Sometimes You Need Dialogue Tags And Don't Want To Use The Same Four

Prompt 2483

Supposedly, this type of glasses lets you see though dimensions.

STOP DOING THIS IN INJURY FICS!!

Bleeding:

Blood is warm. if blood is cold, you’re really fucking feverish or the person is dead. it’s only sticky after it coagulates.

It smells! like iron, obv, but very metallic. heavy blood loss has a really potent smell, someone will notice.

Unless in a state of shock or fight-flight mode, a character will know they’re bleeding. stop with the ‘i didn’t even feel it’ yeah you did. drowsiness, confusion, pale complexion, nausea, clumsiness, and memory loss are symptoms to include.

blood flow ebbs. sometimes it’s really gushin’, other times it’s a trickle. could be the same wound at different points.

it’s slow. use this to your advantage! more sad writer times hehehe.

Stab wounds:

I have been mildly impaled with rebar on an occasion, so let me explain from experience. being stabbed is bizarre af. your body is soft. you can squish it, feel it jiggle when you move. whatever just stabbed you? not jiggly. it feels stiff and numb after the pain fades. often, stab wounds lead to nerve damage. hands, arms, feet, neck, all have more motor nerve clusters than the torso. fingers may go numb or useless if a tendon is nicked.

also, bleeding takes FOREVER to stop, as mentioned above.

if the wound has an exit wound, like a bullet clean through or a spear through the whole limb, DONT REMOVE THE OBJECT. character will die. leave it, bandage around it. could be a good opportunity for some touchy touchy :)

whump writers - good opportunity for caretaker angst and fluff w/ trying to manhandle whumpee into a good position to access both sites

Concussion:

despite the amnesia and confusion, people ain’t that articulate. even if they’re mumbling about how much they love (person) - if that’s ur trope - or a secret, it’s gonna make no sense. garbled nonsense, no full sentences, just a coupla words here and there.

if the concussion is mild, they’re gonna feel fine. until….bam! out like a light. kinda funny to witness, but also a good time for some caretaking fluff.

Fever:

you die at 110F. no 'oh no his fever is 120F!! ahhh!“ no his fever is 0F because he’s fucking dead. you lose consciousness around 103, sometimes less if it’s a child. brain damage occurs at over 104.

ACTUAL SYMPTOMS:

sluggishness

seizures (severe)

inability to speak clearly

feeling chilly/shivering

nausea

pain

delirium

symptoms increase as fever rises. slow build that secret sickness! feverish people can be irritable, maybe a bit of sass followed by some hurt/comfort. never hurt anybody.

ALSO about fevers - they absolutely can cause hallucinations. Sometimes these alter memory and future memory processing. they're scary shit guys.

fevers are a big deal! bad shit can happen! milk that till its dry (chill out) and get some good hurt/comfort whumpee shit.

keep writing u sadistic nerds xox love you

ALSO I FORGOT LEMME ADD ON:

YOU DIE AT 85F

sorry I forgot. at that point for a sustained period of time you're too cold to survive.

pt 2

also please stop traumadumping in the notes/tags, that's not the point of this post. it's really upsetting to see on my feed, so i'm muting the notifs for this post. if you have a question about this post, dm me, but i don't want a constant influx of traumatic stories. xox

Tips on Pacing

We, as creators, seek that hook that gets the readers invested and keeps them that way. Nothing does that better than tension. There are all kinds, but it often occurs between characters. The "do they like me" of romance, the interruptions of erotica, the intense adversary from an unknown opponent, or the whodunits of mystery; Tension comes in all shapes and sizes, but it boils down to one thing, leaving the readers holding their breath in anticipation of the next page.

A large part of the creative process is figuring out how to create that tension without leaving the readers wanting to quit out of frustration or confusion. I would like to say there is a correct way to pace things, but it depends entirely on the story and situation.

Action scenes, for example, move very quickly, whereas a scene with a lot of dialogue will move at a snail’s pace. A spicy scene will emulate real life, moving slowly at first and increase its pace. A dramatic scene can be either fast or slow, depending on what it contains.

There are the peaceful scenes that do not move the same as any other kind of scene, showing the contentment of characters, the sun setting, or moving from one place to another. In writing or showing these scenes in a comic, it will go very quickly but the reader will perceive them as slow.

