Creative Writers - Blog Posts

Just write something

When you first sit down to write, the hardest task you will face is actually starting.

To get yourself over this first hurdle, don't overthink it. Just write something. Literally anything.

Words on the page is sometimes all you need to get started.

Writing Description Notes:

Updated 9th September 2024 More writing tips, review tips & writing description notes

Facial Expressions

Masking Emotions

Smiles/Smirks/Grins

Eye Contact/Eye Movements

Blushing

Voice/Tone

Body Language/Idle Movement

Thoughts/Thinking/Focusing/Distracted

Silence

Memories

Happy/Content/Comforted

Love/Romance

Sadness/Crying/Hurt

Confidence/Determination/Hopeful

Surprised/Shocked

Guilt/Regret

Disgusted/Jealous

Uncertain/Doubtful/Worried

Anger/Rage

Laughter

Confused

Speechless/Tongue Tied

Fear/Terrified

Mental Pain

Physical Pain

Tired/Drowsy/Exhausted

Eating

Drinking

Warm/Hot

*Taking notes*

Making Fight Scenes Sound Nicer

Euphonics is all about how the words "feel". By incorporating certain sounds, you can influence the mood of the passage.

Mood: Foreboding

use words with 'ow', 'oh', 'ou', 'oo' sonds. These are good for building tension before the fight.

moor, growl, slow, wound, soon, show, show, grow, tow, loom, howl, cower, mound.

Mood: Spooky

use words with 's' sounds, combined with an 'i' sound.

hiss, sizzle, crisp, sister, whisper, sinister, glisten, stick.

Mood: Acute Fear

use word with 'ee/ea' sounds, with a few 's' sounds.

squeal, scream, squeeze, creak, steal, fear, clear, sheer, stream

Mood: Fighting Action

use short words iwth 't', 'p' and 'k' sounds.

cut, block, top, shoot, tackle, trick, kick, grip, grab, grope, punch, drop, pound, poke, cop, chop.

Mood: Speed

use short words with 'r' sounds

run, race, riot, rage, red, roll, rip, hurry, thrust, scurry, ring, crack

Mood: Trouble

use words with 'tr' sounds to signal trouble

trouble, trap, trip, trough, treat, trick, treasure, atroscious, attract, petrol, trance, try, traitor

Mood: Macho Power

If you wan to emphasize the fighters' masculinity, use 'p' sounds.

pole, power, police, cop, pry, pile, post, prong, push, pass, punch, crop, crap, trap, pack, point, part

Mood: Punishment

If your fight involves an element of punishment use 'str' sounds

strict, astride, strike, stripe, stray, strident, stroke, strip, instruct, castrate strive

Mood: Defeat

use 'd' sonds

despari, depressed, dump, dig, dank, damp, darkness, drag, ditch, drop, dead, deep, dark, dull

Mood: Victory

use 'j' and 'ch' sounds

joy, cheer, jubilant, jeer, chuck, chariot, choose, chip, jest, jamboree, jig, jazz, jive, rejoice, rejoin

In print, the effectiveness of such euphonics will be very subtle, and it can only serve as an embellishment to what you already have.

Don't use or replace words for the sake of achieving euphonic effects, but this can be something to keep in mind when you are editing your draft!

─── ･ ｡ﾟ☆: *.☽ .* . ───

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

💎Before you ask, check out my masterpost part 1 and part 2 

💎For early access to my content,  become a Writing Wizard 

The holy texts

MASTERPOST (PT. 2)

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

For romance writing prompts, plotting tips & more, check out: MASTERPOST PT. 1

⭐Dialogue

Writing Dialogue 101

Crying-Yelling Dialogue Prompts

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⛰️Words to Use Instead Of...

Synonyms for "Walk"

Synonyms for “feeling like”

Words To Use Instead of "Look"

Words to Use Instead Of...(beautiful, interesting, good, awesome, cute, shy)

Said is dead

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🔠Vocab Lists

Nervous Tension Vocab

Kiss Scene Vocab

Fight Scene Vocab

Haunted House Inspo & Vocab

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👁️‍🗨️Setting & Description

Common Scenery Description Tips

2012 School Setting Vibes - follower question

Describing Food in Writing

Describing Cuts, Bruises and Scrapes

Using Description and Setting Meaningfully

How Different Types of Death Feel

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🗡️Weapons & Fighting Series:

Writing Swords

Writing knives and daggers

Writing Weapons (3): Staffs, Spears and Polearms

Writing Weapons (4): Clubs, Maces, Axes, Slings and Arrows

Writing Weapons (5): Improvised Weapons

Writing Weapons (6): Magical Weapons and Warfare

Writing Weapons (7): Unarmed Combat

Writing Female Fighters

Writing Male Fighters

Writing Armour

Writing Group Fights

Writing Battles At Sea

Erotic Tension in Fight Scenes

Pacing for Fight Scenes

Writing a Siege Warfare

Different Genres, Different Fight Scenes.

