Vivid Verbs To Use Instead

Character Movements (Lips) Part 2

1. Smiling: The character's lips curl upwards at the corners, indicating happiness, friendliness, or amusement.

2. Frowning: The character's lips turn downwards, indicating sadness, displeasure, or concern.

3. Pouting: The character pushes their lower lip forward, often conveying disappointment, sulking, or a desire for attention.

4. Biting lip: The character lightly bites or presses their lips together, suggesting nervousness, anticipation, or hesitation.

5. Licking lips: The character's tongue briefly touches or moves across their lips, indicating desire, anticipation, or hunger.

6. Pressing lips together: The character's lips are firmly pressed together, indicating determination, frustration, or holding back emotions.

7. Parting lips: The character's lips slightly separate, often indicating surprise, shock, or readiness to speak.

8. Trembling lips: The character's lips quiver or shake, suggesting fear, anxiety, or suppressed emotions.

9. Whispering: The character's lips move closer together, and their voice becomes softer, indicating secrecy, confidentiality, or intimacy.

10. Mouthing words: The character moves their lips without making any sound, often used to convey silent communication or frustration.

So my problem with most ‘get to know your character’ questioneers is that they’re full of questions that just aren’t that important (what color eyes do they have) too hard to answer right away (what is their greatest fear) or are just impossible to answer (what is their favorite movie.)  Like no one has one single favorite movie. And even if they do the answer changes.

If I’m doing this exercise, I want 7-10 questions to get the character feeling real in my head. So I thought I’d share the ones that get me (and my students) good results: 

What is the character’s go-to drink order? (this one gets into how do they like to be publicly perceived, because there is always some level of theatricality to ordering drinks at a bar/resturant)

What is their grooming routine? (how do they treat themselves in private)

What was their most expensive purchase/where does their disposable income go? (Gets you thinking about socio-economic class, values, and how they spend their leisure time)

Do they have any scars or tattoos? (good way to get into literal backstory) 

What was the last time they cried, and under what circumstances? (Good way to get some *emotional* backstory in.) 

Are they an oldest, middle, youngest or only child? (This one might be a me thing, because I LOVE writing/reading about family dynamics, but knowing what kinds of things were ‘normal’ for them growing up is important.)

Describe the shoes they’re wearing. (This is a big catch all, gets into money, taste, practicality, level of wear, level of repair, literally what kind of shoes they require to live their life.)

Describe the place where they sleep. (ie what does their safe space look like. How much (or how little) care / decoration / personal touch goes into it.)

What is their favorite holiday? (How do they relate to their culture/outside world. Also fun is least favorite holiday.) 

What objects do they always carry around with them? (What do they need for their normal, day-to-day routine? What does ‘normal’ even look like for them.) 

Some quick tips for writing sexual tension in your novel:

1. Establish strong chemistry: Develop the characters' attraction to each other through meaningful interactions, shared interests, or a deep emotional connection. Their chemistry will lay the foundation for the sexual tension to build upon.

2. Use body language and non-verbal cues: Describe subtle gestures, lingering glances, or the way their bodies react in each other's presence. These non-verbal cues can heighten the tension and create a sense of anticipation.

3. Utilize dialogue: Employ flirty banter, double entendres, or suggestive remarks to create verbal sparring between characters. Clever wordplay can add layers of subtext and amplify the sexual tension.

4. Slow down the pace: Build tension by slowing down the pacing of scenes involving the characters. Emphasize their awareness of each other, the anticipation of physical contact, and the longing that grows with every passing moment.

5. Explore internal thoughts and desires: Give readers insight into the characters' internal dialogue, their secret desires, and the fantasies they have about each other. This adds depth and intensifies the sexual tension.

6. Employ the power of touch: Describe the impact of a brief brush of hands, accidental contact, or the lingering sensation left by a gentle touch. These tactile sensations can evoke a heightened sense of awareness and anticipation.

7. Create obstacles and conflicts: Introduce obstacles or conflicts that prevent the characters from acting upon their desires. These challenges can fuel the sexual tension, making the eventual release even more satisfying for both the characters and the readers.

8. Use sensory details: Engage the readers' senses by describing scents, sounds, or textures associated with the characters' proximity or potential intimacy. Sensory details can intensify the atmosphere and enhance the readers' experience of the sexual tension.

9. Play with power dynamics: Explore power dynamics between characters, such as a power imbalance or a push-pull dynamic. This can create a magnetic pull and increase the sexual tension as the characters navigate their desires and boundaries.

