I’ve seen mystery/thriller authors use the same handful of red herrings too many times to count. So here are some (hopefully not as common) red herrings for your writing.
Your narrator can play favourites and scheme and twist the way your readers interpret the story. Use this to your advantage! A character portrayed as untrustworthy can really be someone innocent the narrator framed, vice versa.
A character with a history of betrayal or questionable loyalty is an obvious suspect. They did it once, they could do it again, right? Wrong! They’ve actually changed and the real traitor is someone you trusted.
An expert—like a detective, scientist, or historian—analyses a piece of evidence. They’re ultimately wrong, either due to bias, missing data, or pressure to provide quick answers.
You know that one sidekick or ally who’s somehow always ahead of the curve? They’re just really knowledgeable, your characters know this, but it makes it hard to trust them. Perfection is suspicious! But in this case, they’re actually just perfect.
Maybe one of your characters is seen crying, angry, or suspiciously happy after xyz event. Characters suspect them, but turns out they’re just having a personal issue. (People have lives outside of yours MC smh). Or it could be a cover-up.
At first this character’s alibi seems perfect but once the protag digs into it, it has a major hole/lie. Maybe they were in a different location or the person they claimed to be with was out of town.
Have a seemingly significant pattern—symbols left at crime scenes, items stolen in a specific order, crimes on specific dates. Then make it deliberately planted to mislead.
A character was secretly close to a victim/suspect, making them a suspect. Turns out they were hiding a completely unrelated secret; an affair, hidden family connection, etc.
Create a grudge or past feud and use it to cast suspicion on an innocent character. Introducing an aspect of their past also helps flesh out their character and dynamics as a group + plant distrust.
Luke Castellan, need I say more (I will)? A supposedly innocent character dies, but turns out they faked it and were never a victim in the first place. They just needed to be out of the picture.
A character overhears a threat, argument, etc. They suspect B based on this convo, but turns out they just came to a false conclusion. (Or did they?)
Someone confesses to hearing/seeing a clue, but turns out they were mistaken. Maybe they thought they heard a certain ringtone, or saw xyz which C always wears, but their memory was faulty or influenced by stress.
Check out the rest of Quillology with Haya; a blog dedicated to writing and publishing tips for authors!
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I am sad and I want to make you sad. I don’t know why but I love herm’s expression here. so much
1. Sentences can only do one thing at a time.
Have you ever heard a four-year-old run out of breath before she can finish her thought? I edit a lot of sentences that work the same way. You need a noun, you need a verb, you might need an object. Give some serious thought to stopping right there.
Sentences are building blocks, not bungee cords; they’re not meant to be stretched to the limit. I’m not saying you necessarily want a Hemingway-esque series of clipped short sentences, but most writers benefit from dividing their longest sentences into shorter, more muscular ones.
2. Paragraphs can only do one thing at a time.
A paragraph supports a single idea. Construct complex arguments by combining simple ideas that follow logically. Every time you address a new idea, add a line break. Short paragraphs are the most readable; few should be more than three or four sentences long. This is more important if you’re writing for the Web.
3. Look closely at -ing
Nouns ending in -ing are fine. (Strong writing, IT consulting, great fishing.) But constructions like “I am running,” “a forum for building consensus,” or “The new team will be managing” are inherently weak. Rewrite them to “I run,” “a forum to build consensus,” and “the team will manage.” You’re on the right track when the rewrite has fewer words (see below).
(If for some insane reason you want to get all geeky about this, you can read the Wikipedia article on gerunds and present participles. But you don’t have to know the underlying grammatical rules to make this work. Rewrite -ing when you can, and your writing will grow muscles you didn’t know it had.)
4. Omit unnecessary words.
I know we all heard this in high school, but we weren’t listening. (Mostly because it’s hard.) It’s doubly hard when you’re editing your own writing—we put all that work into getting words onto the page, and by god we need a damned good reason to get rid of them.