Making Fight Scenes Sound Nicer

Fight Scenes For Disabled Characters

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🌎Worldbuilding

Constructing a Fictional Economy

Homosexuality in Historical Fiction

Writing Nine Circles of Hell

Writing Seven Levels of Heaven

Master List of Superpowers

Magic System Ideas 

A Guide to Writing Cozy Fantasy

Dark Fantasy How-To

Dark Fantasy Writing Prompts

Dark, Twisted Fairytale Prompts

Fantasy World Cultural Quirks 

Fantasy Nobel Ranks: A List

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🌠Symbolism in Writing

Plant Symbolisms 

Weather Symbolisms

Symbols of Death

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🪄Writing Magic

Writing Magicians - the basics

Writing Magic Systems

Magical Training Options for Your Characters

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📋Other!

List of Fantasy Subgenres

Beauty is Terror: A List

The Pirate's Glossary

Storyediting Questions to Ask

Writing Multiple WIPs Simultaneously

Idea Generation Exercises for the Writer

Book Title Ideas

Picking the Right Story For You

What If God Dies in Your Story 

International Slang, Slang, Slang!

10 Great Love Opening Lines 

How to Insult Like Shakespeare

Serial Killer Escape Manual

Best Picrew Character Generators for Your Characters!

How to Write Faster

Gonna hold onto this

Writing Weapons (1): Swords

The Thrusting Sword

Type of fight scene: entertaining, duels, non-lethal fights, non-gory deaths, swashbuckling adventure

Mostly used in: Europe, including Renaissance and Regency periods

Typical User: silm, male or female, good aerobic fitness

Main action: thrust, pierce, stab

Main motion: horizontal with the tip forward

Shape: straight, often thin, may be lightweight

Typical Injury: seeping blood, blood stains spreading

Strategy: target gaps in the armous, pierce a vital organ

Disadvantage: cannot slice through bone or armour

Examples: foil, epee, rapier, gladius

The Cleaving Sword

Type of fight scene: gritty, brutal, battles, cutting through armour

Typical user: tall brawny male with broad shulders and bulging biceps

Mostly used in: Medieval Europe

Main action: cleave, hack, chop, cut, split

Main motion: downwards

Shape: broad, straight, heavy, solid, sometime huge, sometimes need to be held in both hands, both sides sharpened

Typical Injury: severed large limbs

Strategy: hack off a leg, them decapitate; or split the skull

Disadvantage: too big to carry concealed, too heavy to carry in daily lifem too slow to draw for spontaneous action

Examples: Medieval greatsword, Scottish claymore, machete, falchion

The Slashing Sword

Type of fight scene: gritty or entertaining, executions, cavalry charge, on board a ship

Mostly used in: Asia, Middle East

Typical user: male (female is plausible), any body shape, Arab, Asian, mounted warrior, cavalryman, sailor, pirate

Main action: slash, cut, slice

Main motion: fluid, continuous, curving, eg.figure-eight

Shape: curved, often slender, extremely sharp on the outer edge

Typical Injury: severed limbs, lots of spurting blood

Strategy: first disable opponent's sword hand (cut it off or slice into tendons inside the elbow)

Disadvantage: unable to cut thorugh hard objects (e.g. metal armor)

Examples: scimitar, sabre, saif, shamshir, cutlass, katana

Blunders to Avoid:

Weapons performing what they shouldn't be able to do (e.g. a foil slashing metal armour)

Protagonists fighting with weapons for which they don't have the strength or build to handle

The hero carrying a huge sword all the time as if it's a wallet

Drawing a big sword form a sheath on the back (a physical impossiblity, unless your hero is a giant...)

Generic sword which can slash, stab, cleave, slash, block, pierce, thrust, whirl through the air, cut a few limbs, etc...as if that's plausible

adapted from <Writer's Craft> by Rayne Hall

i hope that our few remaining readers give up on that unfinished wip from seven years ago

and i hope we come up with a failsafe plot that piss off the dumb few that keep commenting all the ways they'd write it differently

in my life i hope i lie and tell everyone the next chapter will be out on time

and i hope i write (i hope we all write)

i hope you write (i hope we both write)

Sometimes, we break through and create awesome stories by asking questions.

Other times, we get a breakthrough because we ask ourselves if we are asking the right questions. When it comes to pacing, this is one of those times.

Rethinking pacing

Pacing isn’t all about action. It’s about making sure that everything you write advances the story, even the quiet moments.