10. Employ the element of surprise: Introduce unexpected moments or situations that catch the characters off guard and heighten the sexual tension. These surprises can lead to spontaneous or forbidden encounters, increasing the anticipation and desire.

Remember to balance the sexual tension with the overall tone and genre of your novel, ensuring it aligns with your intended audience and fits organically within the story. With these tips, you'll be able to craft captivating scenes that sizzle with sexual tension, leaving readers eagerly turning the pages for more.

Happy writing!

When writing about childhood trauma in a novel, it's important to handle the topic with sensitivity and nuance. Here are some quick tips to consider:

1. Research and understand: Take the time to research and understand the specific type of trauma you're addressing in your novel. This will help you portray it accurately and respectfully.

2. Show the impact: Explore how the childhood trauma has shaped the character's thoughts, emotions, and behaviors. Illustrate the long-lasting effects it has had on their development and relationships.

3. Use flashbacks sparingly: Utilize flashbacks strategically to reveal key moments from the character's past that contribute to their trauma. Ensure that the flashbacks serve a purpose in the narrative and provide deeper insights into the character's experiences.

4. Depict coping mechanisms: Show how the character has developed coping mechanisms to deal with their trauma. This can include avoidance, dissociation, or seeking control in certain areas of their life.

5. Allow for healing and growth: Give your character opportunities for healing and growth throughout the story. Show how they confront their trauma, seek support, and gradually find ways to overcome the impact it has had on their life.

6. Avoid sensationalism: Handle the portrayal of childhood trauma with care, avoiding excessive graphic or gratuitous details. Focus on the emotional journey of the character rather than relying solely on shocking events for impact.

7. Show support systems: Include supportive relationships and resources that aid the character in their healing process. This can involve therapists, friends, or mentors who offer understanding, guidance, and empathy.

8. Highlight resilience: Illustrate the character's strength and resilience in the face of their trauma. Show how they find ways to persevere, grow, and rebuild their lives despite the challenges they have faced.

9. Offer hope and redemption: Provide a sense of hope and the possibility of healing for your character. Allow them to find moments of redemption and transformation, demonstrating that healing is attainable.

10. Approach with empathy: Approach the topic of childhood trauma with empathy and compassion. Treat the characters' experiences with respect, acknowledging the complexity and individuality of each person's journey.

Fantasy Guide to Royal Households and How they Work

When I say Households, I mean the entourage that follows around the royal family. The household went everywhere with them to care for their needs from the people who would empty their chamber pots to their noble companions. Most royal households are basically the same as noble ones, only on grander scale. Every royal had a household and an entourage as well as every noble at court.

Palace Personnel ~ The Commons

The commons were an intregal part of every household. They made up perhaps 80% of the work force. Royal courts were often on the road and never spent more than a few months at every palace. The court was constantly moving. Some positions were not permanent, meaning certain servants did not travel with the court because they were employed at the palace only. They would be paid by the Monarch's paymaster.

Scullion: The scullion was a relatively easy position to fill so they were often changed as the court went from palace to palace. They would be responsible for scrubbing and cleaning the servants quarters and the kitchens. They would scrub floors with lye, scour pots with sand, sweep put the fireplace and clean up after the other servants. They were the first to rise in a castle and tasked to light all the fires in the kitchens. Scullions would just be employed to the palace and serve a multitude of chambers

Laundress: The laundress was responsible for the cleaning of anything made of fabric in the household. Since they are handling unmentionables, they knew what happened behind closed bedchamber doors. They knew when the King visited the Queen or hadn't, they knew when marriages were consummated or not and they knew when the Queen and royal women were not pregnant. They often sold secrets to pad their pockets. Laundresses might be permanent staff but sometimes not.

Minstrels: The minstrel was a commoner hired to play an instrument or sing for the entertainment of the royal. A royal might staff a few at a time but they would always have one on hand. The minstrel would likely come with their masters as they travelled. The minstrel might serve the main royal household but a royal might retain their own.

Cook: The cook was one of the most important servants in the household. They would have the task of overseeing the running of the kitchens and keeping supplies in order. They would likely be on call at all times. Henry VIII's cook was often woken in the night because his royal master wanted a midnight snack. The cook was a valued member of the household and would have been highly sought after if they were a very skilled cook. They would have travelled with the joint. Cooks were apart of the greater royal household but often royals retained private cooks for their own use.