Here’s your damned good reason: extra words drain life from your work. The fewer words used to express an idea, the more punch it has. Therefore:
Summer months Regional level The entire country On a daily basis (usually best rewritten to “every day”) She knew that it was good. Very (I just caught one above: four-year-old little girl)
You can nearly always improve sentences by rewriting them in fewer words.
5. Reframe 90% of the passive voice.
French speakers consider an elegantly managed passive voice to be the height of refinement. But here in the good old U.S. (or Australia, Great Britain, etc.), we value action. We do things is inherently more interesting than Things are done by us. Passive voicemuddies your writing; when the actor is hidden, the action makes less sense.
Bonus: Use spell-check
There’s no excuse for teh in anything more formal than a Twitter tweet.
Also, “a lot” and “all right” are always spelled as two words. You can trust me, I’m an editor.
Easy reading is damned hard writing. ~ Nathaniel Hawthorne
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So you might be saying: Lion why a guide on drawing black people? Well young blood it’s because a lot of people cant…seem…to draw…black people..Amazing I know.
Racist (caricatures) portrayals of black people have been around forever, and to this day people can’t seem to draw black people like they are human. If your artwork resembles any of the above even remotely your artwork is racist and offensive. If you try to excuse that as a stylistic choice you’re not only a terrible artist, but racist too!!! Congrats.
Whitewashing is also a problem. A lot of people refuse to draw black features on canonly black characters. While this example isn’t colored, lightening the skin-tone of a character is also considered whitewashing. So lets start with features!
Now all black people have different noses thats a no-brainer, but black noses tend to have flatter bridges, and wider nostrils. Please stay from triangular anime noses and small button noses. Your drawings should not depict black people with abnormally large noses. (Especially if you do not draw other characters this way)
If you feel like the way you draw lips on black characters is offensive or resembles a caricature,it probably does and you should change it. ABSOLUTELY AVOID PLACING LIPS AT THE BOTTOM OF THE FACE.
Hair is so diverse! Please get used to drawing braids, locs,kinks and coils! If you can learn to draw ringlets and long waves you can learn how to draw black hairstyles.
Add clips! Learn how to draw baby-hairs and never be afraid to add color Pinterest and Google are free my dudes! Also try using square brushes for blocking in coils.
OK THAT’S ALL YOU GUYS
Here's my "lazy" foliage tutorial! 🍀 (I say "lazy" in quotes as I consider this method a shortcut, but still requires some effort for the drawing to look nice)
Gif version of the process:
Thanks for reading!
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Just a quick thing I put together. This blew my fucking MIND when my anatomy teacher pointed it out. My drawings instantly got better. You might know it (good for you, I wish I knew it before too T_T) or you might not and it might help you get better.
hey these are some tips for some of the little details in drawing fat folks that some people might not know!
everyone has fat on their bodies so its a worthwhile skill to have, but most art tutorials leave it out. heres some other good tips from artists!!
Handwrite. (If you already are, write in a different coloured pen.)
Write outside or at a different location.
Read.
Look up some writing prompts.
Take a break. Do something different. Comeback to it later.
Write something else. (A different WIP, a poem, a quick short story, etc.)
Find inspiring writing music playlists on YouTube. (Themed music, POV playlists, ambient music, etc.)
Do some character or story prompts/questions to get a better idea of who or what you’re writing.
Word sprints. Set a timer and write as much as you can. Not a lot of time to overthink things.
Set your own goals and deadlines.
Write another scene from your WIP. (You don’t have to write in order.) Write a scene you want to write, or the ending. (You can change it or scrap it if it doesn’t fit into your story later.)
Write a scene for your WIP that you will never post/add to your story. A prologue, a different P.O.V., how your characters would react in a situation that’s not in your story, a flashback, etc.
Write down a bunch of ideas. Things that could happen, thing that will never happen, good things, bad things.
Change the weather (in the story of course.)
Feel free to add your own.