneous, unneeded or distracting?
|
||||
8. What’s the pacing like? Where does the story drag and where does it skip too quickly through details?
|
||||
9. Where are the info-dumps and how can that information be spread out?
|
||||
10. How well does the title work? If not well, what possible better titles can be drawn from the story?
|
||||
|
||||
**Characters:**
|
||||
|
||||
1. Are the characters likeable?
|
||||
2. Are the characters acting or reacting?
|
||||
3. Does the character have a point of identification with the reader, such as a problem, situation or want that both of them hold?
|
||||
4. Where can we go deeper into the character's head? Does the reader know what the character wants? Where don't we understand what the character is doing?
|
||||
5. Are there too many characters? Can any be combined?
|
||||
6. Is the dialogue interesting and informative of character?
|
||||
7. Is the point of view consistent?
|
||||
|
||||
**World:**
|
||||
|
||||
1. Is the world clear? Does the reader know where they are?
|
||||
2. Does it feel generic? (Is it?) How can it be made more specific and evocative?
|
||||
3. Does it make sense?
|
||||
4. How important is the science of it? Are the facts right?
|
||||
5. Where should we know more?
|
||||
6. Where can the world come forward more?
|
||||
7. Where can more sensory detail be worked in?
|
||||
8. Is the culture interesting and also make sense?
|
||||
|
|
@ -1,19 +0,0 @@
|
|||
*Source: [Questions I Ask My Beta Readers – @burntoutdaydreamer on Tumblr](https://www.tumblr.com/burntoutdaydreamer/736178941698752512/questions-i-ask-my-beta-readers)*
|
||||
## Questions I Ask My Beta Readers
|
||||
|
||||
"Did you like it?" just doesn't cut it when you're trying to get useful feedback, so here's some questions that get your reader really thinking about your work:
|
||||
|
||||
- What are your general impressions after reading? How did you feel when the book ended?
|
||||
- (For fantasy/sci-fi) What did you find most confusing about the world? What did you find the most interesting? What do you want to know more about?
|
||||
- Were there any scenes that broke your suspension of disbelief? Which ones? Why?
|
||||
- Which chapters were the hardest to get through? Did you find yourself skimming the text at any point in the story?
|
||||
- Which character was your favorite? Which was your least favorite? Why? (Note that this question is best when asking multiple readers. If one person really dislikes a character, it could be personal preference. If multiple people can't stand a character for the same reason.... well, that's a problem you need to fix. Unless, of course, you want your readers to hate that character. Just make sure that their hatred enhances the reading experience instead of ruining it).
|
||||
- Did you get any characters confused or mixed up? If so, did this make the story hard to follow?
|
||||
- What was the most suspenseful moment in the book? What was your favorite moment of the story? What was your least favorite moment in the story? Why?
|
||||
- Which setting in the book was clearest to you as you were reading it? Which setting was the most difficult to envision?
|
||||
- Did you feel there was a lot of info dumping at any point? If so, where?
|
||||
- How do you feel about the plot? Were there any parts that confused you or seemed nonsensical/ illogical?
|
||||
- Did you feel any part of the story was predictable? Do you have any predictions for the next book(s)? If so, what are they? (Again, another question that's best when asking multiple readers. Be aware of your audience here. Some people, especially those who read a lot, are really good at predicting where stories are going to go. If those people are able to guess what happens next, that might actually be a good thing, because it could indicate that your story is progressing logically. Too much predictability is a problem, but a little isn't bad. This question is just to make sure the plot twists/progression aren't painfully obvious to most readers).
|
||||
- What plot holes did you find in the story so far?
|
||||
- Were you invested in the story? If so, at what point did you become invested? Did you lose this interest at any point? (The second point here is really good for determining whether you have a slow beginning. Sometimes readers might really like your story overall, but would not have gotten past the first few chapters if they were reading it for fun instead of as a favor for you. This happened to me last time I asked someone to read my work, and it made it clear how much of the beginning I needed to rewrite entirely).
|
||||
- Any other questions or comments?
|
||||
|
|
@ -1,319 +0,0 @@
|
|||
*Source: [Cues to Emotion](http://www.joannawaugh.com/cues-to-emotion.html)*
|
||||
|
||||
## Embarrassed
|
||||
|
||||
- Clear throat
|
||||
- Swallow
|
||||
- Gulp
|
||||
- Wet lips with tongue
|
||||
- Male: bobbling or jumping Adam’s apple
|
||||
- Flushed skin
|
||||
- Hot/tingling skin
|
||||
- Lack of eye contact
|
||||
- BreathinessHappy/Humor/Pleasure
|
||||
- Smile
|
||||
- Animated eyes/expression
|
||||
- Tears in eyes/crying/sobbing
|
||||
- Tightening of the throat/inability to speak
|
||||
- Quivering chin
|
||||
- Dilated pupils
|
||||
- Eaise/lift eyebrows to widen eyes
|
||||
- Facial flush
|
||||
- Laugh (can be silent)
|
||||
- Hugging upper abdomen/lower chest sigh
|
||||
|
||||
## Humble/Deferential/Non-aggressive/Submissive
|
||||
|
||||
- Bowed head
|
||||
- Head tilted to one side
|
||||
- Lowered chin
|
||||
- Down-turned eyes
|
||||
- No direct eye contact
|
||||
- Tight-lipped
|
||||
- Silent
|
||||
- Slumped/hunched shoulders
|
||||
- Shrug shoulders
|
||||
- Turn body inward to make smaller
|
||||
- Open palms
|
||||
- Arms next to side
|
||||
- Pout
|
||||
- Low voice
|
||||
|
||||
## Friendly/Love/Infatuated
|
||||
|
||||
- Close proximity to object of affection (address or aim at, lean toward, intrude into personal space)
|
||||
- Block intrusion by third person by laying arm across back of chair, crossing feet, standing in such a way as to block view of the rest of the room
|
||||
- Man - leaning back with pelvis thrust forward, legs apart, hands hook in pockets with fingers pointing down to genitals = I'm available; I'm sexually dangerous
|
||||
- Women cross arms around men they don’t like and use open arm position around men they do like. Crossed arms for a woman can also signal that she's closed in and wants to be let out.
|
||||
- Head tilted to one side
|
||||
- Head/hair toss
|
||||
- Shoulder shrug
|
||||
- Stand up straighter, more alert
|
||||
- Pull in stomach
|
||||
- Skin blush or pale
|
||||
- Change in body smell
|
||||
- Draw attention to lips (i.e. wet with tongue, pout)
|
||||
- Touch own body
|
||||
- Stroke or push hair away from face
|
||||
- Adjust clothing
|
||||
- Hand on hip to expose wrist and/or palm
|
||||
- Increased heart rate
|
||||
- Hug/snuggle/nuzzle
|
||||
- Nose rub
|
||||
- Playful bite
|
||||
- Tongue touches lip
|
||||
- Kiss
|
||||
- Bat eyelids
|
||||
- Flirting glance
|
||||
- Narrowed eyes
|
||||
- Deliberate eye contact/holding gaze
|
||||
- Eyes roam over other person's face, linger on throat, breasts/chest, body in deliberate signal of interest
|
||||
- Dilated pupils
|
||||
- Caress with fingertips or lips
|
||||
- Tickle
|
||||
- Hold hands
|
||||
- Stroke other person's palm with thumb
|
||||
- Lingering touch
|
||||
- Extend or reach out with arms/hands
|
||||
- Man - place open hand at the small of woman's back while walking = you're mine/I'm in command
|
||||
- Female: sway hips when walking\male: saunter
|
||||
- Thigh contact
|
||||
- Facial flush
|
||||
- Gaze down coyly
|
||||
- Sigh
|
||||
- Smile
|
||||
- Breathiness
|
||||
- Husky voice
|
||||
- Throaty voice
|
||||
- Giggle
|
||||
- Flattering comments
|
||||
|
||||
## Lying/Deceptive
|
||||
|
||||
- Gazing down/lack of eye contact
|
||||
- Sweaty palms/head/neck/armpits
|
||||
- Raising upward on/lifting toes
|
||||
- Scratching/rubbing/pinching/holding parts of body
|
||||
- Dilated pupils
|
||||
- Rapid eye blink
|
||||
- Pretending excitement to convince
|
||||
- Lips pressed together
|
||||
- Darting tongue
|
||||
- Clear throat
|
||||
- False smile
|
||||
- Reticence/withdrawal from contact
|
||||
- Shoulder shrug
|
||||
- Touching forehead/jaw with hand
|
||||
- Facial flushing, especially around eyes
|
||||
- Deliberate control of body energy = fewer movements, stiffness of demeanor
|
||||
- Wheedling tone of voice
|
||||
|
||||
## Sad/Depressed/Grief/Pain
|
||||
|
||||
- Tears standing in eyes/crying/sobbing
|
||||
- Narrowed eyes
|
||||
- Closed eyes
|
||||
- Tightening of the throat
|
||||
- Inability to speak
|
||||
- Repeated swallowing
|
||||
- Quivering chin
|
||||
- Pout
|
||||
- Compressed/down-turned mouth or lips
|
||||
- Chew lip
|
||||
- Flared nostrils
|
||||
- Wrinkled nose/ brow
|
||||
- Forward bowing of body, turning in on oneself
|
||||
- Arms folded across lower chest/upper abdomen
|
||||
- Lethargy
|
||||
- Clenched fist
|
||||
- Stiffness of body
|
||||
- Hand over heart
|
||||
- Slumped posture/drooping shoulders
|
||||
- Gazing downward
|
||||
- Sigh
|
||||
- Wavering voice
|
||||
- Toneless voice
|
||||
|
||||
## Surprise
|
||||
|
||||
- Brows arched upward
|
||||
- Open mouth
|
||||
- Parted lips
|
||||
- Grimace
|
||||
- Wide eyes
|
||||
- Fixated stare
|
||||
- Rapid eye blink
|
||||
- Startle reflex
|
||||
- Sudden intake of breath
|
||||
- Drawing back of body
|
||||
- Head jerked/thrown back
|
||||
- Exclamation
|
||||
|
||||
*Note about crying:* women cry 5X more than men and their tears are more copious. Crying spell lasts only 1-2 minutes. Tears seem to relieve stress so, after a crying jag, there is relief.
|
||||
|
||||
*Note about Eye Movement:* Glance to the right = looking into the future and searching for words. Glance to the left = searching the past to make sure words are correct.
