Please Reblog, This Is So Important.

How should I go about describing a character who goes through a lot, becoming more disheveled and desperate as the plot goes on?

Desperation is the emotion that drives characters to their limits, leading to their most intense and extreme behaviours.

By showing how characters become more desperate as your plot progresses, you can create characters that are interesting, dynamic, and relatable.

Here are some ways you can show desperation in your characters. As the plot moves forward, these elements can get worse, showing their decline.

How do they behave?

Obsessive and/or compulsive

Repetitive actions like hand wringing, or overuse of stock phrases

Self-destructive and risk-seeking

Enhanced aggression

Avoidant and isolationist

Manipulative

Exploitative

Short-tempered

Impulsive decision-making

Unrelenting pursuit of something

What physical signs do they show?

Heart palpitations and short, rapid breathing

Sweating profusely

Shaking or trembling

Sudden onset of nausea

Feeling weak or dizzy

Muscle tension

Headaches

Insomnia caused by worry and stress

Feelings of fatigue

Stomach pain and cramping

How do they interact?

Begging or pleading with others

Manipulating others to get what they want

Increasing paranoia and questioning other's motives

Pushing away loved ones

Becoming overly clingy

Either an inability to trust or being too quick to trust others

Self-sabotage

Single-focus conversations

What do they look like?

Unkempt hair and poor hygiene

Rumpled, slept-in clothing

Nervous tics, like fidgeting, pacing, or picking at nails

Extreme and unexplained weight loss

A haunted, faraway, or panicked look

Dark-rimmed, bruised eyes from lack of sleep or exhaustion

A constant sheen of sweat and clammy skin

Unusual clothing choices

What body language do they display?

Hunching over, as if trying to protect themselves

Fidgeting or pacing

Avoiding eye contact

Clenching fists or grinding teeth

Sweating or shaking

Staring intently at something

Repeatedly touching hair or face

Darting eyes and biting lips

Meek and under-confident stance

Pleading look

What is their attitude?

Feeling hopelessness

Sad and dejected

Becoming increasingly irrational

A loss of faith in themselves and others

Obsession to the point of resorting to extreme measures

A sense of helplessness

Blaming others

Feeling powerless

A sense of urgency

What are some positive things that can come out of desperation?

Increased motivation to achieve their goals or solve their problems

Resilience and adaptability in the face of adversity

Heightened creativity and resourcefulness

The ability to form deep and meaningful connections with those who share their struggles

Catharsis or character growth through their struggles

What are some negative things that can come out of desperation?

A tendency to become self-destructive or engage in risky behaviour

Difficulty forming and maintaining healthy relationships

Increased isolation or loneliness

Chronic stress and physical health problems

A tendency to make impulsive or irrational decisions

Prone to depression and anxiety

What is an Unreliable Narrator? And How to Write One.

An unreliable narrator is a storytelling technique where the narrator's credibility or truthfulness is questionable. The narrator either intentionally or unintentionally provides a distorted or biased account of the events, characters, or situations in the story. This narrative approach can add complexity, suspense, and intrigue to your writing. Here's how you can create an unreliable narrator:

1. Establish a motive: Determine why the narrator is unreliable. It could be due to personal bias, mental instability, deception, or a hidden agenda. Develop their backstory, motivations, and beliefs to understand why they might present a skewed version of events.

2. Use subjective language: Incorporate language and descriptions that reflect the narrator's personal viewpoint and biases. Their opinions, emotions, and interpretations should color their narration, influencing how readers perceive the story.

3. Include contradictions and inconsistencies: Allow the narrator to make contradictory statements or present conflicting information. This creates doubt and keeps the readers engaged as they try to unravel the truth.

4. Reveal information selectively: The unreliable narrator might withhold or reveal information strategically, manipulating the readers' understanding of the story. This can create suspense and surprise as readers discover hidden truths.

5. Showcase unreliable perceptions: Explore how the narrator's perceptions and interpretations of events differ from reality. They may misinterpret actions, misremember details, or even hallucinate. These discrepancies add depth to the character and raise doubts about their reliability.

6. Use other characters as contrasting sources: Introduce other characters who present alternative perspectives or contradict the narrator's version of events. This contrast allows readers to question the reliability of the narrator and form their own interpretations.

