Blog Posts Masterlist

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this is almost certainly a post ive made before but when a character's grief is so strong it fully alters the form of the narrative itself... moby dick being so much longer than strictly necessary because ishmael's grief made him stall for time in the telling of the tragedy... harrow the ninth being in second person because harrow was so grief-stricken that she herself was not capable of making narrative sense of the events of the novel and so someone else had to do it.... do u know what i mean

Words to replace said, except this actually helps

I got pretty fed up with looking for words to replace said because they weren’t sorted in a way I could easily use/find them for the right time. So I did some myself.

IN RESPONSE TO Acknowledged Answered Protested

INPUT/JOIN CONVERSATION/ASK Added Implored Inquired Insisted Proposed Queried Questioned Recommended Testified

GUILTY/RELUCTANCE/SORRY Admitted Apologized Conceded Confessed Professed

FOR SOMEONE ELSE Advised Criticized Suggested

JUST CHECKING Affirmed Agreed Alleged Confirmed

LOUD Announced Chanted Crowed

LEWD/CUTE/SECRET SPY FEEL Appealed Disclosed Moaned

ANGRY FUCK OFF MATE WANNA FIGHT Argued Barked Challenged Cursed Fumed Growled Hissed Roared Swore

SMARTASS Articulated Asserted Assured Avowed Claimed Commanded Cross-examined Demanded Digressed Directed Foretold Instructed Interrupted Predicted Proclaimed Quoted Theorized

ASSHOLE Bellowed Boasted Bragged

NERVOUS TRAINWRECK Babbled Bawled Mumbled Sputtered Stammered Stuttered

SUAVE MOTHERFUCKER Bargained Divulged Disclosed Exhorted

FIRST OFF Began

LASTLY Concluded Concurred

WEAK PUSY Begged Blurted Complained Cried Faltered Fretted

HAPPY/LOL Cajoled Exclaimed Gushed Jested Joked Laughed

WEIRDLY HAPPY/EXCITED Extolled Jabbered Raved

BRUH, CHILL Cautioned Warned

ACTUALLY, YOU’RE WRONG Chided Contended Corrected Countered Debated Elaborated Objected Ranted Retorted

CHILL SAVAGE Commented Continued Observed Surmised

LISTEN BUDDY Enunciated Explained Elaborated Hinted Implied Lectured Reiterated Recited Reminded Stressed

BRUH I NEED U AND U NEED ME Confided Offered Urged

FINE Consented Decided

TOO EMO FULL OF EMOTIONS Croaked Lamented Pledged Sobbed Sympathized Wailed Whimpered

JUST SAYING Declared Decreed Mentioned Noted Pointed out Postulated Speculated Stated Told Vouched

WASN’T ME Denied Lied

EVIL SMARTASS Dictated Equivocated Ordered Reprimanded Threatened

BORED Droned Sighed

SHHHH IT’S QUIET TIME Echoed Mumbled Murmured Muttered Uttered Whispered

DRAMA QUEEN Exaggerated Panted Pleaded Prayed Preached

OH SHIT Gasped Marveled Screamed Screeched Shouted Shrieked Yelped Yelled

ANNOYED Grumbled Grunted Jeered Quipped Scolded Snapped Snarled Sneered

ANNOYING Nagged

I DON’T REALLY CARE BUT WHATEVER Guessed Ventured

I’M DRUNK OR JUST BEING WEIRDLY EXPRESSIVE FOR A POINT/SARCASM Hooted Howled Yowled

I WONDER Pondered Voiced Wondered

OH, YEAH, WHOOPS Recalled Recited Remembered

SURPRISE BITCH Revealed

IT SEEMS FAKE BUT OKAY/HA ACTUALLY FUNNY BUT I DON’T WANT TO LAUGH OUT LOUD Scoffed Snickered Snorted

BITCHY Tattled Taunted Teased

Hello, I am writing a book where rather than having one main character/protagonist there is multiple characters that are sort of 'focused' on in third person. I have been looking into this for some time and many resources simply say 'your main character' and I struggle with what I am meant to do if I have more than one character. Am I searching for the wrong things here? Have I bitten off more than I can chew and do you have any resources for writing more than one MC?

Balancing multiple main characters...

The key to this balance is smooth transition and a balance of “screen time”. The story lines must be evenly balanced and prioritized in the actual text and the overall plot/conflict.

It’s definitely challenging to incorporate multiple focus characters and storylines, but it’s not impossible. It’s more time you’ll have to spend on character development, and then weaving the plots together in a way that feels balanced and purposeful. This can be as simple as utilizing format, and as complex as jumbling all of the separate conflicts and background noises together without pulling the reader in a million different directions. 

I have a few resources you may find helpful as you go along, but the overall piece of advice I have on this is to focus on an even distribution of time, energy, and care into each character and their own stories, and then make sure it all fits nicely by the end. 