|
||||
|
||||
## Defensive/Aggressive/Angry/Enraged
|
||||
|
||||
- Tense jaw/mouth
|
||||
- Compressed mouth/lips
|
||||
- Biting bottom lip
|
||||
- Sneer
|
||||
- Guttural throat sounds
|
||||
- Loud speech/yell/scream
|
||||
- Jutted chin
|
||||
- Clenched jaw
|
||||
- Frown
|
||||
- Wrinkled nose
|
||||
- Flared nostrils
|
||||
- Widened eyes
|
||||
- Protruding eyeballs
|
||||
- Dilated pupils
|
||||
- Hands on hips/away from body
|
||||
- Body displayed broadside
|
||||
- Squared shoulders
|
||||
- Shrug shoulders
|
||||
- Body held erect/stand tall
|
||||
- Head jerks
|
||||
- Tick in cheek/eye/corner of mouth
|
||||
- Head brought forward
|
||||
- Clenched fists
|
||||
- Drumming/tapping fingers
|
||||
- Palms down, beating gesture/flailing hands/arms
|
||||
- Red face/neck/ears
|
||||
- Hitting something with fists
|
||||
- Stiff walking
|
||||
|
||||
## Anxious/Impatient/Nervous/Tense/Fearful
|
||||
|
||||
- Clear throat
|
||||
- Swallow
|
||||
- Gulp
|
||||
- Jaw drop/open mouth
|
||||
- Dry mouth
|
||||
- Wet lips with tongue/touch lips with finger
|
||||
- Catch in throat
|
||||
- Raspy voice unable to speak
|
||||
- Male – bobbing/jumping Adam’s apple
|
||||
- Perspire (palms/face/neck/armpits) = cold sweat
|
||||
- Pale skin
|
||||
- Lean/angle away from what’s making person anxious
|
||||
- Make oneself smaller to reduce exposure to danger
|
||||
- Tense lips, neck, shoulder muscles
|
||||
- Arms folded across lower chest/upper abdomen
|
||||
- Neutral facial expression = do not approach
|
||||
- No eye contact
|
||||
- Rapid eye blink
|
||||
- Protruding eyeballs
|
||||
- Wide eyes
|
||||
- Tick in cheek/eye/corner of mouth
|
||||
- Dilated pupils
|
||||
- Flared nostrils
|
||||
- Frown
|
||||
- Crying
|
||||
- Increased breathing rate/rapid heartbeat
|
||||
- Tremble, especially lips
|
||||
- Chattering of teeth
|
||||
- Hair bristling
|
||||
- Clenched fists
|
||||
- Drumming/tapping fingers
|
||||
- Palms down, beating gesture/flailing hands/arms
|
||||
- Scratching/rubbing/pinching/holding parts of body
|
||||
|
||||
## Arrogant/Disdainful
|
||||
|
||||
- Rearing back
|
||||
- Mocking bow of head or upper torso
|
||||
- Lift chin
|
||||
- Look down nose
|
||||
- Jut chin
|
||||
- Lift one eyebrow
|
||||
- Tilt head back
|
||||
- Narrowed eyes
|
||||
- Compressed lips/mouth
|
||||
- Lip raised/curled in sneer
|
||||
- Hands on hips
|
||||
- Look down one’s nose
|
||||
- Flared nostrils
|
||||
- Loud voice
|
||||
- Yawn
|
||||
|
||||
## Confident/Brave
|
||||
|
||||
- Square shoulders
|
||||
- Full body display
|
||||
- Stand erect/tall
|
||||
- Hands on hips
|
||||
- Swagger when walking
|
||||
|
||||
## Confused/Puzzled/Uncertain
|
||||
|
||||
- Frown
|
||||
- Slack jaw
|
||||
- Pout
|
||||
- Pursed lips
|
||||
- Wet lips with tongue/touch lips with finger
|
||||
- Tongue clenched between lips
|
||||
- Suck thumb
|
||||
- Mouth turned downward
|
||||
- Clenched jaw
|
||||
- Clear throat
|
||||
- Lowered eyelids
|
||||
- Elbow raised with hand behind head
|
||||
- Scratch head
|
||||
- Tug on ear
|
||||
- Tap cheek with finger
|
||||
- Rub back of neck with one hand
|
||||
- Wrinkled nose
|
||||
- Scratching/rubbing/pinching/holding parts of body
|
||||
- Hug waist with arms
|
||||
- Shrug shoulders
|
||||
- Raspy/thready voice
|
||||
|
||||
## Curious
|
||||
|
||||
- Head cocked to one side
|
||||
- Wrinkled nose/brow
|
||||
- Pursed lips
|
||||
- Raised brow
|
||||
- Wide eyes
|
||||
- Finger touch to cheek/jaw
|
||||
|
||||
## Defeated
|
||||
|
||||
- Slumped/hunched shoulders
|
||||
- Vacant expression
|
||||
- Toneless voice
|
||||
|
||||
## Disagree/Disgusted/Abhorrent/Revulsion
|
||||
|
||||
- Distance from object
|
||||
- Turn or face away/shift body away
|
||||
- Turning one’s back
|
||||
- Lean back
|
||||
- Fold arms across upper chest/lower abdomen
|
||||
- Cut off hand gesture
|
||||
- Sneer
|
||||
- Roll eyes
|
||||
- Narrowed eyes
|
||||
- No eye contact
|
||||
- Frown
|
||||
- Wrinkled nose
|
||||
- Flared nostrils
|
||||
- Backward head jerks
|
||||
- Head shake
|
||||
- Protrusion of tongue
|
||||
- Guttural throat sounds
|
||||
- Pursed lips
|
||||
- Thin lips
|
||||
- Tongue pressed between lips
|
||||
- Clenched jaw
|
||||
|
||||
## Disbelief/Skeptical/Suspicious
|
||||
|
||||
- Arch eyebrow
|
||||
- Narrowed eyes
|
||||
- Compressed lips/Down-turned mouth
|
||||
- Head shake
|
||||
- Clenched jaw
|
||||
- Shoulder shrug
|
||||
|
|
@ -1 +0,0 @@
|
|||
*Source: [How To Describe Beer Taste — Love Beer Learning](https://lovebeerlearning.co.uk/lovebeerlearningblog/how-to-describe-beer-taste)*
|
||||
187
Dialogue Tags.md
187
Dialogue Tags.md
|
|
@ -1,187 +0,0 @@
|
|||
*Source: [Dialogue Tags: 12 Categories and 102 Examples for Writers](https://storygrid.com/dialogue-tags/)*
|
||||
|
||||
The art of writing is more than just stringing words together. It’s about breathing life into characters, giving them unique voices, and setting the tone of a scene within your story. As a writer, you may find yourself constantly searching for new ways to express your characters’ emotions and actions through dialogue. To help you expand your vocabulary and enhance your writing, we’ve created this comprehensive list of dialogue tags, perfect for any writer looking to level up their craft.
|
||||
|
||||
But first, let’s dive into the importance of dialogue tags and how they can benefit your writing.
|
||||
|
||||
---
|
||||
|
||||
### What are Dialogue Tags?
|
||||
|
||||
Dialogue tags, also known as speech tags, are phrases used to indicate who is speaking and how they are speaking in a story. These tags are essential for providing clarity, establishing tone, and conveying emotions and actions that may not be apparent from the dialogue alone.
|
||||
|
||||
Using a wide range of dialogue tags can enhance your writing and keep it from becoming monotonous. However, it’s important to strike a balance—too many unique tags can be distracting, while too few can leave your reader feeling unengaged.
|
||||
|
||||
Now, let’s explore the long list of examples of different types of dialogue tags for writers.
|
||||
|
||||
### Basic Dialogue Tags
|
||||
|
||||
Basic dialogue tags are simple and unobtrusive. They keep the focus on the dialogue itself and are ideal for everyday conversations. Here are some common examples:
|
||||
|
||||
- said
|
||||
- replied
|
||||
- asked
|
||||
- answered
|
||||
### Dialogue Tags Indicating Volume
|
||||
|
||||
These tags help convey the loudness or quietness of a character’s speech, adding an extra layer of emotion and context to the conversation.
|
||||
|
||||
- whispered
|
||||
- murmured
|
||||
- muttered
|
||||
- shouted
|
||||
- screamed
|
||||
- bellowed
|
||||
- hollered
|
||||
- roared
|
||||
- hissed
|
||||
|
||||
### Dialogue Tags Denoting Emotion
|
||||
|
||||
Emotional dialogue tags allow you to show how a character is feeling, whether it’s happiness, sadness, anger, or any other emotion.
|
||||
|
||||
- laughed
|
||||
- giggled
|
||||
- sighed
|
||||
- sobbed
|
||||
- cried
|
||||
- moaned
|
||||
- snarled
|
||||
- growled
|
||||
- sneered
|
||||
|
||||
### Dialogue Tags Signifying Tone
|
||||
|
||||
Tone-based dialogue tags help convey the manner in which a character is speaking, from sarcastic to serious, and everything in between.
|
||||
|
||||
- quipped
|
||||
- retorted
|
||||
- snapped
|
||||
- jeered
|
||||
- taunted
|
||||
- scolded
|
||||
- admonished
|
||||
- lectured
|
||||
- encouraged
|
||||
|
||||
### Dialogue Tags Showing Speed and Rhythm
|
||||
|
||||
These tags illustrate the speed and rhythm of a character’s speech, providing insight into their thought process and emotional state.
|
||||
|
||||
- stammered
|
||||
- stuttered
|
||||
- drawled
|
||||
- rambled
|
||||
- rushed
|
||||
- blurted
|
||||
- mumbled
|
||||
- droned
|
||||
- chanted
|
||||
|
||||
### Dialogue Tags Indicating Action
|
||||
|
||||
Action-based dialogue tags help to paint a vivid picture of a character’s movements and gestures, enhancing the overall scene.
|
||||
|
||||
- gasped
|
||||
- panted
|
||||
- wheezed
|
||||
- coughed
|
||||
- choked
|
||||
- sputtered
|
||||
- yawned
|
||||
- hiccupped
|
||||
- croaked
|
||||
|
||||
### Dialogue Tags Expressing Confidence or Uncertainty
|
||||
|
||||
Use these tags to convey a character’s level of certainty or confidence in their speech.