Instead of asking whether a scene is exciting, ask whether a scene is important.

Does it develop the plot?

Does it develop your characters?

If it does one of the above, then it's important and will fit into the pacing of your story. If it's important, that makes it interesting. If it's not important, it will be boring — and that's what pacing is all about.

Question About Reading

Chapter 7 of The Great Wish Movie Rewrite up on AO3!

It's up! Guys, I'm excited, Star Boy comes on the scene today. Read the story here: Link

Excerpt: Chapter Seven: The Duel

The Hamlet, a mossy place secluded by forest, where inhabitants made bread from pinecone flour, and kept more chickens than charts or charms, came into view. The moon cast it in sharp-edged shadows as Magnifico readied his staff, murmuring last incantations over it. Before leaving the castle, he’d imbued it with extra power from the night sky, using a spell from his only remaining book, the one he’d been reluctant to use because of its relation to dark sorcery. 

“Desperate times call for desperate measures,” he told himself, though he’d immediately locked the book away again after referencing this spell. He thought mournfully of the rest of his destroyed resources, original manuscripts he’d compiled, containing centuries of study by other sorcerers. “Now I have no idea what a star might be capable of.” He caressed his staff’s fine point that could stab if needed. “The hour has come.”

The carriage silently rolled to a stop behind a towering oak thick as a dragon’s tail, just on the hollow’s edge. Magnifico looked to the driver and raised a finger to his lips, then motioned for him to drive away unseen, as he stepped out into the Hamlet, and the crunch of leaves, which set a carpet of gold beneath his boots, was concealed by ceaseless clucking as chickens talked in their sleep inside their roosts. 

The hollow’s modest shielings, stone houses shaped like mushroom-caps, unadorned except by moss or the occasional clothes-line, stood huddled close together, intertwined with roots of trees for protection. The humble hollow did not look like the kind of place to hide a criminal. The king held his staff before him to light the way as he crept between the shieling huts and oaks tall as mountains. As he stepped over a root as thick as one of the castle's pillars, his foot landed on a pinecone, and he clasped a hand over his mouth when he nearly screamed. Just as he approached the centre of the cluster of homes, the staff began humming faintly, its sound growing in intensity. 

As the king crept, the staff’s hum shifted in pitch, resonating with a particularly small shieling hut which he paused in front of. He noted a faint glow seeping through its rough, timbre framed windows, and the murmur of voices within. Even muffled by stone walls, self-satisfied pauses emanated, it was the girl showing off, he knew that. Without hesitation, Magnifico raised his staff, then forced the door open with a bang.

The conversation stopped abruptly as Asha’s gaze met his, the recognition in her eyes confirming what the staff already indicated. Its sharp end was pointed up at the star hovering inches below the aisins.

“What folly is this?”

“It isn’t folly at all! It’s simply glorious!” The star did a somersault in the air.

He was a flicker of ghostfire in the form of a young man. Clad in changing hues of white, topaz, and misty red, his clothes echoed the night sky. His bright eyes held glints of mischief, and moving with grace, his cape trailed sparks behind him as he flew in and out the aisins, twisted a picture frame, peeked into a drawer, then sent a stack of books tumbling from a shelf, as if dropping stones from the sky. The playful spirit who’d come down from the heavens laughed, each note twinkling like a warning sign.

The star continued doing flips in the air as he addressed the king. “You see, mighty king, with a crown shining bright, the stars in the heavens dance all through the night. They laugh at your trials, they chuckle with glee, as they dance in the moonlight, wild and free. They meddle for fun, oh, but fret not dear king, for your country will fall, but it’s a burdensome thing.”

Asha laughed, and though she had a hand over her mouth, she looked impressed. “Star Boy,” she said.

Magnifico’s eyes blazed as he raised his staff, and he unleashed a striking green beam that cut through the air. Star Boy, now idly twirling a ribbon of stardust around his finger, tried to dodge, but was struck directly in the heart, and like a mosquito swatted, fell to the ground with an expression of stunned surprise, his stardust trail dim and scattered. 

From the floor he looked up at Magnifico, shaking off the remnants of the spell’s green glow. “All right, you’ve got me, you’ve proven your might, I underestimated you, and I’ve lost the fight.” He grinned, then added, “But watch your step king, as you tread. Anger the stars and you’ll find yourself dead.”

Magnifico’s staff crackled again, and he struck at Star Boy with a wave of green fire. The house’s beams groaned under the strain of magic, and shards of stone rained down.

Star Boy darted around, a streak of incomprehensible light, and he paused only to withdraw something from his pocket, a slim, pale stick he tossed down to Asha. “Take this wand, a gift from the heavens. You’re a fairy godmother now, my dear.”