How To Fit Character Development Into Your Story

Giving Characters Distinct Voices in Dialogue

Tips on Character Consistency

Resources For Plot Development

Guide To Plot Development

Tackling Subplots

Plot Structures

Pacing Appropriately

Tips on Introducing Backstory

What To Cut Out of Your Story

Tips on Balancing Development

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Masterlist | WIP Blog

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ok but like when did self-sacrifice become synonymous with death? writers seem to have forgotten that people can make personal sacrifices for the greater good without giving their lives. plots about self-sacrifice and selflessness don’t always have to end in death. suffering doesn’t have to be mourning. you can create drama and emotional depth on your show without killing everyone. learn to explore the meaning of living rather than dying

articles and essays I keep coming back to:

“joy” by zadie smith (about, well, joy)

“roaming the greenwood” by colm tóibín (ostensibly a book review of the history of gay literature but actually just very incisive thoughts on…the history of gay literature)

“the murder of leo tolstoy” by elif batuman (about exactly what it says in the title)

“the love that dare not squeak its name” by david rakoff (about, i swear to god, stuart little)

a room of one’s own by virginia woolf (I mean, you know)

the entire lingua franca archive but in particular “bio hazard” by fred kaplan (about writing a biography of gore vidal) and “the stand” by daniel mendelsohn (about the role of a philosopher (martha nussbaum love of my life) in a colorado gay rights case in the 90s)

“the professor of parody” by martha nussbaum (about judith butler)

I want more stories that explore the angst potential of unrequited platonic love.

Like:

‘You’ve always been like a brother to me but I’ve realised you only come to me when you want something’

‘My surrogate parental figure just sees me as another student/employee/lackey’

‘I raised you like my own child but you don’t even remember who I am’

And of course, the classic ‘You’re my best (and only) friend but I know I’m only one of yours’.

One thing I like about Pixar films is how the happy ending isn’t always what you think it’ll be. The toys don’t go with Andy to college, Gusteau’s restaurant gets closed down, Mike and Sully get kicked out of university, Carl never gets Ellie to Paradise Falls. But they find out that what they wanted isn’t necessarily what they needed, and I really like the fact that kids get to learn that life doesn’t always turn out the way they dreamed and that’s okay.

Ways to un-stick a stuck story

Do an outline, whatever way works best. Get yourself out of the word soup and know where the story is headed.

Conflicts and obstacles. Hurt the protagonist, put things in their way, this keeps the story interesting. An easy journey makes the story boring and boring is hard to write.

Change the POV. Sometimes all it takes to untangle a knotted story is to look at it through different eyes, be it through the sidekick, the antagonist, a minor character, whatever.

Know the characters. You can’t write a story if the characters are strangers to you. Know their likes, dislikes, fears, and most importantly, their motivation. This makes the path clearer.

Fill in holes. Writing doesn’t have to be linear; you can always go back and fill in plotholes, and add content and context.

Have flashbacks, hallucinations, dream sequences or foreshadowing events. These stir the story up, deviations from the expected course add a feeling of urgency and uncertainty to the narrative.

Introduce a new mystery. If there’s something that just doesn’t add up, a big question mark, the story becomes more compelling. Beware: this can also cause you to sink further into the mire.

Take something from your protagonist. A weapon, asset, ally or loved one. Force him to operate without it, it can reinvigorate a stale story.

Twists and betrayal. Maybe someone isn’t who they say they are or the protagonist is betrayed by someone he thought he could trust. This can shake the story up and get it rolling again.

Secrets. If someone has a deep, dark secret that they’re forced to lie about, it’s a good way to stir up some fresh conflict. New lies to cover up the old ones, the secret being revealed, and all the resulting chaos.

Kill someone. Make a character death that is productive to the plot, but not “just because”. If done well, it affects all the characters, stirs up the story and gets it moving.

Ill-advised character actions. Tension is created when a character we love does something we hate. Identify the thing the readers don’t want to happen, then engineer it so it happens worse than they imagined.

Create cliff-hangers. Keep the readers’ attention by putting the characters into new problems and make them wait for you to write your way out of it. This challenge can really bring out your creativity.

Raise the stakes. Make the consequences of failure worse, make the journey harder. Suddenly the protagonist’s goal is more than he expected, or he has to make an important choice.

Make the hero active. You can’t always wait for external influences on the characters, sometimes you have to make the hero take actions himself. Not necessarily to be successful, but active and complicit in the narrative.

Different threat levels. Make the conflicts on a physical level (“I’m about to be killed by a demon”), an emotional level (“But that demon was my true love”) and a philosophical level (“If I’m forced to kill my true love before they kill me, how can love ever succeed in the face of evil?”).

Figure out an ending. If you know where the story is going to end, it helps get the ball rolling towards that end, even if it’s not the same ending that you actually end up writing.

What if? What if the hero kills the antagonist now, gets captured, or goes insane? When you write down different questions like these, the answer to how to continue the story will present itself.

Start fresh or skip ahead. Delete the last five thousand words and try again. It’s terrifying at first, but frees you up for a fresh start to find a proper path. Or you can skip the part that’s putting you on edge – forget about that fidgety crap, you can do it later – and write the next scene. Whatever was in-between will come with time.

overgrown ruins are great and all but you know what really goes hard? overgrown ruins partially or entirely submerged underwater