|
||||
|
||||
- asserted
|
||||
- declared
|
||||
- proclaimed
|
||||
- announced
|
||||
- insisted
|
||||
- guessed
|
||||
- wondered
|
||||
- speculated
|
||||
- doubted
|
||||
|
||||
### Dialogue Tags for Relaying Information
|
||||
|
||||
These tags are ideal for moments when characters are sharing information or knowledge with one another.
|
||||
|
||||
- explained
|
||||
- elaborated
|
||||
- informed
|
||||
- revealed
|
||||
- disclosed
|
||||
- divulged
|
||||
- narrated
|
||||
- recounted
|
||||
- described
|
||||
|
||||
### Dialogue Tags for Questioning and Probing
|
||||
|
||||
When characters are inquisitive or seeking answers, use these dialogue tags to emphasize their curiosity.
|
||||
|
||||
- inquired
|
||||
- interrogated
|
||||
- questioned
|
||||
- probed
|
||||
- queried
|
||||
- pressed
|
||||
- grilled
|
||||
- pried
|
||||
|
||||
### Dialogue Tags for Persuasion and Suggestion
|
||||
|
||||
These tags are perfect for showcasing characters’ attempts to persuade, convince, or offer suggestions to others.
|
||||
|
||||
- urged
|
||||
- coaxed
|
||||
- cajoled
|
||||
- implored
|
||||
- begged
|
||||
- pleaded
|
||||
- advised
|
||||
- recommended
|
||||
- proposed
|
||||
|
||||
### Dialogue Tags Reflecting Agreement or Disagreement
|
||||
|
||||
Use these tags to express a character’s agreement or disagreement with other characters in the story.
|
||||
|
||||
- agreed
|
||||
- concurred
|
||||
- acknowledged
|
||||
- consented
|
||||
- acquiesced
|
||||
- objected
|
||||
- protested
|
||||
- opposed
|
||||
- disputed
|
||||
|
||||
### Dialogue Tags for Surprise and Realization
|
||||
|
||||
Capture moments of surprise or sudden realizations with these dialogue tags.
|
||||
|
||||
- exclaimed
|
||||
- gasped
|
||||
- gaped
|
||||
- blurted
|
||||
- stammered
|
||||
- marveled
|
||||
- realized
|
||||
- discovered
|
||||
- deduced
|
||||
|
||||
### How to Use Dialogue Tags in Your Writing
|
||||
|
||||
Overusing unique dialogue tags can be distracting and detract from the overall story. Instead, focus on using the most appropriate tags for each situation and striking a balance between variety and simplicity. Here are some questions to ask yourself that will help you determine if a dialogue tag enhances a scene.
|
||||
|
||||
- What is the overall tone of the scene? How would the chosen dialogue tag contribute to building the tone throughout the scene?
|
||||
- Does the dialogue tag provide additional context or clarification to the reader about the scene or the characters? Is it redundant to something that is already obvious given the dialogue or the context?
|
||||
- Does the Dialogue Tag distract from the message that the character is sending to the other people in the context?
|
||||
- Can the reader interpret the sentence with or without the dialogue tag the same way?
|
||||
|
||||
By contemplating these questions writers can determine which dialogue tags are appropriate for each situation. In creating a balance between clarity and variety, the dialogue tags will add depth to the writing without overpowering the dialogue.
|
||||
|
|
@ -1,31 +0,0 @@
|
|||
*Source: [Emotion-Feeling-Wheel-1-1.jpg (JPEG Image, 2318 × 2372 pixels)](https://www.davidhodder.com/*wp-content/uploads/2018/10/Emotion-Feeling-Wheel-1-1.jpg)*
|
||||
## :LiAngry: Anger
|
||||
| Rage | Exasperated | Irritable | Envy | Disgust |
|
||||
| ------- | ----------- | ---------- | --------- | -------- |
|
||||
| Hostile | Frustrated | Aggravated | Resentful | Contempt |
|
||||
| Hate | Agitated | Annoyed | Jealous | Revolted |
|
||||
## :LiFrown: Sadness
|
||||
| Suffering | Sadness | Disappointed | Shameful | Neglected | Despair |
|
||||
| --------- | --------- | ------------ | --------- | --------- | --------- |
|
||||
| Agony | Depressed | Dismayed | Regretful | Isolated | Grief |
|
||||
| Hurt | Sorrow | Displeased | Guilty | Lonely | Powerless |
|
||||
## :LiPartyPopper: Surprise
|
||||
| Stunned | Confused | Amazed | Overcome | Moved |
|
||||
| -------- | ------------- | ---------- | ---------- | ---------- |
|
||||
| Shocked | Disillusioned | Astonished | Speechless | Stimulated |
|
||||
| Dismayed | Perplexed | Awe-struck | Astounded | Touched |
|
||||
## :LiSmile: Joy
|
||||
| Content | Happy | Cheerful | Proud | Optimistic | Enthusiastic | Elation | Enthralled |
|
||||
| --------- | --------- | -------- | ----------- | ---------- | ------------ | ---------- | ---------- |
|
||||
| Pleased | Amused | Jovial | Triumphant | Hopeful | Zeal | Jubilation | Rapture |
|
||||
| Satisfied | Delighted | Blissful | Illustrious | Eager | Excited | Euphoric | Enchanted |
|
||||
## :LiHeart: Love
|
||||
| Peaceful | Tenderness | Desire | Longing | Affectionate |
|
||||
| --------- | ------------- | ----------- | ----------- | ------------ |
|
||||
| Satisfied | Compassionate | Infatuation | Attracted | Fondness |
|
||||
| Relieved | Caring | Passion | Sentimental | Romantic |
|
||||
## :LiSkull: Fear
|
||||
| Horror | Nervous | Insecure | Terror | Scared |
|
||||
| --------- | ------- | ---------- | ---------- | ---------- |
|
||||
| Dread | Anxious | Inadequate | Hysterical | Helpless |
|
||||
| Mortified | Worried | Inferior | Panic | Frightened |
|
||||
|
|
@ -1,60 +0,0 @@
|
|||
*Source: [How to Write Fanfic Summaries – @wolfstarlibrarian on Tumblr](https://www.tumblr.com/wolfstarlibrarian/629281741962723328/how-to-write-fanfic-summaries)*
|
||||
# How to Write Fanfic Summaries
|
||||
|
||||
Authors have spoken, and it’s clear: you need help writing summaries. Of course, after spending hours and hours writing your fic, your brain is tired. You’re thinking about all the details and trying to pour all the feelings from the fic into a few lines. Instead, think of the summary like a trailer for your fic, or the back cover of a book. What will draw a reader in and give them a taste of what’s to come?
|
||||
|
||||
**Goals of a summary:**
|
||||
|
||||
1. Attract readers
|
||||
2. Set the tone for your fic: Fluffy, mysterious, angsty, etc.
|
||||
3. Quickly set up your story: Main character/POV, setting, age, conflict
|
||||
|
||||
**Things to avoid:**
|
||||
|
||||
Putting down yourself or your fic
|
||||
|
||||
- While you may not feel confident in your work it’s best to fake it til you make it. Save the self-depreciation for the author’s notes. If you wanted to write your fic, there’s a good chance someone wants to read it, so let’s not insult the fic before you give readers a chance.
|
||||
|
||||
Leaving it blank
|
||||
|
||||
- Tags are not enough! A weak summary is better than no summary.
|
||||
|
||||
Saying “Idk, just read it”/Apathy towards readers
|
||||
|
||||
- This can come across demanding and turn off readers.
|
||||
|
||||
Super long, multiple paragraphs
|
||||
|
||||
- Super long summaries can quickly become tiring to a reader. Aim for efficiency. Aim for two to five sentences.
|
||||
|
||||
Copying summaries from other fics
|
||||
|
||||
- Popular summary tropes should be avoided like “What if Sirius didn’t die?” is used so often that it will not set your fic apart. While someone may love this trope, readers will assume your fic is no different than all the others out there.
|
||||
|
||||
**Ways to write a summary (with summary examples):**
|
||||
|
||||
Quote your fic:
|
||||
|
||||
- Sometimes you can pull a quote directly from a fic that will achieve all of the goals.
|
||||
- _[The bed dips under Sirius' weight as he climbs on the mattress next to him. "Come on, Rem. Come out of the blanket cocoon and have some food. You haven't eaten all day," he says softly. Remus doesn't move. Instead, he asks something he's meant to ask Sirius for a while now. Hidden from view, he allows some of the worry and fear to seep into his voice. "Why are you staying with me?"](https://archiveofourown.org/works/26421244)_ _by_ _[@weird-fangirling-persona](https://pb.bloat.cat/weird-fangirling-persona/)_
|
||||
|
||||
Build the Mystery:
|
||||
|
||||
- You know what happens in the story, but your readers don’t. Build up the mystery for them by setting up the character and telling readers what the problem is that they need to solve.
|
||||
- _[Sirius Black and Remus Lupin are truly, madly, deeply in love. There’s just one problem: Sirius’ best friend can never find out.](https://archiveofourown.org/works/23208922)_ _by_ _[@theprongsletthatlived](https://pb.bloat.cat/theprongsletthatlived/)_
|
||||
|
||||
Keep it simple:
|
||||
|
||||
- Sometimes the simplest answer is best. You’ll efficiently communicate your story in a way readers can instantly understand.
|
||||
- _[It’s the summer of 1963, and 18 year old Remus Lupin discovers dance, love, and even himself.](https://archiveofourown.org/works/25222099)_ _by_ _[@prettyremus](https://pb.bloat.cat/prettyremus/)_
|
||||
|
||||
Prompt:
|
||||
|
||||
- What prompted the idea for this fic? Tell readers what the inspiration was!
|
||||
- _[Sirius, after flirting his way through Remus’s ask box on tumblr, lands a date to drink chai, look at art and eat cinnamon rolls.](https://archiveofourown.org/works/19948879)_ _by_ _[@kattlupin](https://pb.bloat.cat/siouxsie-and-the-bunshees-deact/)_
|
||||
|
||||
Use a friend:
|
||||
|
||||
- Try writing the summary as if you were telling your friend about your fic. Sometimes we get too caught up in the summary’s importance, it’s easy to forget how simply it can be described. Conversely, have a friend describe your fic back to you in a sentence or two.
|
||||
|
||||
Above all else, remember that your summary probably isn’t as bad as it feels. It can never hold a candle to your fic because it’s small! Take a breath, try writing a few versions like these examples, and trust that your effort will be rewarded.