“Aeeeeegh!” Asha let out an excited screech as she caught it. 

The wand was swiftly knocked from her hand by a wave of Magnifico’s staff. “You are both banished from the realm for threatening my kingdom.” He raised it again, when Star Boy, hovering just out of reach, laughed as he conjured a torrent of fire, and flames lashed out from his palms, catching Magnifico’s cloak in a dance of light and heat. 

Asha scurried forward to her wand, and brandished it as he stomped on the flames. With a quick flick, she sent a stream of light to blind the king. The spell struck his eyes in a burst of bright sparks, so he staggered back. He growled as he struggled to regain control. 

Finish reading: Link

The Great Wish Movie Rewrite Chapter One

Merry Christmas, and a happy New Year!!!!! Chapter one of my next project, The Great Wish Movie Rewrite, is up on AO3! Read it here: https://archiveofourown.org/works/61920016

What to expect:

Magnifico is the protagonist, and we see the story and his non-one-dimensional struggle through his perspective.

Asha and Amaya are antagonists.

Star Boy is in it.

NO OCS!!!!!!!!! Just a straightforward, comprehensive narrative of what the movie should've been like.

(This work is complete, and knows where it's going, and a new chapter will be added every Friday).

Excerpt:

In most monarchies, the king claims sovereignty over his people, but in the kingdom of Rosas, King Magnifico’s subjects were the tyrants. 

It was his fault, he thought regretfully, for using sorcery in the first place to begin granting wishes. He should have remembered that a genie was a prisoner to the whims of others, and so too his ability left him at his people's mercy. 

“I want a million coins! A parakeet, a banana split, a swimming pool, a trampoline, uhhh. . .” a little boy licking a lollipop was sitting on his lap, demanding.

"Well, we'll see about that." Magnifico glanced around for the boy's parents. "How did you get past the guards?" The palace gates, flanked by statuesque soldiers, led to the long, carpeted hallway that opened to the throne room. There the king sat upon his throne, resplendent in star-stitched robes, with all the dignity of Father Christmas.

"Great! When grown ups say 'we'll see about that', it always means yes!" The little boy jumped up off the king's lap, then skipped away, outside into the queue of people waiting their turn to make a wish. 

Resentfully, King Magnifico raised his sceptre, then granted the boy’s wishes with a sweeping shimmer, since he had no heart to disappoint him. 

As the boy disappeared, someone else stepped forward, shoulders slumped in sorrow. “My king,” said a peasant girl, coming up to the throne, clutching a shawl around herself. “My mother twisted her ankle, and can no longer walk after slipping on one of our chicken's eggs. She’s unable to even stand upright. Will you heal her?”

King Magnifico quickly forgot the previous boy's entitlement, and nodded slowly. "A twisted ankle? That is a serious affliction." 

"It's swollen to the size of the egg she slipped on."

The king raised his scepter, then waved it in an arc, healing the girl's mother at once. “There, her pain is gone now,” he said as the girl’s eyes widened, and a smile spread across her face. She bowed, then turned to leave, and Magnifico remembered briefly why sorcery was a blessing.

But no sooner had the girl disappeared, than through the grand doors strode a middle-aged man with fox-like features and an air of impatience. A long travelling cloak billowed behind him as he marched with a walking stick up to the king, who studied him with a steady gaze.

"Your Majesty," the man began without even a bow, "I come to you with a request. I have heard of your power to grant wishes, and seek your aid."

The king leaned forward. Magnifico possessed an innate desire to help those in need, and often found it difficult to say no, but he grew weary since lately it was becoming clear that a fool who makes a wish often finds that what he desires has consequences. 

"Well, go ahead.” Magnifico waved his hand. “Speak your wish.”

The man’s smile faltered for a moment, but he quickly recovered it, then said without shame, "I wish for absolute power. I desire to command armies, to rule with an iron fist, and to have the loyalty of every citizen."

Magnifico’s eyes narrowed, and his voice grew cold as he replied, “Such a wish speaks to ambition beyond measure. But power without wisdom is a path of which to be wary.”

“Sure, sure.” The peasant stood tall as he pulled a scroll from his cloak. “Now, let me be clear on the terms and conditions of this wish: no action, policy, or decree should be contested or overturned by any other entity. I require immunity from any form of legal or physical retribution. This wish should remain in effect for the duration of my lifetime, and extend to my successors, ensuring that the absolute power granted is maintained beyond my tenure. Once granted, this wish must be irrevocable to any changes or nullifications.”

The king’s gaze grew colder still. “I see,” he said. “You think you can waltz in here and demand absolute power with such brazen terms? Absolute authority is not a game to be played. It must be wielded with responsibility.”