Showing a car ride, or a cooking scene allows characters to reflect on what has been happening and offers character development, but it does not have that tension at all. Still, adding those scenes is like adding bread to your butter. Now, everyone has their own tastes, but I would find it very odd to find someone who would consume just butter, especially if it was unsalted. Adding those peaceful scenes makes the ones that aren’t, all the more impactful, to both your readers and your characters.

The calm before the storm does wonders in storytelling, but the one thing you want to avoid is spending too much time in that calm. An example of this would be The Hobbit. Now, I love The Hobbit. It’s a classic hero’s journey, with a deep world build and rich characters, but parts of it are unnecessarily wordy. There is a page that describes the moss on the trees in such detail that you can taste it, which shows Tolkien’s skills as a wordsmith, but it was ultimately padding.

waits for the rage. Padding; words that don’t move your plot forward and only add to your word/panel count. Padding or filler should not be confused with peaceful scenes. Peaceful scenes will add to your story, padding will not. The literary world has changed a lot since Tolkien wrote The Hobbit, and we can see that evident in modern literature by the fact that there would hardly be a mention of trees at all, let alone the moss that grows upon them.

The next subject of pacing is sentence variation and flow. Now, flow is a tricky subject, and is not often resolved during the initial draft. When I am editing, things will sometimes be in the wrong order and disrupt flow. When flow is off, tension wanes, and when tension wanes, readers will lose interest. There may be entire scenes that I think don’t work where they are, but rather than delete those scenes, I find a place where they fit better. Perhaps that place is earlier, perhaps it is later. If you thought that scene was necessary when you wrote it, perhaps there is a proper place for it.

In A Galactic Star, the episode titled Repercussions, was supposed to happen right before the climax. I moved it up to allow the reader to understand Chrome’s hesitations between him and Neon.

Even in comics, you aren’t going to necessarily catch things after you just completed them. Many indie creators will recommend a space between writing the initial draft and editing it. The amount of time varies per person, but it is suggested to at least give it a day. The reason is because of the completion high; You just created this thing and in your mind it is amazing and awesome, not seeing the mistakes that are there. I feel as though editing is like polishing a stone; Every stone, no matter how grey or plain in appearance, can be polished into a stunning masterpiece if given enough time.

The editing process has multiple phases, the first is checking for spelling and grammar mistakes, and the second is checking the sentence structure for flow. Example: The loud dog barked. Vs. The dog barked loudly. The first is grammatically correct but makes you pause to process, whereas the second will allow you to move on to the next sentence without that stop.

Flow is a key component in pacing, which is a key component in tension, which keeps your readers engaged. As a potential reader of your story, I hope this will help you to bring it to life.

The public demo has been updated with almost 40k words.

In this update, you'll finally confront the thing in the shadows. 👀

I hope you enjoy. For now, this will be the last public update (I'll come back to edit the earlier chapters with new content, though). The rest of the chapters will be published for patrons and betatesters (closed alpha). Thank you for understanding.

Here is the link to the demo!

Other Words for "Look" + With meanings | List for writers

Many people create lists of synonyms for the word 'said,' but what about the word 'look'? Here are some synonyms that I enjoy using in my writing, along with their meanings for your reference. While all these words relate to 'look,' they each carry distinct meanings and nuances, so I thought it would be helpful to provide meanings for each one.

Gaze - To look steadily and intently, especially in admiration or thought.

Glance - A brief or hurried look.

Peek - A quick and typically secretive look.

Peer - To look with difficulty or concentration.

Scan - To look over quickly but thoroughly.

Observe - To watch carefully and attentively.

Inspect - To look at closely in order to assess condition or quality.

Stare - To look fixedly or vacantly at someone or something.

Glimpse - To see or perceive briefly or partially.

Eye - To look or stare at intently.

Peruse - To read or examine something with great care.

Scrutinize - To examine or inspect closely and thoroughly.

Behold - To see or observe a thing or person, especially a remarkable one.

Witness - To see something happen, typically a significant event.

Spot - To see, notice, or recognize someone or something.

Contemplate - To look thoughtfully for a long time at.

Sight - To suddenly or unexpectedly see something or someone.

Ogle - To stare at in a lecherous manner.

Leer - To look or gaze in an unpleasant, malicious way.

Gawk - To stare openly and stupidly.

Gape - To stare with one's mouth open wide, in amazement.

Squint - To look with eyes partially closed.

Regard - To consider or think of in a specified way.

