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.obsidian/plugins/obsidian-git
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.obsidian/snippets/
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"settings": {
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"migrated": 5,
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"iconPacksPath": ".obsidian/icons",
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{
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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.",
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.iconize-inline-title-wrapper {
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width: var(--line-width);
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margin-inline: var(--content-margin);
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.iconize-title-icon {
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max-width: var(--max-width);
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margin-right: var(--size-4-2);
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.iconize-icon-preview svg {
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width: 24px;
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height: 24px;
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color: currentColor;
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position: absolute;
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/* Custom rule modal. */
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display: flex;
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justify-content: center;
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width: 100%;
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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)*
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||||
![[Pasted image 20240608032210.png]]
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|
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@ -1,134 +0,0 @@
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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.
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## What is active voice, what is passive voice, and what are their different functions?
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In the active voice, the subject is performing an action:
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*The dog chases the ball.*
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||||
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.
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||||
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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*:
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*The ball is being chased by the dog.*
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||||
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.
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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.
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### Active voice
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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:
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*Shira likes birdwatching.*
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*She loves twilight.*
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No matter what verb you use, structuring your sentence so the subject performs the verb is writing in the active voice.
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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.
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### Passive voice
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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:
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- A conjugated form of "to be"
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- The main verb's past participle
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Take a look at the previous examples, now written in passive voice:
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*Birdwatching is liked by Shira.*
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*Twilight is loved by her.*
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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:
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*Summer break is* ***\[conjugated form of "to be"\]*** *loved* ***\[past participle of the main verb\]*** *by* ***\[preposition\]*** *my friends.*
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However, sentences written in the passive voice don't necessarily need a preposition. Take a look at the example sentences below:
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*The check was paid.*
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*He will be remembered.*
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*The Philippines is known for its marine biodiversity.*
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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
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—it conveys scientific objectivity by minimizing the focus on the doer of the action.
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## Active and passive voice usage
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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.
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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:
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*A car was broken into on Elm Street last night.*
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||||
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*Cash was stolen from the register.*
|
||||
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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.
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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:
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*The rats were placed into the maze.*
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||||
*The governor was inaugurated at the statehouse.*
|
||||
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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.
|
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## How to change passive voice to active voice
|
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||||
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.
|
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|
||||
Let's say you've detected a few instances of the passive voice in your argumentative essay:
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*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.*
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|
||||
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:
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*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:
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||||
*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*).
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||||
|
||||
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.
|
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## Active and passive voice examples
|
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|
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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:
|
||||
|
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**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!*
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||||
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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.
|
||||
|
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Now take a look at these two examples:
|
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|
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**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.
|
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|
||||
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.
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### 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.*
|
||||
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@ -1 +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/)*
|
||||
|
|
@ -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)*
|
||||
|
|
@ -1 +0,0 @@
|
|||
*Source: [Dialogue Tags: 12 Categories and 102 Examples for Writers](https://storygrid.com/dialogue-tags/)*
|
||||
|
|
@ -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 +0,0 @@
|
|||
*Source: [How to Write Fanfic Summaries – @wolfstarlibrarian on Tumblr](https://www.tumblr.com/wolfstarlibrarian/629281741962723328/how-to-write-fanfic-summaries)*
|
||||
|
|
@ -1 +0,0 @@
|
|||
*Source: [Genres of Writing: Definition, Examples, and 12 Types](https://storygrid.com/genres-of-writing/)*
|
||||
|
|
@ -1 +0,0 @@
|
|||
*Source: [How to Describe Fear in Writing - Brilliantio](https://brilliantio.com/how-to-describe-fear-in-writing/)*
|
||||
|
|
@ -1 +0,0 @@
|
|||
*Source: [How to use a semicolon - The Oatmeal](https://theoatmeal.com/comics/semicolon)*
|
||||
|
|
@ -1 +0,0 @@
|
|||
*Source: [Literary Devices - Literary Terms, Techniques, and Elements](https://literarydevices.com/)*
|
||||
|
|
@ -1 +0,0 @@
|
|||
![[Pasted image 20240608032711.png]]
|
||||
|
|
@ -1 +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)*
|
||||
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|
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|
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|
|
@ -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 +0,0 @@
|
|||
*Source: [Infographic to estimate how long a story will be. | Patreon](https://www.patreon.com/posts/12561943)*
|
||||
|
|
@ -1,2 +0,0 @@
|
|||
*Source: [Story Structure Comparison | Author Michael Roth](https://www.rothwrites.com/story-structure-comparison)*
|
||||
![[Pasted image 20240608032336.png]]
|
||||
|
|
@ -1,48 +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 | |
|
||||
| Awe | |
|
||||
| Amusement | |
|
||||
| Anger or Aggression | |
|
||||
| Annoyance | |
|
||||
| Anxiety | |
|
||||
| Attentiveness | |
|
||||
| Boredom | |
|
||||
| Confidence | |
|
||||
| Confusion | |
|
||||
| Contempt | |
|
||||
| Cynical | |
|
||||
| Deception | |
|
||||
| Defensive | |
|
||||
| Desire | |
|
||||
| Disbelief | |
|
||||
| Disgust | |
|
||||
| Displeasure | |
|
||||
| Distress | |
|
||||
| Embarassment | |
|
||||
| Fatigue | |
|
||||
| Grief | |
|
||||
| Happiness | |
|
||||
| Honesty | |
|
||||
| Impatience | |
|
||||
| Jealousy | |
|
||||
| Overwhelmed | |
|
||||
| Passion or Eagerness | |
|
||||
| Playfulness | |
|
||||
| Pleasure | |
|
||||
| Possessiveness | |
|
||||
| Pride or Dominance | |
|
||||
| Reluctance | |
|
||||
| Sadness | |
|
||||
| Secretiveness | |
|
||||
| Shame | |
|
||||
| Shock | |
|
||||
| Shyness | |
|
||||
| Smugness | |
|
||||
| Suspicion | |
|
||||
| Thoughtfulness | |
|
||||
| Triumph | |
|
||||
![[Pasted image 20240608030935.png]]
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![[Pasted image 20240608030943.png]]
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@ -1 +0,0 @@
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*Source: [How to write a character with glasses – @creativepromptsforwriting on Tumblr](https://www.tumblr.com/creativepromptsforwriting/643734910397448192/how-to-write-a-character-with-glasses)*
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Reference in New Issue