The peasant smirked, and folded his arms. “Oh, please. Save the moralising. We’ve no objection to you as a wizard, you know, but as a king we hate you.”

King Magnifico’s heart rate quickened, but his voice remained even. “You are not just seeking to overthrow me; you are aiming to become a tyrant. Power without limits corrupts, and turns rulers into monsters. I will never allow this kingdom to be weakened by the hunger for control. I hereby decree your banishment. Guards, escort this man out of the palace, and ensure he departs from our borders immediately. Any attempt to defy this order will be met with execution. Let it be known our kingdom will always stand against the darkness of greed. We will remain a land of generosity and justice.”

As the king’s words echoed through the throne room, the guards stepped forward with practised ease. They seized the peasant by the arms, who, despite wriggling like a snake, was no match for their strength. The guards dragged him towards the gates.

“I will not be treated like this!” the man sputtered, flailing his arms. “I demand to speak to someone in charge!”

“I am in charge!” Magnifico banged his fist against his throne’s armrest. But he began to see that by giving gifts freely, even if he sat on the throne, his people wielded the power. He was constrained by the very magic that defined him, having to listen to a thousand such ridiculous requests a day. And most times, his subjects couldn't even get their teeth around the word 'thank you'. 

King Magnifico knew things could not go on this way, and so that night, he asked for the counsel of the person he trusted most to advise him: his dear wife, Amaya, who he called to the top of the tallest tower in his palace.

Finish reading: https://archiveofourown.org/works/61920016

Wicked Rewrite Chapter 1

Wicked reimagines The Wizard of Oz, portraying the Wicked Witch as good. Well, this is a rewrite of Wicked, exploring her as truly wicked.

Focuses on Glinda and Elphaba's dynamic, without dwelling as much on the political animal plot.

Basically I wanted to see what the story would be like if Elphaba was actually a bad or mean character like Snape or Bellatrix instead of a misunderstood misfit, and Glinda had a good, less shallow personality.

Excerpt:

The headmistress smiled broadly as the girls came forward. Glinda curtseyed to her new roommate, but Elphaba kept her eyes on the ground. Glinda caught the faintest flicker of them darting to her hat. 

Finally, the girl spoke in a deep, low grumble: 

"No," she said, eyes invisible behind thickset glasses that seemed almost purposefully styled to be ugly and a ripped up traveling hat pulled low, "I'm not seasick, I didn't eat grass, and yes, I've always been green."

Glinda stopped herself from stepping back in surprise. "Oh! I wasn't going to say anything about your being green. This is Oz after all, everyone has unique traits. I… I like it, actually, it reminds me of the Emerald City!"

Elphaba's pointed nose crinkled, and she let out a sharp laugh, as if sharing an inward joke with herself. "It reminds you of the Emerald City!  Everyone in Oz has unique traits! Of course you'd say those things." She repeated the words in a disdainful tone as if saying them this way explained why they were bad. 

Elphaba folded her arms as if it was unreasonable for somebody not to immediately know what to say to someone with bright green skin who had introduced themself by bringing it up.

"I wish I had gotten placed with a roommate who was actually sensible," the green girl huffed, and trudged to the stairs with a straight back and swish of her long plain dress. 

Glinda's cheeks flushed and she lowered her hat, before following behind, her own frilly dress billowing as she walked. She'd wanted to wear something fun and charming on her first day, but now felt in stark contrast with more dull, mature standards.

She wasn't sure what kind of roommate she'd just ended up with, but being stuck with someone so prim, proper, and hostile for a whole semester filled her with dread. Maybe she could find a way to switch rooms with someone else later. 

But right now the Main Hall was empty—even Madame Morrible had left. Right now everyone else was up in their own rooms, paired with girls they'd known they'd wanted to be with from the first second. Right now, nobody else wanted Glinda. 

Right now, Glinda was stuck.

***

The Wish Rewrite got a little delayed because the other person on this account who was working on it is waiting for a break to finish it. However, the whole thing is almost done and will be a high quality finished story posted on a schedule like the Lorax Rewrite. In the meantime, I wrote this in a couple days. Only the one chapter exists, so it's unknown if I'll finish the whole story or not at this point.

Necessity of Creativity

How writers feel when they are forced to kill their favourite character so the plot can move on:

😫🤧

Writers when they finally finish their first draft after months of hard work, blood, sweat and tears 🥹

Screaming relief 😩

When I write a paragraph after a week of running away from my WIP:

Lmao 🤣

“what’s your writing process” i put a pathetic guy in a blender and blend blend blend

"So you're just gonna avoid writing your WIP for absolutely no reason ? What about your characters?"

Writers 😩:

"So you're just gonna avoid writing your WIP for absolutely no reason ? What about your characters?"

Writers 😩:

Bam!!!!

