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The symbolism of flowers

Flowers have a long history of symbolism that you can incorporate into your writing to give subtext.

Symbolism varies between cultures and customs, and these particular examples come from Victorian Era Britain. You'll find examples of this symbolism in many well-known novels of the era!

Amaryllis: Pride

Black-eyed Susan: Justice

Bluebell: Humility

Calla Lily: Beauty

Pink Camellia: Longing

Carnations: Female love

Yellow Carnation: Rejection

Clematis: Mental beauty

Columbine: Foolishness

Cyclamen: Resignation

Daffodil: Unrivalled love

Daisy: Innocence, loyalty

Forget-me-not: True love

Gardenia: Secret love

Geranium: Folly, stupidity

Gladiolus: Integrity, strength

Hibiscus: Delicate beauty

Honeysuckle: Bonds of love

Blue Hyacinth: Constancy

Hydrangea: Frigid, heartless

Iris: Faith, trust, wisdom

White Jasmine: Amiability

Lavender: Distrust

Lilac: Joy of youth

White Lily: Purity

Orange Lily: Hatred

Tiger Lily: Wealth, pride

Lily-of-the-valley: Sweetness, humility

Lotus: Enlightenment, rebirth

Magnolia: Nobility

Marigold: Grief, jealousy

Morning Glory: Affection

Nasturtium: Patriotism, conquest

Pansy: Thoughtfulness

Peony: Bashfulness, shame

Poppy: Consolation

Red Rose: Love

Yellow Rose: Jealously, infidelity

Snapdragon: Deception, grace

Sunflower: Adoration

Sweet Willian: Gallantry

Red Tulip: Passion

Violet: Watchfulness, modesty

Yarrow: Everlasting love

Zinnia: Absent, affection

At the gate for my flight home from visiting friends and there's a woman here with a service Shiba Inu. No pics because he has a Do Not Disturb vest and taking pics of strangers is illegal but I need to stress how ON DUTY this animal is. Ears up. Eyes doing Lazer scans of everything. Examining everyone who passes within 10ft like a security guard. Ass planted on her feet. I have never seen a dog with such intense chivalric guardian energy before. He has tiny eyebrows and they are FURROWED with concentration.

KITTY TRIES TO SUMMON BARTIMAEUS AFTER PTOLEMY'S GATE

“You don’t need me here." 

He looks exactly as she remembers him, or rather exactly as she remembers him. Same stupid coat, same long fingers and pale skin with the ink under the fingernails, the same bags under his eyes. (Except his eyes, instead of brown, they’re black, the same black of Ptolemy’s eyes, black you could fall into and never hit the bottom.) 

She chokes on her words, so carefully prepared, that rebuilding is a lot fucking harder than it should be, that a sudden influx of Polish immigrants has everyone on edge, petitions being signed for the previous government back, the good old days. a tenth of the city, including rebecca piper, has come down with a strain of the flu that’s left doctors baffled. kitty hasn’t slept more than three hours a night for the last week and there’s a pain in her chest that she’s been staunchly ignoring for too long now. and, most of all, people look up to her, people depend on her, and she’s helpless to help them. 

"i just missed you is all,” she says, shocked by how small her voice is. (shocked and angry. she’s better than this.) 

bartimaeus gives her a small smile, and suddenly half of nathaniel’s side is drenched in blood, his leg is twisted at the wrong angle, his hair is matted with dirt and sweat. (he’s still in better condition than when they found him.) “i’m tired, kitty. let me go.” 

she does. she hears — or at least pretends she hears — before he leaves: “but i’ve missed you, too.”

Could you maybe write some prompts for portraying an unreliable narrator?