Maidservant: The maidservant cleans the castle. She would sweep the floors, scrub them, empty the chamberpots, get rid of the ashes from the fire and ready the fire for later. She would make up the bed or strip it for the laundresses. She would wash anything that needed washing including furniture and ornaments. She was likely not a travelling servant and would be strictly employed at a single palace.

Jester: The jester was the hired entertainer. Working under the master of revels, the jester had the daunting task of making the monarch and their family laugh. They would tell jokes, tell stories, cause havoc in the court for laughs and lighten the mood. The most successful jester of all time was Will Somers, jester to Henry VIII. Will broke bad news to the infamously bad tempered monarch and got away with things that would have sent others to the block. Will survived most of Henry's reign, his head intact. Jesters would be apart of the main household though each royal might have one of their own.

Positions within the Royal Household ~ Noble

Nobility were always welcomed at court. They eat at court, slept at court and were cared for by the monarch. Some nobles had to sing for their supper and most were hired as royal servants. They weren't exactly scrubbing floors and would be paid handsomely with land that would generate wealth for them

The Steward/Seneschal: This person was the head of the royal's staff. They would have the task of running the lands and servants their master or mistress. The steward served as a backup and assistant in all the tasks even representing their master or mistress when they were unavailable. Would be a high ranking noble. Each royal household would have them.

Treasurer of the Household: The treasurer was the accountant and pay master. They would be in charge of ensuring debts were settled, wages were paid and the household was running within the budget. This was a coveted position because it gave the treasurer insight into the financial situations of the royals. Such info was wroth its weight in gold. Each royal would have one.

Usher: The Gentleman Usher would be in charge of escorting guests into the royal chambers and into the royal presence. They would act as a go between their royal master/mistress and the guest often going back and forth with messages. It was just as coveted as the position of chamberlain but with less responsibilities.

Master of Horse: The Master of Horse was in charge of seeing to the horses of their master. They would oversee the grooms or the stableboy/hands who were employed at the stables to actually care for the horses. The master of horse would ensure that the stables were in order and the horses were up to parr in order to bear royalty across the kingdom. Each royal would have one but there would a main one who acted as overseer.

Master of the Wardrobe/Mistress of the Robes: These are the nobility who are employed to look after the clothes of the royal they serve. This would mainly involve a managerial position, overseeing the inventory of the royal wardrobe (a warehouse like building that housed the clothing) and placing orders for new clothes. It was a tidy job that rarely involved getting the hands dirty. Each royal would have one.

Chamberlain/Valet: The chamberlain is employed to look after the Lord's bedchamber. This was the most sought out position as they effectively were the gateway into the royal presence. Their main task was making sure their boss was comfortable and happy. Could be a well born commoner or a noble. Each royal would have one.

The Page: All royal households had pages. They would be a young noble boy about seven years old sent to their royal master. He would be in charge of tidying up after the lord, carrying messages to other servants and occupants of the castle and serving him at meals. Unlike others on the list, the page would not be paid. His experience was his payment as he would learn the running of a court and how to be courtier. Each royal would have one.

Squires: Squires were like pages though they only served the men. They would accompany their royal master to battle, look after his armour and mail, ensure that his lord's horse was saddled, caring for their master's weapons. The squire would always be a young nobleman on the cusp of becoming a knight.

Governess: The governess is a noblewoman woman employed to oversee the Monarch's children's household. She would be the first teacher a royal child would have and would oversee the nursemaids who would have care of the physical person of the child. She would be appointed when the child was four or five. Notable governesses include Katherine Swynford (wife of John of Gaunt and mother to the Beaufort line), Margaret Pole (wife of Tudor Loyal Sir Richard Pole, sister of the last York heir Edward of Warwick, daughter of George Duke of Clarence and niece to King Edward VI and Richard III), Kat Ashley, Margaret Bryan, Madame de Maintenon and Baroness Lehzen. Most unmarried Princesses retained their governesses while Princes generally outgrew their governesses after they were breeched.