“Here's how to write a mystery novel: at the beginning you tell a lie, and by the end you tell the truth.” — Gregory McDonald

body language to use in your writing

he furrowed his eyebrows — in confusion or concentration

he raised his eyebrows — in surprise or skepticism

he narrowed his eyes — in suspicion or annoyance

he bit or pressed his lips together — in hesitation

his lips parted slightly — in shock or anticipation

he clenched his jaw — in frustration or determination

he tilted his head — in curiosity or disbelief

he wrinkled his nose — in disgust or disapproval

he rolled his eyes — in exasperation

he puffed his cheeks — in frustration or exhaustion

eye movements:

his eyes darted around — nervously

he avoided eye contact — out of guilt or shyness

he held eye contact — in defiance or intensity

he squinted slightly — in scrutiny

he looked down — in shame or submission

he glanced away quickly — in embarrassment

he stared blankly — in shock or dissociation

he blinked rapidly — in disbelief or surprise

his eyes widened — in fear or astonishment

he peeked through his fingers — when scared or hesitant

head movements:

he nodded slowly — in understanding or agreement

he shook his head — in disagreement or disbelief

he tilted his head — playfully or teasingly

he bowed his head slightly — in respect or submission

he tossed his head back — in confidence or defiance

he ducked his head — in embarrassment or shyness

he rested his chin in his hand — while thinking or bored

he jerked his head toward a sound — in alertness

he rolled his neck — to release tension

he tipped his chin up — in defiance or arrogance

hand movements:

he clenched his fists — in anger or determination

he ran his hands through his hair — in frustration or stress

he wringed his hands — in nervousness

he drummed his fingers on a surface — in impatience

he pointed — accusingly or demandingly

he pressed his palms against a surface — in desperation

he tugged at his sleeves or hem — in nervousness

he threw his hands up — in exasperation or surrender

he rubbed his temples — in frustration or exhaustion

he covered his mouth — in shock or horror

arm and shoulder movements:

he crossed his arms — in defensiveness or annoyance

he wrapped his arms around himself — for comfort

he shrugged — in uncertainty or indifference

he threw his arms out — in excitement or exasperation

he linked arms with her — for comfort or closeness

he rubbed his arms — to self-soothe or ward off cold

he flailed his arms wildly — in panic or excitement

he stretched his arms above his head — in relaxation or boredom

he held his arms behind his back — in restraint or formality

he used exaggerated arm gestures — when talking passionately

leg and foot movements:

he tapped his foot — impatiently

he crossed his legs — to appear closed off or comfortable

he bounced his knee — in nervousness or excitement

he kicked at the ground — absentmindedly

he shuffled his feet — in hesitation or guilt

he stood on his tiptoes — to see something or seem taller

he turned his toes inward — in insecurity or shyness

he stomped his foot — in frustration or excitement

he swung his legs — in a carefree manner

he stepped back instinctively — in fear or uncertainty

posture and general movement:

he stood tall with his shoulders squared — in confidence

he slouched — in defeat or boredom

he leaned in — engaged or interested

he leaned away — in discomfort or disinterest

he puffed out his chest — in arrogance or bravado

he shrunk into himself — in anxiety or fear

he rocked back and forth — in nervousness or impatience

he swiveled his body away slightly — in disengagement

he walked stiffly — in discomfort or tension

her hips swayed confidently while she walked

microexpressions:

a smile briefly flickered across his face

his eye twitched a single time — in irritation

he swallowed hard — when nervous or emotional

he slightly shuddered — in disgust or fear

he bit the inside of his cheek — in thought or frustration

he quickly inhaled — taken aback

he exhaled shakily after holding his breath too long

he clutched his shirt tightly — in anxiety

he tilted his head down slightly while still looking up (puppy dog eyes)

there was a fleeting look of longing in his eyes before he looked away

twenty phrases for writing facial expressions

his brows knitted together

her lips pulled into a smile

the corners of her lips quirked up into a smile/smirk

her face twitched

a line formed between his brows

a look of happiness engulfed him

a look of sadness washed over him

his face contorted into a frown

his eyes drooped at that, and his lips pulled themselves into a frown

she raised a brow

she cocked an eyebrow

her brows furrowed

her eyes narrowed

her eyebrows shot up

his brows were tightly drawn together

alternatively, his brows were drawn together tightly

her entire face dropped

her smile fell

his eyes glittered with [any emotion]

his eyebrows pinched together

words to use instead of “said”

normal:

— stated

— spoke

— remarked

— reported

— added

questioning:

— asked

— inquired

— requested

— begged

angrily:

— demanded

— shouted

— growled

— yelled

sad:

— sobbed

— cried

— groaned

— bawled

nervous:

— trembled

— quaked

— stammered/stuttered

happy:

— exclaimed

— chirped

— laughed

— giggled

I'm already hating all that is around me without knowing what I'm exchanging the love for.