7. Employ narrative techniques: Experiment with techniques like foreshadowing, symbolism, or unreliable memory to emphasize the narrator's unreliability. These devices can help blur the line between truth and fiction, leaving readers intrigued and uncertain.

8. Provide hints and clues: Drop subtle hints or clues throughout the story that suggest the narrator's unreliability. This allows readers to piece together the truth gradually and encourages them to engage actively with the narrative.

this is fantastic now children in Puerto Rico wont be able to receive the education they deserve thanks to their messed up government

yoooo this is rad!

Pennsylvania Archaeology and You

The Pennsylvania Archaeological Council (PAC) is an organization of professional archaeologists from all over the State dedicated to education, consultation, ethics, and advocation of Pennsylvania archaeology. The PAC works to advise policy and legislative interests in the commonwealth as well as provide consultation with the Pennsylvania Department of Transportation. Anyone with a graduate degree in anthropology, archaeology, or a similar subject is encouraged to apply. Recently this membership has been expanded to include those with extensive experience and PAC has taken an interest in student membership. Check out this website for more information.

For anyone interested in local archaeology, the Society for Pennsylvania Archaeology (SPA) exists alongside PAC. Anyone is welcome to join this special interest group that is made up of regional chapters. Established in 1929, the goals of SPA include; promoting the study of archaeological resources in PA, discouraging irresponsible exploration, connecting avocational and professionals, and promoting the conservation of sites, artifacts, and information. To disseminate information, the SPA facilitates one of the oldest State Archaeology Journals, Pennsylvania Archaeologist. 83 years of the publication are available for purchase on the website.

The Society for Pennsylvania Archaeology, Inc., the parent archaeological society, meets annually at announced places. Membership in the SPA is highly recommended. Dues are $30 per year for individuals. Membership entitles one to receive The Pennsylvania Archaeologist twice a year. For those interested in taking an active role, the SPA is made up of many individuals from regional chapters. I’ve decided to highlight two of those chapters in this blog. To find your regional chapter visit pennsylvaniaarchaeology.com/Chapters.htm

If you live in Pittsburgh, our local chapter is called Allegheny Chapter #1. We meet the first Tuesday of every month at 7:30 p.m. Due to the pandemic, this is currently done virtually. For membership information contact Amanda Valko at amanda@quemahoning.com The chapters take an active approach by conducting investigations of sites in their region. The Allegheny Chapter started working on a local site called the Hatfield site back in July of 2007. The first thing we did was set up a grid and took some geomorphology samples under the direction of Brian Fritz.

Brian Fritz and Nina Larsen examining a soil core sample at the Hatfield Site. (Photo Credit: Amanda Valko)

Setting up the grid for soil sampling. Chapter members front to back: Brian Fritz, Peggy Sinclair, Ken Fischer. Chapter members under the shade shelter: Don McGuirk, Nina Larsen. (Photo Credit: Amanda Valko)

The Allegheny Chapter is hoping to produce a report of these excavations soon. Hopefully we can get the Chapter together over the summer to work with the artifacts and start the whole report preparation process.

Southeast of Allegheny County, the Westmoreland Archaeological Society Chapter #23 used to meet on Wednesdays, but due to the pandemic are following an erratic schedule. For membership information contact Jim Barno at bar3686@calu.edu (Jim Barno is a dedicated volunteer in the section of Anthropology at CMNH.)

Chapter #23 was actively engaged in 16 years of excavation at the Console Site, which was an important Monongahela Site. They reach out to the students and faculty at the Indiana University of Pennsylvania encouraging them to become involved with the Westmoreland Archaeological Society by participating in various public events such as artifact displays and colloquiums held at the IUP campus, Fort Necessity National Battlefield, Green County Historical Society as well as local community events such the Derry Agricultural Fair.

IUP students are actively involved in continuing excavations at the Bergstrom Hollow Rock Shelter Site (weather permitting). The chapter also publishes a monthly newsletter called The Trowel that has interesting archaeological subject material as well as listings of local archaeological events and now Zoom links for folks interested in these types of activities.

From the left are the following people Stephanie Zellers, Rachael Smith, Bob Oshnock, and Dr. Chadwick at the Bergstrom rock Shelter. (Photo Credit: Jim Barno)

Earth Day Event at St. Vincent College. Bob Oshnock and Dr. Lara Homsey-Messer (IUP) doing flotation. (Photo Credit: Jim Barno)

Remember to always report archaeological finds to the State Historic Preservation Office! Follow the guidelines specified in the links below.