Gentlemen of the Privy Chamber: They were the male companions of a King or Prince, sort of like ladies in waiting but manly. They would accompany the King or Prince everywhere they would go and shared duties with Groom of the Stool (royal toilet paper dispenser) and the Chief Gentleman of the Chamber (overseeing the staff and maintaining the chamber). They would help their master get ready, serve him at the table and organize hunting and games to keep him entertained. Gentlemen and companions where often chosen for their connections as well as their master's own opinion. Henry VIII's gentlemen included: Sir William Compton (ward of Henry VII and heir to rich lands), Sir Henry Norris (the grandson of William Norris who fought with Henry's father at Stroke and a relation to the Yorkists Lovells), Sir Anthony Denny (son of Sir Edmund Denny Baron of the Exchequer) Sir Michael Stanhope (brother in law to Edward Seymour, Duke of Somerset), Charles Brandon (ward of Henry VII and son of Tudor Loyalists)

Ladies in Waiting and Maids in Waiting or Maids of Honour: These are the female attendants to the Queen or Princess. Ladies in Waiting were married while the Maids were unmarried. They would have to attend their mistress wherever she went, help her get ready, keep her chambers in order, write letters for the Queen and maintaining her honour. They were chosen for their connections. Using Katherine of Aragon as an example, her Ladies in Waiting included: Maria de Salinas (daughter of Juan Sancriz de Salinas secretary to Isabella, Princess of Portugal and a Spanish courtier in the service to Katherine's parents, wife of Baron Willoughby de Ersby), Elizabeth Howard (the daughter of Thomas Howard, 2nd Duke of Norfolk, sister to Thomas Howard, 3rd Duke of Norfolk and wife to Thomas Boleyn, ambassador to France), Anne Hastings (daughter of William Hastings, 1st Baron Hastings, wife to George Talbot, Earl of Shrewsbury and Lord Steward.), Agnes Tilney (wife to Thomas Howard, Earl of and 2nd Duke of Norfolk.), Elizabeth Scrope (wife of John de Vere, Earl of Oxford, a loyal Tudor lord), Margaret Scrope (wife of Sir Edmund de la Pole, Earl of Suffolk cousin to the King), Anne Stafford (sister of the Duke of Buckingham, married Sir George Hastings, Earl of Huntington and daughter of Henry Stafford, 2nd Duke of Buckingham (cousin to the King) and Lady Katherine Woodville (sister of King Henry VIII's grandmother and his great aunt by her marriage), Elizabeth Stafford (sister to Anne Stafford wife Robert Radcliffe, Lord Fitzwalter and Earl of Sussex around). Their connections are what got them their places and you can see why they were chosen.

Accommodation

Accommodation can be a difficult thing to sort both as a writer and a steward. You might have a palace of 200+ bedchambers in which you must house a staff of 500-/+, a varying amount of nobles, the royal family (of a varying amount) and their own households. When assigning rooms it is best to think of a Russian nesting doll. Start from the inside and work your way to the outside.

The best rooms go to the monarch, their consort and their children/siblings/parent(s). These chambers would include the bedroom, a drawing room/ common area, a privy, a closet (a small chamber that can be used for prayer or work). They would be furnished with the best cloth, the best candles and whatever furniture brought by the resident since most royal courts travelled from palace to palace. They will also have chambers for their personal servants such as ladies in waiting and grooms.

The second best set of rooms would go to the highest ranking nobles/people in the court. These rooms would be less fancy and a little smaller. These would be given to from titled nobility descending from those of Ducal rank (Dukes/Duchesses) or even members of the council such as Thomas Cromwell in Tudor times.

The next set would be considerably smaller, perhaps minus a closet or a drawing room. Given to lower nobility.

The next level of chambers would be smaller perhaps only the bedroom and a common area given to minor nobles.

The last set of rooms would be small and only hold enough room for a bedroom. Servants would have to sleep on the ground on pallets beside their masters.

Any other guests at court would have to stay at off-site locations around the palace in the city. Some nobles at houses around major palaces just in case they arrived late or were kicked out of court.

Hello! I have been looking for a word for "grandfather" and "grandmother" in HV, but can't find it. In the 'family tree' there is for cousins but not grandsires :(

Also, I don't know if you have explained, but how does the name change in HV?

Thank you!

So HV has two:

Mumuña = mother's mother

Muñāzma = father's mother

Kekepa = father's father

Kepāzma = mother's father

And I don't know what you mean by your question, I'm afraid. :(

10 ideas for character personalities

Creating unique and interesting characters is essential to any good story. Here are some ideas for character personalities to help you develop your own characters:

The Rebel: A character who defies authority and rules, often causing conflict but also inspiring change. Stubborn, working for a greater cause, but often ignores those closest to them.

The Optimist: A character who always sees the bright side of things, even in the darkest of situations. They might be the comic relief, and they’ll tend to be naive in dangerous situations and often put themselves at risk of heartbreak because they see the best in people.

The Pessimist: A character who always expects the worst, often bringing down the mood of those around them. They might be very sarcastic, witty, and grumpy, and they can only be handled well by certain characters - they match well with softer, laidback personalities.