Recently, ambition has been blurring my lens. I'm constantly looking forward to what I'm potentially building and neglecting the treasures of my present. How easy it is for us people, to weigh the flawed but existent present against the ideal but imaginary future and deem the former unworthy of appreciation.

Just saving this here… for no particular reason…

A List of Death Symbols

Is your character headed for endless slumber? Here are some red flags to plant within the story:

Skulls and bones

Candles

Cross

Latin Cross

All black/white clothing

Thanatos

Keres

Yama

Ankou

The Fourth Horseman

Banshees

Osiris

Grim Reaper

Giltine

Black Butterfly

Black cat

Bat

Vulture

Crow

Owl

Cypress trees

Red poppies

Hyacinths

Chrysanthemums

Lilies

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🖱️References

https://www.pinterest.com/pin/139330182215001295/

Writer’s block sucks! It sucks even more when you have just one chapter left of your story and it just won’t flow like it had been. For those waiting for the last chapter of The Impossible, I am so sorry I don’t have it finished. I have been hit with a bad case of writer’s block and just need to step away from it. I hope to have it finished some time this week.

Writers, never forget this: readers bring your stories to life.

If a reader comes back - acknowledge it. That means your words meant something.

If they tell you they liked something - acknowledge it. That connection deserves more than silence or a on emoji.

If they share that they didn’t like something - acknowledge that too. It takes courage to speak honestly.

Don’t ignore your readers. Don’t dismiss their thoughts with angry or vague response.

And above all, don’t attack them in your notes or your blog for simply engaging.

You don’t have to agree with every opinion, but if someone took the time to read your work, feel something, and reach out - you owe them basic respect.

Because without readers, stories are just words on a screen. Readers are the heartbeat of a fandom. Treat them like it.

I’m noticing a trend here. Comments and feedback on all the stories I’ve seen on ao3 seem to be simply giving praise. Who doesn’t love to hear praise on the story they’ve put so much work into? But here’s the thing… these comments and the feedback don’t seem to be giving much in the way of advice or constructive criticism to help the authors better themselves and improve their writing. THIS is the kind of feedback I crave!

Absolutely I love to hear praise! But I want to improve my writing. I want to know my readers are happy and being taken care of. Tell me if I could make the story more gripping. Tell me if it’s too mushy. Tell me if it doesn’t have enough raw emotion. Want me to make you cry? Let me know so I can rip your heart out. Want to laugh more? Tell me so I can toss in some silly moments or stupid jokes. Or do something so outrageous you’ll need stitches. Is the writing itself not great? I need to know so I can take a refresher course or something. Or give me an example of how to improve a paragraph or two. Be willing to hurt my feelings so I don’t end up humiliating myself later on. That’s true feedback. That’s what I want!

@ronenstrand @hopefulwonderlandrunaway

How do I write a dream sequence that actually feels dreamy and not just confusing or random? I want it to make sense in the story but still have that weird, surreal vibe dreams have.

Before writing a dream sequence, ask yourself: Why is this dream important?

A strong dream sequence serves a narrative purpose. It either reveals something critical about the character or moves the plot forward. For example, it might:

Highlight a character’s inner conflict, such as self-doubt or guilt.

Offer insight into a character’s fears, desires, or memories.

Foreshadow future events.

Explore the story’s themes.

Present an epiphany or realisation that changes the narrative direction.

When you define the purpose of the dream, you give it meaning and ensure it doesn’t feel like a random, disconnected scene.

Vivid imagery and sensory details

Dreams are often hyper-real or surreal. To truly immerse readers, fill your sequences with vivid imagery. Describe not just what the character sees, but also what they hear, smell, and feel. For example:

The air might feel oppressively heavy, as if the character is moving through water.

Colours could be unnaturally bright or pulsing, creating a sense of unease or wonder.

Sounds may echo strangely, or voices may change tones mid-sentence.

Sensory details are your best friend when crafting dreams. They help you draw readers into the scene, making the dream feel almost tangible without being constrained to what is possible.

The power of symbolism

Dreams are often symbolic, reflecting a character’s subconscious thoughts and emotions. A dream sequence offers a fantastic opportunity to use metaphors and symbols to deepen your narrative. For instance:

A crumbling staircase may represent a character’s feelings of insecurity.

A recurring image, like a locked door, could hint at a secret the character is repressing.

Objects or people in the dream might represent aspects of the character’s personality or unresolved relationships.

By embedding symbols, you can subtly communicate deeper layers of meaning to your readers while building suspense without having to state things outright.