|
||||
|
|
@ -1,17 +0,0 @@
|
|||
*Source: [How To Use An Apostrophe - The Oatmeal](https://theoatmeal.com/comics/apostrophe)*
|
||||
|
||||
**Is it plural?**
|
||||
*Plural means more than one.*
|
||||
For example: I saw two **kittens** riding a goat. **Goats** are great for transportation.
|
||||
|
||||
***Don't*** use an apostrophe.
|
||||
|
||||
Two exceptions:
|
||||
1. Is it a single letter word? For example:
|
||||
- **There are two t's in "kittens."**
|
||||
Then it's okay, but you can also do this:
|
||||
- **There are two "t"s in "kittens."**
|
||||
2. Is it a number or abbreviation? For example:
|
||||
- **90's fashion was a bit awkward. Just say no to hammer pants.**
|
||||
Then do this:
|
||||
- **I attended college in the late '90s and early 2000s.**
|
||||
|
|
@ -1,159 +0,0 @@
|
|||
*Source: [How to Describe Fear in Writing - Brilliantio](https://brilliantio.com/how-to-describe-fear-in-writing/)*
|
||||
## What Is Fear and Where Does It Come From
|
||||
|
||||
Fear is a very powerful emotion that’s often triggered by a perceived threat. It can make a person feel anxious, scared, or even panicky.
|
||||
|
||||
Fear is a survival mechanism that’s hardwired into our brains. It’s designed to help us avoid danger and protect us from harm. But sometimes fear can be irrational and unfounded. It can be triggered by things that aren’t actually dangerous, such as a fear of heights or public speaking. And it can be so strong that it interferes with our ability to live normal, happy lives.
|
||||
|
||||
So where does fear come from?
|
||||
|
||||
**There are two main types of fear: innate and learned.**
|
||||
|
||||
**Innate fear** is instinctive and hard-wired into our brains. It involves the fight-or-flight response triggered by a perceived threat. This type of fear is helpful because it helps us avoid dangerous situations. But it can also be irrational, for example, when we’re afraid of things that aren’t actually dangerous, such as snakes or spiders.
|
||||
|
||||
**Learned fear** is acquired through experience or observation. For example, if you see someone else fall off a cliff, you may develop a fear of heights. Or if you’ve had bad experiences in the past, such as being bullied at school, you may develop a fear of social situations.
|
||||
|
||||
Fear is usually triggered by a perceived threat. But what’s a threat? It can be something physical, like a dangerous animal. Or it can be something invisible, like the fear of failing or embarrassing yourself.
|
||||
|
||||
In some (more severe) cases of fear, a psychological condition called phobias can develop. Phobias are intense, irrational fears that are out of proportion to the actual threat. For example, many people are afraid of spiders or snakes, even though very few of them are dangerous.
|
||||
|
||||
## The Spectrum of Fear
|
||||
|
||||
As any writer knows, fear is a powerful emotion that can add depth and tension to a story. But how do you describe fear in a way that’s effective and believable?
|
||||
|
||||
One approach is to consider the different types of fear that exist on a spectrum from mild anxiety to all-consuming terror.
|
||||
|
||||
At the lower end of the spectrum are feelings of nervousness or unease. This could be the person’s reaction to a small, everyday event, such as an upcoming presentation at work. The character might feel their heart racing and palms sweating, but they can still think clearly and function normally.
|
||||
|
||||
**At the other end of the spectrum is true terror, intense fear, where the character is completely overwhelmed by fear. They may feel like they’re going to faint or have a heart attack. They might lose all rational thought and is unable to escape or fight back. In this state, the person is completely at the mercy of their fear.**
|
||||
|
||||
Between these two extremes, there are different degrees of fear, each with its own symptoms and effects. Understanding the different types of fear on this spectrum will help you better describe the fear in your writing.
|
||||
## How Your Character Can Deal With Fear
|
||||
|
||||
When your character is confronted with a situation that they perceive as dangerous, their body automatically goes into fight-or-flight mode. This is a survival mechanism that kicks in when we’re faced with a threat.
|
||||
|
||||
The adrenaline coursing through your character’s body gives her the energy and strength she needs to fight or escape the danger.
|
||||
|
||||
However, this reaction can also cause your character to freeze in fear. To overcome this, your character needs to take a deep breath and calm down. After that, she can think more clearly and make a decision about how best to handle the situation.
|
||||
|
||||
**How your character reacts to fear depends on her personality and past experiences. Some characters freeze in the face of fear, while others can become aggressive or even reckless.**
|
||||
|
||||
It’s important that you stay true to your character’s personality and make sure that their reactions are believable. You should also consider how your character deals with anxiety in the long run.
|
||||
|
||||
Does she try to avoid everything that scares her? Or does she face her fears head-on? Again, there’s no right or wrong answer, but whatever you choose should be consistent with your character’s personality.
|
||||
|
||||
## Why Fear is Such a Powerful Emotion
|
||||
|
||||
Fear is such a powerful emotion because it’s a basic human instinct that’s deeply embedded in our psyche. Fear is what kept our ancestors alive in the face of dangerous predators and other threats. It’s an emotion that’s hard-wired into our brains and one of the first emotions we experience in life.
|
||||
|
||||
**When you write about fear, it’s important to try to capture the intensity and fierceness of the feeling.**
|
||||
|
||||
Fear can be described as a feeling of dread, panic, anxiety, or terror. It can cause physical symptoms such as sweating, trembling, or palpitations. Fear can also lead to avoidance behaviors, such as staying away from certain places or people.
|
||||
|
||||
Ultimately, fear is such a powerful emotion because it’s a survival mechanism.
|
||||
|
||||
## How to Write About Fear in an Authentic Way
|
||||
|
||||
One way to write authentically about fear is to think of a time when you were afraid.
|
||||
|
||||
- What were you afraid of?
|
||||
- Was it a physical threat or something more abstract?
|
||||
- What did your fear feel like?
|
||||
- Was it a knot in your stomach, a racing heart, or something else entirely?
|
||||
|
||||
Remembering these details will help you portray the fear in your writing in a more realistic and believable way.
|
||||
|
||||
**Another tip is to choose your words carefully. When writing about fear, it’s important to avoid clichés and generalities. Instead, focus on specific sensory details that will help your readers feel the fear of your characters.**
|
||||
|
||||
If you manage to make your readers feel the fear, you’ve succeeded in writing about fear in an authentic way.
|
||||
|
||||
## Some Sensory Ideas for Writing About Fear
|
||||
|
||||
Here are some examples of how the senses can be used when you write about fear.
|
||||
|
||||
### Sight
|
||||
|
||||
- _Fear is a dark presence on the edge of my vision. It is like a spot of blackness that hides in the corner of my eye. I turn to look at it, but when I look at it directly, it disappears._
|
||||
- _Sweat dripped from her brow as she watched her patient slash her wrists with a razor blade._
|
||||
- _She saw the shadows of the creature falling toward her._
|
||||
- _Dark, like a spot on the periphery of my vision._
|
||||
|
||||
### Smell
|
||||
|
||||
- _Fear smells sweet and sour. It smells like a mixture of metal and blood._
|
||||
- _Her heart skipped a beat as she walked into the dark and damp warehouse._
|
||||
- _The scent of rot and decay, death and destruction about to befall her._
|
||||
|
||||
### Sound
|
||||
|
||||
- _The faint cracks of the ice as it breaks followed by the roaring of the water below had her heart racing and her body shaking._
|
||||
- _Her heart pounded, her head spun and her eyes saw nothing but darkness, her ears filled with the cries of a thousand people._
|
||||
- _Fear is a soundless scream._
|
||||
|
||||
### Taste
|
||||
|
||||
- _Fear tastes like blood, sour and salty._
|
||||
- _The salty taste of fear lingered on her lips as she tasted his blood._
|
||||
- _The taste of bile rose to her mouth and she swallowed, the acid rising and burning her throat._
|
||||
- _Fear tastes like pennies and chalk._
|
||||
|
||||
### Touch
|
||||
|
||||
- _When I touch fear, I feel like I’m touching cold metal._
|
||||
- _Her trembling hands hovered just above his skin, afraid to touch him for fear of the cold, clammy sweat that seemed to seep from his pores._
|
||||
- _Her skin crawled and her bones rattled, her muscles screamed of a horror unseen._
|
||||
- _I feel fear in the hair on the back of my neck. It is like invisible fingers run along my spine._
|
||||
- _Cold sweat._
|
||||
|
||||
### Metaphorical
|
||||
|
||||
- _It is as sweet as blood and it is as light as air. It is as quiet as music and it is as cruel as a city. Fear is black and it is red. It is a city, a city without walls and without time. And you haven’t seen terror yet._
|
||||
- _Fear was a squeamish, aged lady with a wooden stick and a small mouth bagging her knuckles over the crumbling edge of the world._
|
||||
- _Fear was a black stain on the windows of the soul; the neon lights bending and twisting, just out of sync; the ghost of an unfelt sensation._
|
||||
- _Its claws were as large as a panther. Fear had a mouth like a bag of teeth, and a body made of rags._
|
||||
- _He is dark, thin and tall, with a face like a death mask hanging from a bone. His eyes are like holes and his lips dry, thin waterfalls._
|
||||
|
||||
## How to Make Fear Seem Real for Your Readers
|
||||
|
||||
When you write about fear, it’s important that the feeling seems real to your readers. Because if the fear isn’t believable, your readers won’t be afraid. So how do you go about doing this?
|
||||
|
||||
Here are a few tips:
|
||||
|
||||
1. **Avoid clichés**. Clichés are overused and often weaken the impact of your words. Instead of relying on them, try to make your descriptions more original.
|
||||
2. **Use vivid details.** Vivid details can help bring the feeling of fear to life. What does the character see, smell, hear, taste, and feel? The more concrete the details, the easier it’s for readers to relate to the character’s fear.
|
||||
3. Use strong verbs. Fear is a strong emotion, so it should be described with strong verbs. For example, instead of saying that the character ” is “afraid,” you could say that he or she’s “scared,” “afraid,” or “afraid.” Each of these words has a different meaning, so choose the word that best fits your scene.
|
||||
4. Show how fear affects the character’s thoughts and actions. Fear not only triggers physical reactions but also affects the character’s thoughts and behavior. So use internal details to show how fear changes the character’s thoughts and actions.