Admire - To regard with pleasure, wonder, and approval.

Skim - To look through quickly to gain superficial knowledge.

Reconnoiter - To make a military observation of a region.

Flick - To look or move the eyes quickly.

Rake - To look through something rapidly and unsystematically.

Glare - To look angrily or fiercely.

Peep - To look quickly and secretly through an opening.

Focus - To concentrate one's visual effort on.

Discover - To find or realize something not clear before.

Spot-check - To examine something briefly or at random.

Devour - To look over with eager enthusiasm.

Examine - To inspect in detail to determine condition.

Feast one's eyes - To look at something with great enjoyment.

Catch sight of - To suddenly or unexpectedly see.

Clap eyes on - To suddenly see someone or something.

Set eyes on - To look at, especially for the first time.

Take a dekko - Colloquial for taking a look.

Leer at - To look or gaze in a suggestive manner.

Rubberneck - To stare at something in a foolish way.

Make out - To manage to see or read with difficulty.

Lay eyes on - To see or look at.

Pore over - To look at or read something intently.

Ogle at - To look at in a lecherous or predatory way.

Pry - To look or inquire into something in a determined manner.

Dart - To look quickly or furtively.

Drink in - To look at with great enjoyment or fascination.

Bask in - To look at or enjoy something for a period of time.

Gumroad

The Writer's Scene Workbook

Calling all aspiring storytellers with hearts full of whimsy! Get ready to sprinkle a touch of enchantment into your scenes with my Scene Wo

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683 members, 435 posts about #creative writing #creative writers #helping writers • Guiding Writers to New Heights

“Teach me how to love you Because I don’t know how to do it. Moments like this I stay alone with something impossible to describe. For that reason I want to build a new world and I want just you next to me in that world. Teach me how to love you. Let’s define everything anew. Let’s invent a new language for ourselves and let’s confess our love to each other in that language that no one else knows. Teach me how to love you. And I will teach you about bravery… How countries and borders will collapse for the sake of our love. And now I’m saying the most painful thing of all; I write letters you’ll never read and day by day I lose my own essence on these lines. I don’t know also what will be left of me. You, me, love, separation, death, life? I beg you, teach me how to love you. I beg you Hilal, promise me a country where we will live and die together.”

— Leon

Writing Notes: Villain Archetypes

Many of the great villains that oppose classic heroes fall into a handful of villain archetypes:

Anti-villain: The anti-villain is a villain archetype in which the bad guy has a sympathetic motivation or appealing characteristics. In the same way that an anti-hero is ostensibly a good guy with villainous or immoral tendencies, an anti-villain may have justifiable, noble goals or even a good side. Example: Hannibal Lecter in The Silence of the Lambs (portrayed by Anthony Hopkins in the film version).

The beast: A classic villain whose goal is to terrorize and attempt to defeat the main character, the beast is a literal monster. This type of villain cannot be reasoned with and is often found in the horror or science fiction genres. The whale from Moby Dick and the shark from Jaws are examples of this type of villain.

The bully: Bullies serve as simple, straightforward opposition to the protagonist. This character archetype is sometimes marked by a backstory that explains their mean and oppressive tendencies, such as a childhood marked by abuse or insecurity. Other times, they are simply mean for the sake of being mean. Examples include Nurse Ratched from One Flew Over the Cuckoo’s Nest and Fletcher from the film Whiplash.

The machine: The machine is similar to the beast, with one major difference: It is a technological construct and is therefore lifeless and incapable of pain, fear, and emotion. The machine can often be found in science fiction thrillers—like Ultron in Avengers: Age of Ultron or Arnold Schwarzenegger’s robotic killing machine in The Terminator.

The mastermind: The mastermind opposes the protagonist by overseeing a brilliant, diabolical master plan. They are a gifted schemer and evil genius who attempts to defeat the protagonist mentally as opposed to physically. Great villains in the mastermind tradition include Hans Gruber from Die Hard and Lex Luthor from the Superman series.

Evil incarnate: This villain personifies evil itself, offering little in the way of character development or backstory. This type of evildoer serves as an obstacle to the hero’s journey and is primarily found in fantasy and superhero genres. Examples include Sauron from The Lord of the Rings, Darth Vader from Star Wars, and the Joker from The Dark Knight.

