Kakieoan

always choose to be with someone who is emotionally intelligent. don’t get caught up in the fact that you are loved, because love comes easy. but loving someone in the way they need, and understanding why they need to be loved like that is what a relationship is about.

220 Scents

This is a companion resource to Words To Describe Scent.

Arguably our most evocative sense, the sense of smell is an underused tool in writing descriptions and settings. Nothing transports me into the book I’m reading as effectively as the memory of some familiar scent, or some distant one awoken from the deepest parts of my brain. This is simply a list of recognizable scents, categorized by the “type” of scent or the kind of environment where it might be found:

(1) Natural scents are those that your character may expect to find in relatively undeveloped areas like while hiking a mountain, on a quest through a dark forest, or during an epic faceoff with their arch nemesis on a beach in the rain. These may also be found in more developed areas like a local park, and even in a peaceful oasis in a highly industrial area.

(2) Fruit/Vegetable scents are useful in many settings, so your character doesn’t have to work on a farm to use this list – though it certainly would come in handy for a farm setting! Our characters encounter these scents in the homes of loved ones, in inns where they rest for the night during a long journey, and while running through the palace orchard to warn the King of an impending attack.

(3) Florals, Herbs & Spices – perhaps the most fragrant and versatile category. Floral descriptions may be used for bouquets at an old flame’s wedding, or for a lover’s perfume left over on the pillow. Your character may encounter herbs & spices anywhere from a busy street market to a witch’s brew in an isolated mountain house.

(4) Industrial scents are those, in general, associated with humans, civilization, and development. These will typically be found in cities or wherever there are people. You may also notice that most of these would be generally considered unpleasant. That’s not to say pleasant scents don’t exist where there is development, just that the development itself usually doesn’t smell great. The beautiful scents from any of the other four categories can be, and often are, found in developed areas… especially those of the last category:

(5) Food! Your character’s favorite café, their mother’s kitchen when they were a child, the lunch their best friend used to share with them, the last Christmas meal at their ex-lover’s home, the cocktail they were drinking when they met their arch nemesis – the list is endless and endlessly evocative.

Use wisely and enjoy!

I don’t have a guidebook for love. One day it’s a flower I wear on my jacket, on another, it’s a dagger hidden in our bed, on another, it’s a flame that sears. Still, on another, it’s a sugar cube dissolving sweetly on my tongue.

Nizar Qabbani, tr. by Nayef al-Kalali, from Republic of Love: Selected Poems; “Give Me Love, Turn Me Green”

Fernando Pessoa, A Little Larger Than the Entire Universe: Selected Poems

From the National Geographic cover on IRAN, July 1999 (Volume 196, No. 1)

“If you give children a vocabulary that’s large enough and complex enough to express their emotions and their ideas, you give them access to complex feelings and emotions in themselves. So that if you talk to a teenager and all they can say about how they feel is BAD, and they haven’t got, you know, a larger vocabulary for lonely, abused, insecure, frightened…I mean there’s this huge panoply which…I remember when my daughter was just telling me that she just felt bad, I bought her a thesaurus. I said, “Look up, is it sort of over lonely, or is it insecure…and look up under lonely, you’ll find two hundred words for lonely. Which one?” But what that does is that it makes you feel that there’s this huge complexity of emotions and there are words for all of them. If you want children to feel less frustrated and less disenfranchised and less unable to even feel comfortable with their own emotions, you’ll have to give them a vocabulary that’s as complicated as their inner lives. And one of the things we see in children is this incredibly reduced capacity for reporting their inner lives to the exterior world. One of the things is just teaching them poems, just teaching them to memorize poems in school, they don’t have to interpret them, if they just internalize the language of the poem, the complexity of the emotion in the poems…” -Jorie Graham, in a conversation