Heightened emotion

In dreams, emotions are often exaggerated. A minor embarrassment can swell into overwhelming shame, and a fleeting joy might feel like euphoria. Use this to your advantage to explore your character’s emotional state. For instance:

A character struggling with grief might dream of a loved one, only for them to disappear when approached.

A character racked with guilt could find themselves pursued by shadowy figures.

Striking a balance between disorientation and logic

Dreams are naturally disorienting because they don’t follow the logical flow of reality. You can introduce elements like sudden scene changes, nonsensical dialogue, or impossible physics to create a truly dreamlike experience. For example:

A character might start at a family dinner, only to inexplicably swimming in an ocean of stars.

A trusted friend might appear with the face of a stranger.

Despite the inherent chaos of dreams, your sequence should still have some degree of narrative coherence. A good rule of thumb is to maintain a logical thread that allows the dream to fulfil its narrative purpose, even if the details are illogical.

Establishing atmosphere

The tone and atmosphere of your dream sequence should align with its purpose. Focus on creating a specific emotional response:

For a nightmare, use eerie, oppressive details, like a pulsating fog or distorted, echoing voices.

For a whimsical dream, evoke wonder with surreal and magical details, such as floating landscapes and shimmering light.

Choose your atmosphere carefully to enhance the emotional impact of the scene.

Types of dream sequences to explore

There are many types of dream sequences, and each serves a unique purpose. Here are some of the most common:

Foreshadowing dreams: These hint at future events, creating suspense or intrigue.

Nightmares: These reveal a character’s fears or anxieties.

Fantasy dreams: These involve magical or surreal elements, and are often used to explore themes, symbols, or metaphors.

Recurring dreams: These underscore unresolved issues or patterns in a character’s life.

Lucid dreams: These allow the dreamer to be aware they’re dreaming and possibly influence the dream’s outcome.

Realisation dreams: These provide moments of clarity or epiphany for the character.

Internal conflict dreams: These visually showcase a character’s inner turmoil, providing a unique way to “show, not tell.”

Linked dreams: These connect two or more characters through shared dreamscapes.

Keep it brief and meaningful

Dream sequences should enhance your story, not derail it. While they offer a chance to be wildly creative, keep them concise and focused. Avoid overloading readers with too much detail or overly prolonged scenes. Your audience should leave the dream sequence full or curiosity, not overwhelmed.

Seamlessly transition in and out

Transitions are crucial for dream sequences. Start with subtle hints, like a sound, a sensation, or a surreal visual that cues readers into the shift from reality to dream. Similarly, exit the dream gracefully, creating a smooth return to the waking world. This ensures that readers are not jarred out of the story.

Writing tips for a dreamlike feel

Use narrative distance to create a floaty, disconnected feeling that mirrors the sensation of dreaming.

Experiment with stream-of-consciousness writing for portions of the dream to mimic the fluid and unpredictable nature of thoughts in sleep.

Pay attention to pacing. Dreams often feel both slow and rapid—a contradiction you can reflect by alternating between drawn-out descriptions and sudden, abrupt moments.

Dream sequences are a space where your imagination can truly run free while still serving the story’s deeper purpose. When done well, they are memorable and meaningful, and leave a lasting impact. It’s a technique well worth exploring.

If you were in the MHA universe, what would be your reason for becoming a hero"?

Please respond in the comments because I need other unbiased oppinions because most of the characters I write or make end up with the same past experiences and want to spice things up a bit. Much thanks! <3

Honor or avenge a loved one.

Push 'those types' of heroes out and expose them to the public.

Embrace the power your Quirk holds (If you have one).

Wish to preotect the innocent.

Enact your hate towards villains or injustice.

To get the fuel of the thrill and adrenaline (adrenaline junkie).

To pull yourself or a family member out of poverty.

Wanting to make a differece in the world of heroes and villains.

Seeking redemption (A past villain, criminal or vigilante).

To become the protector you needed but never got.

Searching for a form of purpose.

Simply can't stand on the sidelines any longer.

Wanting to prove your worth to someone or a series of people.

The simple view of being respected.

To continue the line of heroism in your families past and or bloodline.

To change how heroes and villains are viewed.

Wanting to give back to a community.

Beleiving the heroes in your place of residence aren't doing enough to protect the people they vowed to serve.

Wanting to feel in control of your own life and or control how some things may be controled (Lack of justice, help bring down villain rates, ect)

To up someone you have personal vendeta against.

To act on your strong morals and ethics.

Wishing to take down a certain group of villains/ criminals without getting into legal trouble for unlawful heroism.

If you guys have any other ideas to toss in, please do because i need them lol!

Sorry if some of these are repeats of a nother question lol, I'm just writing down what comes to mind :P