It is absolutely useless to point out to me that my favorite characters went insane and perhaps slightly evil, especially when they were the ones wronged first. I support them and think they could have been more insane, actually. I think they should have just started attacking people on sight. They should have gone off the walls completely. They should have made all their decisions based off of grief and fear for far longer! I support rights and wrongs indiscriminately. I think forgive and forget should only come after they've worked through their hurt in the most destructive way possible and traumatized everyone back. Pls never assume otherwise
im going to have a stroke
The summer before 2nd year
yeah yeah yeah mortifying ordeal of being known and all that but sometimes a friend mentions something about you that you didn’t think was noticeable and it feels like your heart is being cradled in their hands
Source: abdul_rabby___
The 5-Factor Model of Personality
Lewis R. Goldberg has done the most systematic research on the Big Five using single-word trait adjectives.
According to Goldberg, key adjective markers of the Big Five are as follows:
Surgency or extraversion: talkative, extraverted, assertive, forward, outspoken versus shy, quiet, introverted, bashful, inhibited
Agreeableness: sympathetic, kind, warm, understanding, sincere versus unsympathetic, unkind, harsh, cruel
Conscientiousness: organized, neat, orderly, practical, prompt, meticulous versus disorganized, disorderly, careless, sloppy, impractical
Emotional stability: calm, relaxed, stable versus moody, anxious, insecure
Intellect or imagination: creative, imaginative, intellectual versus uncreative, unimaginative, unintellectual
Norman’s Markers for the Big Five
Talkative – silent
Sociable – reclusive
Adventurous – cautious
Open – secretive
Good-natured – irritable
Cooperative – negativistic
Mild/gentle – headstrong
Not jealous – jealous
Responsible – undependable
Scrupulous – unscrupulous
Persevering – quitting
Fussy/tidy – careless
Calm – anxious
Composed – excitable
Not hypochondriacal – hypochondriacal
Poised – nervous/tense
Intellectual – unreflective/narrow
Artistic – nonartistic
Imaginative – simple/direct
Polished/refined – crude/boorish
Source ⚜ More: On Psychology ⚜ Descriptors: Feelings ⚜ More Descriptors Worldbuilding ⚜ Plot ⚜ Character ⚜ Definitions of Emotions in Psychology
Maiden Holmes | 少女大人 | episode 23
“I will never leave you again.”
honestly people who are insufferable about “the prank” or whatever can eat my entire ass because everyone crucifies sirius for telling snape how to get past the whomping willow but i’ve never seen anybody acknowledge what a fucking idiot snape was for meddling and willingly following somebody he assumed to be a werewolf inside a tight passage under a tree that could murder you during a full moon. what was the little bitch even trying to achieve by following remus? we know from his flashback that he had a hunch about remus being a werewolf, then he was told from a guy he hated and who hated him back the way to get past the tree and actually did what sirius said during a full moon? i’m sorry but that’s just being fucking stupid. i’m like 97% sure sirius did not even expect snape to do what he said because why on earth would he do that and if he had actually died that would have been well deserved because god knows the amount of times harry almost got himself killed by doing dumb things in the books but nothing he ever tried was quite as idiotic as this
Creating vivid descriptions for a story or character is a mark of a great writer. One specific form of descriptive writing that particularly affects setting and characterization is the portrayal of characters’ clothing.
Clothing descriptions work best when they appear organically in the course of the narrative. The story should never halt in place so that you can shoehorn in a bunch of sartorial descriptions. Here are some writing tips to help you use clothing descriptions in your creative writing:
Integrate clothing into your initial character description. The first time readers meet a character, they should get a sense of how they dress.
Study articles of clothing to make sure you know what they look like. This will help you choose the right words to describe them. For example, it would be appropriate to describe a chiffon dress as “sheer” or “thin,” but it would be clumsy to describe it as “threadbare” because chiffon is not cheap.
Pick outfits that fit the setting you’re writing about. If you’re describing an elegant ball, you might want to place a character in a form-fitting strapless evening gown, as this is a common piece for formal dances. Describing the clothing reinforces the setting you’ve chosen.
Blend clothing into job descriptions. If you’re describing a monk at work, you could note how the loose-fitting sleeves of his frock draped onto a table. If you’re describing a superhero in an action scene, describe the flow of their cape or the stiffness of their boots.
Let your characters change outfits. Show a character arc by marking how a character’s clothing changes over the course of your story. If a character in a YA novel starts out wearing ill-fitting khaki slacks with enormous pleats and ends that same novel wearing a denim jacket with an “anarchy” pin on the lapel, we know they’ve undergone some major changes.
Use clothing to set characters apart. Represent the difference between two characters by describing the differences in their clothing. Let’s say you’re describing two characters interviewing for the same job: One wears a sporty, ruched, A-line dress, and the other wears jeans and a sweatshirt. The reader can infer aspects of both characters’ personalities and make a comparison between two characters.
A character’s clothing is a window into so many aspects of their lives. From a character’s clothes, readers can make inferences about the following:
Clothing reveals a character’s personality. A knee-length fur coat and a corduroy jacket are both forms of outerwear, but it’s quite unlikely they’d be worn by the same kind of person. Readers can deduce a character’s style and personality from the clothes they wear.
Clothing implies a character’s wealth. Is your novel’s main character comes from a working-class background, it’s more likely they’d wear a t-shirt and jeans than a lavish and expensive piece of clothing. Just as in real life, clothing indicates status and wealth.
Clothing shows a character’s point of view toward the world. Clothing can reveal a character’s views on the world. If someone puts on a graphic t-shirt with the sleeves cut off, it implies that they could hardly care less about offending other people. Meanwhile, a character who wears a dressy button-down shirt with a single-breasted plaid jacket seems like the old-fashioned type. Maybe they’re heading to a mixer at the country club?
Clothing suggests the time and place in which a character exists. As part of your worldbuilding process, you’ll want to be as precise as possible about your book’s setting and time period. This doesn’t just apply to historical fiction; it applies to all forms of writing. For instance, if you’re writing a battle scene set during the Revolutionary War, you might need to study the physical descriptions of britches and pantaloons. But if your scene is set in a present-day battlefield, you might describe a soldier as wearing camouflage with a tag hung from a necklace. Simply by changing the clothing description, you’ve marked a massive distinction between these two war stories.
Source ⚜ More: Notes ⚜ Writing Resources PDFs ⚜ References: Fashion