|
||||
5. Focus on small, specific details. The more specific you focus on the details, the more real your scene will look. For example, instead of focusing only on the character’s fear of the dark, focus on the fear of the dark in that one specific room with that one squeaky board. Use body language as a device in your writing.
|
||||
|
||||
## How Can Fear Be Used to Create Suspense or Tension
|
||||
|
||||
When it comes to creating tension in a story, fear is one of the most powerful tools at a writer’s disposal. By playing on our deepest fears and anxieties, a skilled writer can keep readers riveted to the page and desperate for a resolution.
|
||||
|
||||
But how exactly do you manage to inspire fear in a reader?
|
||||
|
||||
There are a few key elements that are essential to writing effective suspenseful or tension-filled scenes.
|
||||
|
||||
- First, it’s important to **figure out what the character is afraid of**. This can be something specific like spiders or fear of heights, or something more general like the dark or being alone.
|
||||
- **Once the character’s fear is established, it’s time to ramp up the tension**. This can be done by slowly introducing elements that trigger the character’s fear, up to a climax where the character is confronted with their worst nightmare.
|
||||
|
||||
**One of the most important things to remember when writing suspenseful scenes is that less is often more. It’s often the things that are left unsaid or hinted at that are most effective at creating fear in the reader.**
|
||||
|
||||
By hinting at the horror without showing it, you can create an atmosphere of unease and dread that will keep the reader hanging on your every word.
|
||||
|
||||
## How Fear Can Be Used to Connect the Reader More to the Character
|
||||
|
||||
One way to make sure your characters are relatable is to make sure they experience a whole range of emotions, including fear. Fear is a universal emotion that everyone can relate to, and it can be a powerful tool for connecting readers to your characters through effective character development.
|
||||
|
||||
Fear can be a powerful character flaw, that enables a whole main character arc to be drawn. The essential motivation of the character can be to overcome the fear – be it rational or irrational.
|
||||
|
||||
When done well, fear can heighten tension, create suspense, and evoke empathy for the character. For example, when a character is faced with a dangerous situation, the reader is likely to be just as scared as the character. This can create a sense of tension and draw the reader more into the story.
|
||||
|
||||
If a character is afraid of something the reader is also afraid of, this can create empathy and allow the reader to share in the character’s journey.
|
||||
|
||||
**However, it’s important to use fear sparingly and only when it’s meaningful to the story. If every scene is filled with fear, it quickly becomes overwhelming and loses its impact. Instead, use fear wisely to create moments that truly touch your readers.**
|
||||
|
||||
Use sensory details. Describing what the character sees, hears, feels, smells, and tastes can make the reader feel like they’re experiencing fear with the character.
|
||||
|
||||
It’s also important to use strong verbs that convey the intensity of the feeling. Words like “screaming,” “cowering,” and “trembling” can help paint a vivid picture of the character’s fear.
|
||||
|
||||
Finally, it’s helpful to use figurative language to describe the character’s experience. You can use similes and metaphors to capture the feeling of fear in a single phrase.
|
||||
|
|
@ -1,68 +0,0 @@
|
|||
*Source: [How to use a semicolon - The Oatmeal](https://theoatmeal.com/comics/semicolon)*
|
||||
|
||||
## Why?
|
||||
#### What's the point of a semicolon?
|
||||
The most common way to use a semicolon is to connect two independent clauses. For example:
|
||||
> The ice cream truck man drove by my house today. He had big hairy knuckles.
|
||||
|
||||
The two statements are separated by a period. If read aloud, it would go something like this:
|
||||
> The ice cream truck man drove by my house today. \*take a breath\*
|
||||
> He had big hairy knuckles.
|
||||
|
||||
With a semicolon, however, it would sound like this:
|
||||
> The ice cream truck man drove by my house today; he had big hairy knuckles.
|
||||
|
||||
Basically what we did was eliminate the pause between the two statements without using words such as *and*, *but*, *nor*, or *yet*.
|
||||
|
||||
## How?
|
||||
#### How do I use a semicolon?
|
||||
If you have two independent clauses, meaning they could stand alone as their own sentences, it's okay to use a semicolon. For example:
|
||||
> **My aunt also had hairy knuckles;**
|
||||
> This is an independent clause, meaning it could stand alone as a complete sentence.
|
||||
> **she loved to wash and comb them.**
|
||||
> This is also an independent clause; it could exist without being attached to its predecessor.
|
||||
|
||||
## Don't
|
||||
#### Don't use it with conjunctions.
|
||||
Conjunctions are words like *and*, *but*, *or*, *nor*, *for*, *so*, and *yet*.
|
||||
|
||||
> My aunt's hairy knuckles are magnificent indeed, but I have no desire to stroke them.
|
||||
|
||||
A comma is used because there's a *but* separating the two clauses.
|
||||
|
||||
## When?
|
||||
#### When should I use a semicolon?
|
||||
> I gnaw on old car tires; it strengthens my jaw so I'll be better conditioned for bear combat.
|
||||
|
||||
Use a semicolon when you want to form a bond between two statements, typically when they are related to or contrast with one another.
|
||||
In the example above, the relationship between gnawing on tires and combatting bears is strengthened by using a semicolon.
|
||||
|
||||
> I fought the bear and won. Also, I never kiss plague rats on the mouth.
|
||||
|
||||
In this sentence, your victory against the bear does not need to be connected to the plague rat, so a period is used.
|
||||
|
||||
## Pause
|
||||
#### Both bears and semicolons have pause.
|
||||
|
||||
| Comma | Semicolon | Period |
|
||||
| ----------- | -------------- | ------------- |
|
||||
| Brief pause | Moderate pause | Complete stop |
|
||||
|
||||
## Internal
|
||||
#### Use a semicolon to connect sentences that contain internal punctuation.
|
||||
> When dinosaurs agree on something, they'll often high five one another; dinosaurs are all about high fives.
|
||||
|
||||
If you'd used a comma in this sentence, it would have resulted in a comma splice. If you'd used a period you'd lose the connection between the two clauses.
|
||||
|
||||
## Super
|
||||
#### Use a semicolon as a super comma.
|
||||
> While searching for a good place to get a unicorn burger, I traveled to Seattle, Washington; Tokyo, Japan; and London, England.
|
||||
|
||||
Use a semicolon if you need to make a list of items that are separated with a comma. This often occurs when listing locations, names, dates, and descriptions.
|
||||
|
||||
> My favorite people include Samuel Slaughterjaws, a famous unicorn unter; my uncle Wilford, a world champion at mayonnaise eating contests; and Nikola Tesla, the most awesome dude to ever fire a lightning bolt at an angry peasant.
|
||||
|
||||
The semicolon enables you to list and describe all three characters in the same sentence.
|
||||
|
||||
## The End
|
||||
> Godzilla is a misunderstood creature; beneath his raging desire to set people on fire and eat them lies a gentle giant who just wants to cuddle.
|
||||
|
|
@ -1,75 +0,0 @@
|
|||
*Source: [Literary Devices - Literary Terms, Techniques, and Elements](https://literarydevices.com/)*
|
||||
|
||||
## What are Literary Devices?
|
||||
|
||||
From the very first time humans began sharing stories, literary devices have played a key role in our history. Along with the creation of storytelling came the development of narrative elements like plot, character, and tone. As storytelling evolved over the millennia, so too did the range and complexity of techniques available to authors. Many of the elements that authors use are so fundamental that they are not necessarily conscious choices, such as theme or tone (though these two examples, of course, could be consciously constructed by the author). Other techniques, however, are more intentional, such as foreshadowing and red herrings.
|
||||
|
||||
We will explore the difference between literary elements and literary techniques, and look at examples and definitions of several popular literary terms. We’ll also look at how these literary devices function in two popular works, Shakespeare’s _Hamlet_ and _The Great Gatsby_ by F. Scott Fitzgerald.
|
||||
|
||||
## Literary Elements vs. Literary Techniques
|
||||
|
||||
_**Literary elements**_ are the universal constituents of literature and thus can be found in any written or oral story. Plot and character, for example, are necessary to story and are present in stories from every culture and time period.
|
||||
|
||||
_**Literary techniques**_, however, are not universal or necessary in the sense that not all works contain instances of them. Simile and irony are examples of literary techniques. While many poems contain similes, not all do. Simile, therefore, is a literary technique instead of a literary element.
|
||||
|
||||
## Examples of literary devices
|
||||
|
||||
There are many hundreds of terms that refer to a unique aspect of literature. Below, we’ve chosen three popular literary devices to examine in depth.
|
||||
|
||||
### Metaphor
|
||||
|
||||
Common in all forms of literature, metaphor is a way of comparing things by stating that one thing is the same or very similar to another seemingly unrelated object. Metaphor is a type of analogy, and is often mistaken with simile. The difference between metaphor and simile is that a simile includes “like” or “as” in the comparison (for example: “O my luve’s like a red, red rose), whereas metaphor is an assertion of the comparison without modifiers or conjunctions. One of the most famous examples of metaphor is from Shakespeare’s play _As You Like It_:
|
||||
|
||||
> All the world’s a stage,
|
||||
> And all the men and women merely players.
|
||||
> They have their exits and their entrances,
|
||||
> And one man in his time plays many parts,
|
||||
> His acts being seven ages.
|
||||
|
||||
Here, the character Jaques states that the world is a stage, which we know not to be literally true. However, by extending the metaphor, Jaques compares the lifetime of a human to acts in a play, with birth and death being merely “entrances” and “exits”, respectively. Psychologically, the use of metaphor often expands the way the reader or viewer understands the world around him or her, as it does in this example.
|
||||
|
||||
### Alliteration
|
||||
|
||||
Most common in poetry, though also present in some lines of prose and theater, alliteration is the repetition of the same sound at the beginning of adjacent words. This was a very popular literary device in Old English storytelling, as the presence of alliteration made the oral stories easier to remember and retell through the generations. The Mother Goose rhyme “Peter Piper picked a peck of pickled peppers” is an example of alliteration due to the repetition of the letter “p”. Alliteration is a special case of consonance, which is the repetition of consonant sounds anywhere in the word (the “ck” sound from the previous Mother Goose rhyme is an example of consonance, as it comes in the middle of the words rather than at the beginning, though the repetition of “p” sound can also be described as consonance).