PA SHPO/State Museum of PA: Instructions for Recording Archaeological Sites in Pennsylvania

PA State Historic Preservation Office (PA SHPO): Guidelines for Archaeological Investigations in Pennsylvania

Amy L. Covell-Murthy is Archaeology Collection Manager at Carnegie Museum of Natural History as well as a member of the SPA Allegheny Chapter 1, and a recently elected executive board member of the PAC. Museum employees are encouraged to blog about their unique experiences and knowledge gained from working at the museum.

more medical tips to help with writing? more medical tips in general? yummy. please send more

So I’ve noticed a bunch of medical errors in fics I read, so I decided to post this handy guide to some of the most common errors and some background on basic medical things.

ps- they are not medical treatment or first aid advice. I’m not actually a doctor. yet. but I am certified in first aid. this is just so your writing can be more realistic.

How do you set a scene without overusing visual descriptions?

Practical Tips to Show, Don’t Tell

Show, don’t tell is probably the most common writing advice any author will ever receive. Instead of explicitly telling readers what is happening or how characters are feeling, showing allows them to experience the story firsthand. It’s good advice, and important for writers to take to heart, but sometimes it can be difficult to get the balance right. Here are some practical tips to show, don’t tell:

Set the scene

To really immerse your readers in your story, you want them to feel as if they’re in it – experiencing the world you’ve built. By writing about how characters perceive and interact with their surroundings, you’ll draw your readers in.

Examples:

Telling: It was winter, and the water was cold.

Showing: I hunched my shoulders up, burrowing deeper into my coat as my heavy boots crunched through the thin ice forming at the water’s edge.

Keep up the pace

Excess scene description will almost always bring your narrative pacing to a screeching halt. Instead of describing the scene every time, describe your characters’ actions within it.

Examples:

Telling: The lake was frozen and the trees were covered in snow.

Showing: My heart pounded as I almost lost my balance on the ice beneath my feet. I ducked and weaved my way home, dodging the snow that the howling wind shook loose from the treetops above me.

Keep your language descriptive, but simple

When it comes to show, don’t tell, it can be easy to fall into the trap of over-describing. Language that is too flowery or over the top can be just as bad as telling. You want to set a scene, not explain it to death.

Examples:

Too much: The azure-blue lake glinted like diamonds under a glittering sun that shone like a lightbulb in the darkness.

Just right: The sun reflected off the ice brightly, highlighting the deep blue of the water beneath it.

Create a sense of character

The way a character speaks and acts can be the perfect way to show your readers who they are and set a scene without over-describing it. For example, you can use body language, like gestures and posture to reveal a character’s emotions or attitude in a way you can’t reveal by simply describing the scene. Sometimes an intricate description of the location is not as important as how the character feels in the moment

Examples:

Telling: The room was the same as he remembered as a child, with its red carpets, brown-papered walls, high ceilings, and huge wooden table propped in front of large bay windows. It made him anxious.

Showing: He shuffled anxiously to the table overlooking the garden, his mind heavy with the weight of childhood memories.

heres Roswell fighting a skeleton. before this i had NEVER seen him do a tail wave. for some reason this skeleton really fucking pissed him off.

Short DPXDC Prompts #191

Soulmate au: you get injured, the soulmate keeps the weapon that injures them. Danny has a drawer in his room that’s filled with used bullets and knives and every weapon under the sun and his parents and himself are VERY concerned for his soulmates being. You know when like fairies walk and flowers spring up from their footsteps? Yeah Danny is like that but with weaponry and it’s very worrying.

Neat!

For a short time in February – if the conditions are perfect – Horsetail Fall at Yosemite National Park in #California glows red and orange and looks like lava falling down the side of El Capitan. Visitors flock to the park every year to see this phenomenon, which happens when sunset hits the waterfall at just the right angle, illuminating the water and mist in brilliant orange light. If you have a chance to witness #Yosemite’s Firefall, remember to go slow, plan ahead, mask up and share the amazing views. Photo of 2019 #Firefall courtesy of Daniel Berson.

What Is This Terrifying Giant Sea Creature?