How to Write an Unreliable Narrator

-> 8 Tips to Writing Unreliable Narrators - Writer's Digest

make them a liar. Have them commit their faults outright, contradict themselves in the narrative, prove them to be a liar by their actions, have them hint that they know more than they're telling, reveal the truth a little later than they should, or have gaps in their memory.

shift their motives. Give your character conflicting desires and changing drives. Keep your reader guessing about their true mindset. (Are they in love with Character B? Or are they obsessed with Character B? Do they want to help B, or do they want to harm B?)

make them more clever than they appear. Have your reader believe your character is innocent and incapable of cunning and calculating schemes. Maybe they appear innocent and naive to the reader, and only later it is revealed that their childish actions have purpose.

use your secondary characters. Have them catch your narrator in lie, reveal that they are a victim of your narrator's lie, reveal a truth that the narrator has yet to share with the reader. How they treat the narrator can also show their unreliability. Sharing personal histories with the narrator may expose a side to the narrator that the reader hasn't seen.

add an unpredictable act. When a calm, thoughtful, innocent character suddenly does something out of character and a little unhinged, they become unreliable. (ex: a grieving woman suddenly throws all of her husband's belongings in the lake.)

4 Types of Unreliable Narrators:

-> What Is an Unreliable Narrator? - MasterClass

Picaro. The picaro is a character who has a knack for exaggerating.

Madman. The madman is unreliable because they are mentally detached from reality.

Naif. The naif’s narrative abilities are impacted by inexperience or age.

Liar. The liar is the most deliberate of all the unreliable narrators. The character fabricates stories, often to paint a better picture of themselves or achieve a desired outcome.

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Hey there! I just came across this blog and im wondering if I could get some advice. I have a lot of trouble keeping motivation for a story. I'll have a new idea that im really excited about, ill write 10-20 pages of it, and then get bored of writing it. Any tips on how to keep myself invested in writing my own stories?

5 Reasons You Lost Interest in Your WIP, Plus Fixes!

It's not uncommon for writers to lose interest in their WIP. Staying on track, or getting back on track, are skills you'll acquire with time. Here are some of the reasons you might have lost interest in your WIP:

#1 - You're Not Sure Where the Story is Going. When you figure out a way into a story you're excited about, the beginning can be a piece of cake. It's all set up and inciting incident, which can be really really fun to write. But if you're not sure what needs to happen after the inciting incident, you can find yourself meandering and get bored quickly.

Fix - If you're writing a story that is plot-driven or a combination of plot-driven and character-driven (as most stories are these days), it may help to familiarize yourself with Basic Story Structure and also have a look at my post about How to Move a Story Forward.If you're writing a character-driven story, you can adhere to basic story structure or a more loose structure, but your character's arc will be the focus of the story. If you think plot and structure may be what's holding you back, you might spend time on my Plot & Story Structure post master list to read some of the other posts there.

#2 - Something Isn't Working. Stories are often like a house of cards in that one misplaced "card" can bring the whole thing crashing down. Sometimes you lose interest because an element or event didn't quite work, and you can feel in your gut that something's not right, so your brain interprets that as losing motivation. It's not really that you've lost interest in the story... it's that you've lost interest in the dead end path it's on.

Fix - Go back through what you’ve already written and look for something that’s not pulling its weight. It could be an unnecessary character dragging the story down, a subplot that is cluttering up the story or drawing attention away from the main plot, or it could be a scene/scenes that don’t add to the story. It could even be a combination of these things. If you can find it and fix it, your motivation may return.

#3 - You're Just Not in the Mood to Write. It could be that your interest in your WIP is just fine, you're just not in the mood to write. Our brains aren't always great at interpreting signals from our bodies, including other parts of our brain. The thirst signal is sometimes misinterpreted as hunger, which is why if you're feeling hungry when you shouldn't, you should try drinking a glass of water. Sometimes, in the same way, we're just not in the mood to write and our brains misinterpret that as a loss of interest in our WIP.