|
||||
|
||||
### Point-of-view
|
||||
|
||||
Point-of-view is a term for the narrative mode, and is a primary characteristic of prose. It is the way in which the author narrates the story. There are many options, the most common of which are first person singular and third person limited; authors also sometimes choose to mix different points of view in the same novel. Here is a list of the types of point-of-view:
|
||||
|
||||
- **First person singular**: This point-of-view uses an “I” character to narrate the story. The narrator is not necessarily the protagonist, though this is often the case as this point-of-view is the most intimate and allows for the most direct access to a character’s thoughts.
|
||||
- **First person plural**: A relatively uncommon choice for point-of-view, the first person plural uses the pronoun “we” as the narrator. In this case, there must be some uniting factor between the group of people narrating the story. One example of this is the 1993 novel _The Virgin Suicides_ by Jeffrey Eugenides in which a group of unnamed young men from a small town observe and comment on a family with five sisters. For example:
|
||||
|
||||
> Whenever we saw Mrs. Lisbon we looked in vain for some sign of the beauty that must have once been hers.
|
||||
|
||||
- **Second person**: Even less common is the novel narrated with “you.” This is a very difficult point of view to sustain, as the reader must identify with the “you”, or it must be clear that the “you” character is, in fact, a way for the narrator to reflect back on his or her own actions. The most successful examples are the _Choose Your Own Adventure_ series, in which the reader is encouraged to imagine himself or herself as the protagonist. For example:
|
||||
|
||||
> You are a deep sea explorer searching for the famed lost city of Atlantis. This is your most challenging and dangerous mission. Fear and excitement are now your companions.
|
||||
|
||||
- **Third person limited**: This point-of-view uses “he” or “she” to refer to the narrator of the story. It is less intimate than the first person point of view, yet being limited to only one person’s thoughts it can still provide psychological access to that character. However, it also allows for the author to add descriptive and narrative details that the character doesn’t necessarily notice.
|
||||
- **Third person omniscient**: Here the author uses the pronouns “he” and “she”, but can access the thoughts of any character in the story. This point of view creates the most distance between the reader and any one character of the story.
|
||||
|
||||
## Literary Devices in Hamlet
|
||||
|
||||
Shakespeare’s classic play _Hamlet_ is full of literary devices. Below is an excerpt from the most famous soliloquy from the play (and, indeed, perhaps the most famous soliloquy ever written).
|
||||
|
||||
> To be, or not to be, that is the question—
|
||||
> Whether ’tis Nobler in the mind to suffer
|
||||
> The Slings and Arrows of outrageous Fortune,
|
||||
> Or to take Arms against a Sea of troubles,
|
||||
> And by opposing, end them? To die, to sleep—
|
||||
> No more; and by a sleep, to say we end
|
||||
> The Heart-ache, and the thousand Natural shocks
|
||||
> That Flesh is heir to? ‘Tis a consummation
|
||||
> Devoutly to be wished. To die, to sleep,
|
||||
> To sleep, perchance to Dream; Aye, there’s the rub,
|
||||
> For in that sleep of death, what dreams may come,
|
||||
> When we have shuffled off this mortal coil,
|
||||
> Must give us pause.
|
||||
|
||||
In just this short excerpt, we are able to find many literary devices at work. There are many instances of repetition, especially of the word “sleep,” which functions as a metaphor for death. There are other metaphors in this excerpt, such as the “slings and arrows of outrageous fortune” and the “sea of troubles.” Fortune does not literally shoot arrows, and there is no literal sea of troubles, yet the reader or viewer is able to connect the two concepts mentally. In this excerpt, Hamlet is contemplating death, both murder and suicide, and thus the mood is quite somber. The soliloquy provides access to Hamlet’s motivation for whether or not to avenge his father’s death.
|
||||
|
||||
## Literary Devices in The Great Gatsby
|
||||
|
||||
The Great Gatsby is famous for its use of a third person limited narrator who is not the protagonist. This is a relatively uncommon method in which to narrate a novel. Nick Carraway tells the story, and yet the plot revolves around the actions of his friend Jay Gatsby.
|
||||
|
||||
There is much juxtaposition in the novel between West Egg and East Egg, and the comparable fortunes of the men who arrive at Jay Gatsby’s famous parties. Fitzgerald also uses irony throughout the novel, including readers’ knowledge of Jay and Daisy’s affair of which Daisy’s husband Tom is unaware (dramatic irony) and Daisy’s decision to stay with Tom at the end of the novel, contrary to readers’ expectations (situational irony).
|
||||
|
|
@ -1,38 +0,0 @@
|
|||
*Source: [Manuscript critiques aren't as hard as you think | Patreon](https://www.patreon.com/posts/manuscript-arent-11552026)*
|
||||
#### Think of it like a clinical trial
|
||||
The writer has a perfect story in their head and needs to test the manuscript, which is the delivery mechanism for hacking the reader's brain.
|
||||
|
||||
#### 3 categories of critique
|
||||
- **Symptom** = This is my reaction
|
||||
- **Diagnosis** = This is why.
|
||||
- **Prescription** = This is how to fix it.
|
||||
|
||||
#### Symptoms are:
|
||||
Symptoms include: Awesome, bored, confused, disbelief.
|
||||
(Stream of consciousness reactions are also fair, like "Don't go down there!")
|
||||
|
||||
#### As a reader, don't:
|
||||
- Offer a diagnosis without being asked.
|
||||
- Offer prescriptions without being asked.
|
||||
- Edit their prose without being asked.
|
||||
In all three cases, you're likely telling the story you wish you had written, instead of helping them redefine the story they want to tell.
|
||||
|
||||
## Reacting to critiques
|
||||
#### Pay attention to your reactions
|
||||
- **d'OH!** - You immediately see the problem.
|
||||
- **I see what you mean, but...** - They've misdiagnosed the problem, but there is something to fix.
|
||||
- **No** - They want you to write a different story.
|
||||
- **WTF?** - You don't understand how they got there. Ask for a diagnosis.
|
||||
|
||||
#### Decoding reader symptoms
|
||||
|
||||
- **Awesome** - Don't fix this.
|
||||
- **Bored** - A pacing issue. Fix by tightening, adding stuff to make the reader understand why it's important, or both.
|
||||
- **Confused** - Order of information problem.
|
||||
- **Disbelief** - You've violated their sense of how the world works.
|
||||
|
||||
#### As a writer, don't:
|
||||
- **Apologize** - It's a clinical trial.
|
||||
- **Explain** - They can't give you a clean reaction if you do.
|
||||
- **Argue** - Their symptoms are true.
|
||||
In all three cases, remember that the manuscript has to stand alone when it's out of trials.
|
||||
|
|
@ -1,57 +0,0 @@
|
|||
*Source: [i love your takeaway from the JJ Abrams Mystery Box was "it's because what's in the mystery box is developed/good/exists. you... – @jacky-rubou on Tumblr](https://www.tumblr.com/jacky-rubou/737548333898399744/i-love-your-takeaway-from-the-jj-abrams-mystery)*
|
||||
|
||||
> cryptotheism • Oct 16, 2023
|
||||
|
||||
> [!question]
|
||||
> **Anonymous** asked:
|
||||
> i love your takeaway from the JJ Abrams Mystery Box was "it's because what's in the mystery box is developed/good/exists. you wouldn't get it."
|
||||
|
||||
It only works if you set up several conflicting theories as to what is in the mystery box that are all equally plausible. The audience has to feasibly be able to reach the "correct" answer, but they can never be sure. That's intrigue! Otherwise, all you're doing is telling the audience that a really deep and well written story is happening just off screen I promise.
|
||||
|
||||
One of the writers of LOST came to speak at my school once. He told the crowd "I could totally tell you guys what the island is but I'm not gonna" And the crowd went nuts. That shit made me so mad. It has been a decade since that show went off the air. If you had an actually narratively satisfying answer for that question, you would have said it by now. Or better, you would have put it in the damn show.
|
||||
|
||||
The "Jopperbeasts aren't real, they're just a story" setup doesn't work if the episode always ends with the characters killing a real Jopperbeast."
|
||||
|
||||
Theres that story J.J. tells, about how he bought a home magic kit with a mystery box, and he loved the feeling of speculating on what might be in the box.
|
||||
|
||||
I agree! I think mystery can be an excellent narrative force! I love engaging with a world through speculation. But the thing about an at-home-magic kit is its a real thing that exists within the context of the real world. There's only a set amount of objects that can realistically be in there. You're not going to get a live cat, or an egg sandwich, or the country of Poland in that thing. The speculation has bounds. You can realistically guess the "correct answer."
|
||||
|
||||
Mystery boxes are done well when the box is opened, and you go "of course! I never would have guessed! But the pieces were all there in front of me!"
|
||||
|
||||
> gallusrostromegalus • Oct 19, 2023
|
||||
|
||||
When I'm writing there's a related rule of thumb I use that I call "The Agatha Christie Principle". The rule is simple:
|
||||
|
||||
Anything I rely on later in the plot must be on the page somewhere before I use it. The earlier it appears in the story, the better.
|
||||
|
||||
IDK enough about Ms. Christie herself to know if she ever talked about it, but part of the reason she was so insanely popular as an author is that she played fair with readers. The details that allow Poirot and Miss Marple are shown to the reader when they are shown to the detectives, if not even earlier, so the reader has an edge on them! By the time we get to the famous Accusing Parlor scene, the reader has all the details that the detective will use to solve the mystery.
|
||||
|
||||
In that sense, the mystery in the box is not the mystery, the mystery is the connections between the evidence the detective has made.
|
||||
|
||||
And this relates to the Mystery Box in that the evidence itself is like the outside dimensions of the box. It gives you hints as to the shape and size of the thing inside, and raises the stakes of the guessing game. In fact, the more evidence you can provide and the more you can tell the reader about the contents of the box before the reveal, the better, because it gives them that exciting tip-of-the-tongue-I-KNOW-I-know-this! Feeling. Like how impact force is more powerful when concentrated to a small point, the emotional impact of the reveal hits so much harder when the reveal itself is only a TINY detail.
|
||||
|
||||
So as a writer, there's three steps to executing the mystery box well.
|
||||
|
||||
1\. Know DAMN WELL what the actual reveal is FIRST.
|
||||
|
||||
IIRC, part of the reason that LOST fell apart the way it did was that nobody writing the show actually had a solid, coherent explanation of that the hell was actually going on. So they contradicted themselves every other episode and dropped plot lines they hoped the watchers would just forget, and they lost the tension of the guessing game.