The henchman: The henchman exists to do the dirty work of someone else, usually the mastermind or another major evil character in the story. They are functionally the sidekick of the main villain. Though they usually lack the villain’s brains, they make up for it in brawn. Examples include Boba Fett from Star Wars and the monkeys from The Wizard of Oz.

The fanatic: The fanatic’s villainy is driven by an extreme ideology. Oftentimes, they are propelled by religion or a twisted moral belief that gives them fuel to carry out their twisted mission. The serial killer John Doe from the movie Seven is a true villain in the fanatic tradition.

Tips for Writing Compelling Villains

When it comes to writing villains who transcend cliches, there are 4 techniques that can elevate your writing:

Make sure your villain has a strong connection to your hero. A true villain is inextricably connected to the hero and aids in the hero’s character development.

Make them a worthy opponent. A great villain is a strong and worthy adversary to your hero, directly opposing the hero archetype of your protagonist. The villain shouldn’t be weak and easily beaten, nor should they be so powerful that they can only be defeated by random chance. In the Sherlock Holmes stories, Holmes’s arch-nemesis Moriarty is a brilliant criminal mastermind. Having a villain who is equal in skill and intelligence to your hero will raise the stakes of their encounters, creating a credible threat to your hero.

Put yourself in your villain’s shoes. When it’s time for your villain to act, put yourself in their place. Think about challenges or hardships that might tempt people to act out or behave badly. How do you react to bad things? Tap into those emotions and try to apply them to your villain.

Consider your villain’s motivation. Why does your villain want to rule with an iron fist? Why do they want to put the damsel in distress? As with your main character, determining your antagonist’s motivation can help you unlock other aspects of their character, such as their goals and their personality.

Source ⚜ Writing Resources PDFs ⚜ Villains

I always find it crazy how we can basically see everything on the internet including people's lives but feel so powerless when it comes to social injustices and war crimes like what's happening in Gaza right now, a genocide.

It genuinely sucks because I have access to the internet and technology but I do not have enough power nor resources to actually help those in needs.

I am nothing but a high-school student and I'm devastatingly watching people die simply for existing just like the Holocaust in the past.

I have enough resources and power to know and see what's currently happening but it's not enough where I can help them and it's truly sickening.

All I can do is help spread awareness and boycott ;(

My Journey to Escape the War in Gaza

My name is Abdelmajed. I never imagined I’d be sharing my story like this, but life in Gaza has become unbearable. I am a survivor of the war here, and in the blink of an eye, everything I once knew—my home, my safety, my community—was ripped away from me.

The war has transformed Gaza into a graveyard of broken dreams. The buildings that once stood as symbols of life and resilience are now piles of rubble. Every corner is filled with the echoes of explosions. Every moment is shrouded in uncertainty. There is no security. There is no stability. There is no light at the end of the tunnel.

Basic needs have become luxuries. Food is scarce. Clean water is even scarcer. Hospitals are overwhelmed and under-resourced, and there is almost no medical care to be found. Every night, families go to bed hungry, praying they’ll wake up to see another day. The cost of basic necessities has skyrocketed, and it’s become a daily battle just to survive.

I’ve seen things I never thought possible—standing in long lines for a piece of bread, rationing every drop of water, and watching my people suffer in silence. I have lost everything—my home, my safety, my dignity.

Escape from Gaza is my only hope, but it’s almost impossible without financial help. The cost of evacuation is far beyond my means, and without support, I’m trapped in a warzone with no way out.

I’m reaching out to you now, in the hopes that someone, anyone, can help. I am not asking for luxury. I am asking for a chance—just a chance—to live. A chance to escape this never-ending cycle of fear, destruction, and loss. A chance to rebuild my life somewhere safe, where I can begin again, where I can find hope once more.

Chuffed

Help Abdelmajed Escape Gaza and Rebuild His Life

My name is Abdelmajed, and I am a survivor of the war in Gaza. Everything I once knew has been taken away—my home, my safety, and the people

Any amount you can give will help me get closer to safety. Even the smallest donation will make a difference—it could be the lifeline I need to survive. If you are unable to donate, please share my story. The more people who hear it, the better the chance that I can find the support I desperately need.

Your kindness and support mean the world to me. You’re not just helping me escape a war; you’re giving me a chance to live, to rebuild, to breathe again.

Thank you for listening. Thank you for caring.

Vetted by @gazavetters

Prompt #178

Write the story of a young child being named the next ruler of their Kingdom, despite not having any royal blood or being raised in a royal household.