The Perfectionist: A character who strives for perfection in everything they do, often to the point of obsession. They’ll never really be satisfied with anything they achieve, no matter how good it is, and they have trouble with friendships and relationships.

The Joker: A character who uses humor to cope with difficult situations, but may also use it to mask their true feelings. They often feel a lot worse than they let on, and they put others ahead of themselves.

The Loner: A quiet character who prefers solitude and may struggle with forming connections with others, though they tend to be quite emotionally smart and observant.

The Leader: A character who takes charge and inspires others to follow them, but they can get carried away with the power in their hands. They’re confident and they know it, and they often end up hurting people with their behavior.

The Follower: A character who prefers to take direction from others and may struggle with making decisions on their own. These are often very passive characters who rely on help from others - typically from one specific protector.

The Nurturer: A character who is caring and compassionate, often putting others' needs before their own, and making sure that everybody else is happy. They have people-pleasing tendencies and will hide their own opinions if they find it might upset others.

The Adventurer: A character who is always seeking out new experiences and challenges. They may be impulsive and thrill-seeking, but also courageous and resourceful.

These are just a few ideas to get you started. Remember, the key to creating memorable characters is to make them unique and multi-dimensional, beyond the archetype of personality that they fit into!

The Character Bible and my two other Writer’s Toolboox are dropping in just 8 days! They’ll have masses of resources, materials, character theory and even customizable character sheets.

12 Writing Tips From Flannery O’Connor

Flannery O’Connor was an American author. Here are 12 writing tips from her writings.

On the anniversary of her birthday…

most of y'all probably already know about this website, but if you're a writer and you're looking for names for your characters (especially ones that fit a particular theme) might i recommend magic baby names?

you can enter one (or multiple) names and it'll automatically generate names that are thematically similar to the one(s) you gave them, which can be SO HELPFUL when you're looking for inspiration

How to think of a meaningful plot when writing fanfiction?

A lot of advice on plot structure starts with determining an inciting incident or a change to the world, but in a fanfiction context most of that real estate is already spoken for by the canon itself. I've always struggled a lot with finding *things to write about* when I want to go beyond small "plotless"/fluff fics. How do you figure out an original plot that manages to fit "in between" the existing canon in a way that still feels cohesive?

Fan-Fiction: Figuring Out a Plot

If you want to write plot-based fan-fiction of your favorite canon source, there are lots of ways to do that...

1 - Mimic Canon Conflicts - What type of conflicts are at the heart of the canon story? For example, let's say you're writing fan-fiction for your favorite legal drama. Canon conflict probably mostly revolves around trying legal cases. So, creating your own legal case for the team to solve would be a good option.

2 - Explore Off-Screen/Implied Events - Sometimes characters reference events that happened in the past or off-screen. These can be great sources for a conflict. For example, maybe two characters are sent to a prison to interview a potential witness, but this happens off-screen and is only referenced when they return. Maybe someone asks how it went and one of the characters says, "Don't ask." Maybe it's because they didn't get much information, but this could be a fun place to explore something more happening. What if there was a lockdown when they were at the prison? What if their car broke down on the way home and they ended up in a weird situation? What if their interview with the potential witness led them on a wild goose chase to track down another potential witness or some source of information? Lots of possibilities in off-screen/implied events.

3 - Explore Character Backstory/Personal or Professional Life - Characters usually have interesting back stories and sometimes interesting lives beyond what's explored in canon. The team in your favorite legal drama all had lives before they joined that legal team, and they all have personal lives, too. These can be great places to look for potential conflicts/plot ideas.

4 - Explore Character Relationships - Character relationships are a fun source of conflict. Are there two characters who don't get along? Maybe it'd be fun to see what happens if they get snowed in at the office together for a weekend. Are there two characters who have good romantic tension? What happens if they get sent on a dangerous errand together?

5 - Take an AU Approach - Sometimes it's fun to take canon events and flip them upside down as though they occurred in an alternate universe. Maybe there's a high profile case the team almost lost, which would have been disastrous, but they ultimately won. So, explore what would have happened if they'd lost. Or, what happens if a different character led the case? What happens if a character makes a different decision than they did in canon? These are all great possibilities for conflict.

There are lots of other possibilities, of course... crossovers, genre flips, introducing original characters, and so much more. But hopefully this list will give you some good places to start.

Have fun with your story!

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I’ve been writing seriously for over 30 years and love to share what I’ve learned. Have a writing question? My inbox is always open!

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