|
||||
|
||||
Then you write the story backwards from the reveal by adding your obscuring factors like red herrings and bad witness accounts and the linear nature of time etc, to it. That way, when the reader reads the story forwards, they get to see the obfuscation come off in what looks like a very natural way, and you don't contradict yourself.
|
||||
|
||||
So step one is to decide on what is actually in the box, and what the box itself looks like.
|
||||
|
||||
Step 2: Abandon the fear of being known and not being the smartest guy in the room, and accept the love of being known. Publish, and do not retroactively edit. That's the devil talking.
|
||||
|
||||
This is where I think JJ fails. It's hard and frightening actually, to be a creative person and meet someone who can see right through the shiny exterior of your work and makes comments on the mechanics within, sometimes pointing out parts you didn't know you put in there. You feel extremely seen.
|
||||
|
||||
"Fuckor" I think the kids call it.
|
||||
|
||||
But listen to me.
|
||||
|
||||
That person who sees behind the curtain and stands there talking about the mechanisms of the Oz machine? That person loves your Oz Machine. They would not be studying it this hard if they didn't. In a parasocial sort of way, that person loves you, and the discussion of how you foreshadowed that bit and made that literary reference is a love letter to you.
|
||||
|
||||
Yes, this person is probably smarter than you, but what a privilege, to be adored by such a divine and enlightened being.
|
||||
|
||||
It's okay if the readers guess the reveal. That means you did the explanation right and they're not disappointed at how 'simple' the mystery is- they're delighted to be in on the joke with you. It's okay if you follow a trope- there's a reason it's a popular trope in the first place. We like it. We like singing and playing along with you, author.
|
||||
|
||||
I may have gotten off topic but you get my point. Your story should contain its own spoilers, because the audience is reading the story for those spoilers.
|
||||
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|
|||
This is a <abbr title="Work in Progress">WIP</abbr> repository for guides and tips relating to writing with some fanfiction-specific notes as well.
|
||||
|
||||
These are all copied from pre-existing sources and converted into Markdown format for offline use and in case they go down. Image-based guides are also transcribed into text for easier referencing.
|
||||
|
||||
This whole thing was written in [Obsidian](https://obsidian.md/), but most of this should display fine in other Markdown editors or plain text editors. I do use icons from the [Iconize](https://github.com/FlorianWoelki/obsidian-iconize) Obsidian plugin (which is why it's the only plugin in the .obsidian folder here, lol), but other than that, this should not have any issues.
|
||||
|
||||
Enjoy!
|
||||
|
|
@ -1 +0,0 @@
|
|||
*Source: [When to Use Semicolons, Colons, and Dashes | Grammarly Blog](https://www.grammarly.com/blog/semicolon-vs-colon-vs-dash/)*
|
||||
|
|
@ -1,2 +0,0 @@
|
|||
*Source: [So I was thinking about epithets yesterday and how when they're used well they really add to the work and when they're used... – @scarlettohairdye on Tumblr](https://www.tumblr.com/scarlettohairdye/696944010763403264/so-i-was-thinking-about-epithets-yesterday-and-how)*
|
||||
![[Pasted image 20240608031142.png]]
|
||||
|
|
@ -1,30 +0,0 @@
|
|||
*Source: [Infographic to estimate how long a story will be. | Patreon](https://www.patreon.com/posts/12561943)*
|
||||
|
||||
## How Long Will This Story Be?
|
||||
|
||||
**(L)** - **Length of story.** While not exact, you can make a good guess about the relative length of story.
|
||||
**(C)** - **Character.** Every character can add 500-1000 words to your scene or story.
|
||||
**(P)** - **Place.** Each new location adds an average of 750 words to your scene or story.
|
||||
**(M)** - **M.I.C.E. quotient.** This represents the major plot threads. Each one can make your story half again as long.
|
||||
|
||||
### L = (((C+P)750)\*M)/1.5
|
||||
|
||||
> [!info]
|
||||
> **C+P**
|
||||
> - Add your characters and places.
|
||||
> - Multiply by 750.
|
||||
> - Example:
|
||||
> 2 Characters + 3 Places = 5
|
||||
> 5\*750 = 3750 words
|
||||
|
||||
> [!info]
|
||||
> **M**
|
||||
> - Multiply that total by your number of major plot threads.
|
||||
> - Example:
|
||||
> 3750 words x 3 MICE threads = 11250 words
|
||||
|
||||
> [!info]
|
||||
> **1.5**
|
||||
> - Divide by 1.5, which represents making the story half again as long, rather than two or three times as long.
|
||||
> - Example:
|
||||
> 11250/1.5 = 75000 words
|
||||
|
|
@ -1,30 +0,0 @@
|
|||
*Source: [Infographic to estimate how long a story will be. | Patreon](https://www.patreon.com/posts/12561943)*
|
||||
|
||||
## How Long Will This Story Be?
|
||||
|
||||
**(L)** - **Length of story.** While not exact, you can make a good guess about the relative length of story.
|
||||
**(C)** - **Character.** Every character can add 500-1000 words to your scene or story.
|
||||
**(P)** - **Place.** Each new location adds an average of 750 words to your scene or story.
|
||||
**(M)** - **M.I.C.E. quotient.** This represents the major plot threads. Each one can make your story half again as long.
|
||||
|
||||
### L = (((C+P)750)\*M)/1.5
|
||||
|
||||
> [!info]
|
||||
> **C+P**
|
||||
> - Add your characters and places.
|
||||
> - Multiply by 750.
|
||||
> - Example:
|
||||
> 2 Characters + 3 Places = 5
|
||||
> 5\*750 = 3750 words
|
||||
|
||||
> [!info]
|
||||
> **M**
|
||||
> - Multiply that total by your number of major plot threads.
|
||||
> - Example:
|
||||
> 3750 words x 3 MICE threads = 11250 words
|
||||
|
||||
> [!info]
|
||||
> **1.5**
|
||||
> - Divide by 1.5, which represents making the story half again as long, rather than two or three times as long.
|
||||
> - Example:
|
||||
> 11250/1.5 = 75000 words
|
||||
|
|
@ -1,2 +0,0 @@
|
|||
*Source: [Story Structure Comparison | Author Michael Roth](https://www.rothwrites.com/story-structure-comparison)*
|
||||
![[Pasted image 20240608032336.png]]
|
||||
|
|
@ -1,46 +0,0 @@
|
|||
*Source: [Cheat Sheets For Writing Body Language - Writers Write](https://www.writerswrite.co.za/cheat-sheets-for-writing-body-language/)*
|
||||
|
||||
| Emotions | Possible Body Language |
|
||||
| -------------------- | --------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------- |
|
||||
| Anticipation | rub hands together, lick lips, unable to sit still, grin |
|
||||
| Awe | slack-jawed, unable to move, fixed gaze |
|
||||
| Amusement | throw head back, slap thighs, clap hands, shake with laughter |
|
||||
| Anger or Aggression | shake fist, point finger, stab finger, slam fist on a table, flushed face, throbbing veins in neck, jutting chin, clench fists, clench jaw, lower eyebrows, squint eyes, bare teeth, a wide stance, tight-lipped smile |
|
||||
| Annoyance | press lips together, narrow eyes, roll eyes, exasperated sighs |
|
||||
| Anxiety | fidget, twist a ring, chew on a pencil, bite lip, swallow constantly, quickened breathing, hold breath, darting eyes, sweat, clammy palms, high-pitched laughter, hunched posture, pace, stutter, play with hair |
|
||||
| Attentiveness | furrowed brow, lean forward, sit up, take notes, mimic body language |
|
||||
| Boredom | yawn, avoid eye contact, tap feet, twirl a pen, doodle, fidget, slouch |
|
||||
| Confidence | clasp arms behind body, lift head, push chest out, stand tall, make firm and precise movements |
|
||||
| Confusion | tilt head, narrow eyes, furrowed brow, shrug |
|
||||
| Contempt | lift chin, purse lips, sneer, stretch or turn away, dismissive hand-waving |
|
||||
| Cynical | twist lips, half-smile, shake head, press lips with a slight frown, roll eyes |
|
||||
| Deception | one sided shoulder shrug, look down, scratch nose/ear/neck, feet kick out or shuffle involuntarily, sudden change in demeanor, hesitation in speech, shifty eye contact, long blinks, shrug, unwarranted smiles or laughter, shake head 'no' while saying 'yes', lick lips, cover/touch mouth |
|
||||
| Defensive | cross arms or legs, arms out with palms forward, hands up, place anything in front of body, hands in pockets |
|
||||
| Desire | flirtatious behavior, wink, look up through the lashes, glance over the shoulder, make eye contact, touch hair or clothing, straighten spine, strike a 'cowboy' pose with thumbs in belt, dilated pupils, arch, stretch, women cross and uncross legs |
|
||||
| Disbelief | wide-eyed (shock), narrow-eyed (skeptical), twist mouth, crinkle nose, crease brow |
|
||||
| Disgust | crinkle nose, curled lip, flinch, turn away, cover nose, gag, squint eyes shut, protect body by turning shoulder (cold shoulder) |
|
||||
| Displeasure | fake smile, pout, frown, cross arms |
|
||||
| Distress | stroke/rub nape of neck, wide eyes, shallow rapid breathing, beat walls, huddle in a corner, clasp hands over head, rock, wring hands, run hands through hair, adjust cuffs, men hold hands together in front of crotch |
|
||||
| Embarassment | blush, stammer, cover face with hands, bow head, trouble maintaining eye contact, look down and away, blink back tears |
|
||||
| Fatigue | rub eyes, stare into space, yawn and/or stretch, nod off and jerk awake, grit teeth, close eyes, move slowly, slouch |
|
||||
| Grief | curl into fetal position, face contorts, slump, cover face or head with hands or arms or pillow, stare, shake with sobs, tremble, turn away, difficulty swallowing |
|
||||
| Happiness | smile, laugh, hum a tune, crinkle eyes and nose, swing arms, spin loosely, dance, jump, hug, giggle |
|
||||
| Honesty | maintain eye contact, smile with eyes and mouth, look up, palms up, open arms |
|
||||
| Impatience | nod quickly, tap fingers, sigh, check the clock, tap feet, increase pitch in voice, look away |
|
||||
| Jealousy | tight lips, sour expression, narrow eyes, crossed arms |
|
||||
| Overwhelmed | palms to forehead, splayed fingers cover eyes with one hand, eyes wide and staring into space, hands grip onto something |
|
||||
| Passion or Eagerness | lean forward, nod, wide eyes, steady eye contact and raised eyebrows, hand on heart, double-handed handshake, feet pointed inwards |
|
||||
| Playfulness | wink, waggle eyebrows, nudge, smile, tickle |
|
||||
| Pleasure | tilt head back, part lips slightly, eyes wide or closed, languorous movements, stretch, arch neck or back, flush, quick breath and pulse |
|
||||
| Possessiveness | handshake with arm clasp, place hands on or around someone's shoulders / neck / waist, place hands on wall near them, stand in personal space with body positioned toward person, run a knuckle down someone's cheek, stare others down if they get too close |
|
||||
| Pride or Dominance | chin up, chest out, shoulders back, hard handshake, lean back with hands behind head and feet up, unblinking focused eye contact, hands on hips, straddle chair |
|
||||
| Reluctance | cross arms, make fists, drag feet, pinch nose, put hands over ears |
|
||||
| Sadness | droopy body, bowed, wrap arms around self, hesitating movements, bottom lip jutting out, lip quivers, cry, sob, shake, drag feet |
|
||||
| Secretiveness | tight-lipped smile, hands in pockets, look away, cover face, look down |
|
||||
| Shame | slump shoulders, look down and away, bury face in hands, bow head, straight mouth |
|
||||
| Shock | hands over mouth, mouth open, gasp, freeze and stare with wide eyes and raised eyebrows, smack palm against forehead, step back |
|
||||
| Shyness | blush, avoid eye contact, keep distance from others, back away if others come too close, fold arms, bend head, 'hug' walls |
|
||||
| Smugness | slight close-lipped smile, one raised eyebrow, slightly tucked chin, enigmatic smile, raise eyebrows, steeple fingers |
|
||||
| Suspicion | narrow eyes, glance sideways, raise eyebrow, rub eyes, shake head, blow out cheeks, frown, tighten lips |
|
||||
| Thoughtfulness | steeple fingers, pinch nose, close eyes, tug ear, stroke a real or imaginary beard, furrow brow, narrow eyes, tilt head and press lips together, rest chin on hand, lean back and look up |
|
||||
| Triumph | clench hands above head, tilt head back and yell, pump fist in air, jump, roar, whoop |
|
||||
|
|
@ -1,125 +0,0 @@
|
|||
*Source: [How to write a character with glasses – @creativepromptsforwriting on Tumblr](https://www.tumblr.com/creativepromptsforwriting/643734910397448192/how-to-write-a-character-with-glasses)*
|
||||
|
||||
# How to write a character with glasses
|
||||
|
||||
A guide for anyone wanting to write characters with glasses, but doesn’t know how yet.
|
||||
|
||||
**Different types of visual impairment**
|
||||
|
||||
- _Near-sighted_ – not being able to see stuff in the distance
|
||||
- _Far-sighted_ – not being able to see stuff up close
|
||||
- _Presbyopia_ – easier in German: Altersweitsichtigkeit = elderly far-sightedness, not being able to read small print when you’re older, sometimes end up being far- and near-sighted at the same time
|
||||
- _Astigmatism_ – light is not focused evenly on the retina, results in distorted and blurry vision
|
||||
- It’s also pretty normal to have different prescriptions for both eyes, one being stronger/weaker than the other one
|
||||
|
||||
**Different types of visual aids**
|
||||
|
||||
- _Eyeglasses with actual glasses_ – easier to break, so more dangerous, can be grinded and polished differently than other material
|
||||
- _Plastic glasses_ – lighter than the real glass, not that easy to get damaged
|
||||
- _Reading glasses_ – only needed for reading and driving
|
||||
- _Monocle_ – old-fashioned aesthetic
|
||||
- _Bifocals_ – glasses that correct presbyopia, bottom is seeing closer, top for seeing in the distance
|
||||
- _Contact lenses_ – different types (post about it coming soon)
|
||||
|
||||
**How to write it?**
|
||||
|
||||
- Think about what kind of visual impairment does your character have?
|
||||
- What are they able to see?
|
||||
- Can they see basically everything, but cannot read correctly?
|
||||
- Can they see enough to get by, but cannot read and drive and get headaches without their glasses?
|
||||
- Can they only see blurred images and colours?
|
||||
- Do not change it halfway through the story! Choose their impairment and then _stick with it_.
|
||||
- What are situations where the glasses could hinder them?
|
||||
- Are they doing a lot of sport, are they getting into fights, situations where they don’t want to wear them for aesthetic reasons?
|
||||
- Can they not do something because of their impairment? (joining security forces, driving big trucks, etc.)
|
||||
- Are they annoyed that they have to wear them? Are they only wearing contact lenses or are they just avoiding wearing anything even though they can’t see everything?
|
||||
- You don’t have to make a big deal out of your character wearing glasses, but it does play a big part in your character’s life
|
||||
- Remember to put in a few references about it here and there throughout the story
|
||||
|
||||
**Things to consider**
|
||||
|
||||
_Glasses fog up_
|
||||
|
||||
- Through temperature changes
|
||||
- While going outside or coming in
|
||||
- While sweating
|
||||
|
||||
_Glasses need to be adjusted_
|
||||
|
||||
- They will never stay where they are supposed to be
|
||||
- Especially when moving around and keeping your head down
|
||||
- The character will need to adjust them from time to time and push them up again
|
||||
|
||||
_Glasses need to be cleaned a lot_
|
||||
|
||||
- Everything will make them dirty
|
||||
- Best option are specific cleaners
|
||||
- If you don’t have them handy a shirt will have to do, but it needs to be the _right_ material, synthetic stuff is not working
|
||||
- People with glasses _will_ ask their friends for their shirts if they have to
|
||||
|
||||
_Sunglasses, swim goggles and 3D glasses are impractical_
|
||||
|
||||
- 3D glasses need to be over the glasses and it can be tricky to get it right
|
||||
- Sunglasses need the right prescription and then you would have to change glasses every time you enter a building
|
||||
- There are clips that go over the normal glasses, but they have to be exact to look fine
|
||||
- Swim goggles can also be with prescription, but you would also have to get your glasses as soon as you’re out of the water to take the goggles off and still see enough
|
||||
- There are also special glasses for other sports (it’s not great to do sports with real glasses, because if they break it can severely damage your eyes)
|
||||
|
||||
_Times where you have to take the glasses off_
|
||||
|
||||
- When showering
|
||||
- When going to bed
|
||||
- When putting on shirts with a tight neckline
|
||||
|
||||
_Glasses are expensive_
|
||||
|
||||
- Some insurances pay for them, a lot don’t
|
||||
- The worse the eyesight the more expensive they get
|
||||
- Glasses and frames are two different things and get sold separately (you can have really expensive glasses in a cheap frame or vice versa)
|
||||
- You also need a spare pair of glasses, if you lose yours or they get damaged (often this is just an old pair, where the prescription is no longer strong enough)
|
||||
|
||||
**More things to consider**
|
||||
|
||||
- A new partner cannot just take the glasses and throw them to the side, when the fun starts, if it leaves the character without being able to see properly, there needs to be some more trust there
|
||||
- People will take the glasses and put them on, yelling ‘OMG you’re really blind!’ and then ask you how they look like, especially funny when you really can’t see them
|
||||
- People asking ‘how many fingers can you see?’
|
||||
- Light hits differently, which means you see light differently and also, it’s hard to take good pictures with glasses
|
||||
- Rain is a nightmare, it’s like driving through rain without a windshield wiper
|
||||
- Having to be careful on roller coasters and other stuff, because they can and will fly off
|
||||
- Especially with astigmatism it’s hard to drive at night
|
||||
- Going to the hair dresser can be annoying when they take your glasses off and then ask you if that’s the right length to cut it and you can’t see it
|
||||
- You cannot lie in bed (except on the back) without the glasses pressing uncomfortable in your face
|
||||
- Mascara definitely will end up on the glasses and getting that cleaned is a nightmare
|
||||
- Wearing hats, beanies, giant headphones and even facemasks can be extra annoying, because the arms of the frame will get in the way
|
||||
- You can get headaches from not wearing your glasses, from the pressure of the frame of the glasses and from wearing new and therefore glasses with a stronger prescription
|
||||
- Small children love glasses, as soon as they can grab stuff, they will yank them off your face if you let them get close enough
|
||||
- Kids will tease you about them, but after middle school it’s not really a thing anymore (mostly and as adults it’s really nothing special)
|
||||
- Glasses have blind spots on the sides and top and bottom, so you sometimes have to move your head more
|
||||
|
||||
**Tropes**
|
||||
|
||||
_Blind without glasses and dropped glasses_
|
||||
|
||||
- I actually only have sharp vision for a distance of 10 cm, which means I would not get home save if I had to cross a street to get to my building without glasses
|
||||
- But I very rarely lose my glasses
|
||||
- So, the trope of someone not being able to see without them is correct in some cases, but it’s definitely not hilarious and there are not often situations where they are just without glasses and fumbling around
|
||||
|
||||
_Being smart_
|
||||
|
||||
- People wearing glasses can be just as dumb as everyone else
|
||||
- Try not to make the only one wearing glasses be the smart kid
|
||||
|
||||
_The Cure_
|
||||
|
||||
- Often found in fantasy books, people will somehow get cured from needing glasses
|
||||
- Getting some superpowers that eradicate their visual impairment and ‘fixing’ them
|
||||
|
||||
_The Makeover scene_
|
||||
|
||||
- I love makeover scenes just like everybody else does
|
||||
- _But:_ it’s not really cool to see the ‘ugly duckling’ suddenly becoming a beautiful swan by throwing away their glasses
|
||||
- And it’s impractical, if they just put them away and it was established that they can’t really see that well without them it’s just stupid to leave them at home
|
||||
- If they get new and cooler glasses, the person giving them to them would have needed to know their exact prescription, glasses are expensive and it takes time before they are ready
|
||||
- If they wear contact lenses from now on, they would also need to know the prescription and if they have never worn contact lenses before it will take some time to get used to putting them in and wearing them
|
||||
|
||||
_Finally… please write characters with glasses. This sounds like a lot of hassle, but for most people it’s the most normal thing in the world. Studies show that soon half the world population will need glasses and I still didn’t really have a cool girl with glasses as a role model in literature when I grew up. It’s just another form of representation and I hope I can help you with this post to create some cool characters!_
|
||||
Loading…
Reference in New Issue