Fix - Consider what's going on in your life at the moment. Are you stressed? Are you distracted? Are you not feeling well? Sometimes you just need to give yourself a few days or weeks to let things resolve, and then you'll find your motivation has returned. Try doing things to Fill Your Creative Well in the meantime, or try some of the exercises in this post: Getting Unstuck: Motivation Beyond Mood Boards & Playlists

#4 - You're Overly Focused on Quality. One of the biggest WIP interest/motivation zappers is focusing too much on quality in your early drafts. If you're fixated on things like description, flow, theme, symbolism, grammar, etc. in your first draft, you're going to mentally

Fix - Remember, your early drafts should be more about getting the story down and working out the kinks. Don't worry so much about things like description, grammar, details, etc. until you've got all of that hammered out. And remember that the whole point of editing and revision is to polish your draft. You get the story down and make it pretty later.

#5 - You're Letting Yourself Get Distracted by New Ideas. The thrill of coming up with a new idea is part of the fun of being a writer. One of the pitfalls of being a writer is new ideas sometimes distract you from your WIP. We can be completely into our WIP, then a new idea comes along and our brains say, "Ooo! Look at the shiny pretty!" And off we go. Some writers, particularly seasoned ones, are able to work on multiple WIPs at once, but you should focus on one WIP at a time if you commonly lose interest before they're finished.

Fix - When you get a new idea, write it down in a notebook and/or in a document on your device. Once the idea is "down on paper," just forget about it. Imagine that it vanishes once it's recorded and you close the notebook/document. It takes practice, but you'll get better at ignoring the pull of a new idea.

Here are some posts from my Motivation post master list that might also help:

Guide: How to Rekindle Your Motivation to Write Feeling Unmotivated with WIP Getting Unstuck: Motivation Beyond Mood Boards & Playlists Getting Excited About Your Story Again

Have fun with your story!

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how do I describe things in my stories? Like clothing, room, characters etc. it feels I put in too much detail. And is it also necessary to always describ new scenary? For example, when a character goes to their friends house the first time, is it necessary to describe the rooms they enter? Because I want my readers to be able to visualise properly but it feels as though I'm overflowing them with information sometimes

Describing Scenery, Clothing, and Other Details

The amount of description varies from one author to a next, and how much or little (or often) you describe things will be part of your unique writing style. However, you definitely don't want to overwhelm the reader with a bunch of unnecessary detail. So, really the key is to do two things: give the reader just enough detail that they can fill out the rest, give the reader details that are important.

Give the Reader Just Enough Detail - Human brains are amazing. We're generally good at filling in missing details. If I show you the following image:

... your brain is perfectly capable of imagining the rest. You can imagine the mountain peaks and the rest of the lake. You don't need to see them to understand they're there and imagine what they look like.

That said, if I say, "Brenda appeared, wearing her signature torn jeans and favorite band t-shirt..." that's a pretty good image of what this person is wearing. The reader doesn't need to know what cut or color the t-shirt is, whether it's tucked in or loose, what band is depicted or what the specific design is, what color and cut the jeans are, where the holes are, what shoes they're wearing... none of that matters unless it does.

Give the Reader the Details That Are Important - If it's important that Brenda is wearing tennis shoes because later she'll be identified in a security video because of those shoes, then that then becomes an important detail you'd want to include in that description. Otherwise, don't bother. The reader doesn't need to know she's wearing white high-tops unless that's important for some reason.

So, when a character enters a new place or encounters a character for the first time (or encounters them in a new scene/situation), you want to give a little bit of detail to help the reader imagine what they should be seeing in their mind's eye. You also want to give them any details that are important for them to know later. You just don't want to overwhelm the reader with a bunch of unnecessary details.

Here are some other posts that will help:

Guide: Describing Character Appearance and Clothing The Right Amount of Description (5 Tips!) The 3 Fundamental Truths of Description Description: Style vs Excess/Deficiency Weaving Details into the Story How to Make Your Description More Vivid Adding Description to Your Writing

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do you have any advice on writing beginnings? i never know where to start so that the exposition and action are balanced enough to make the opening interesting. i can do middles and ends easily enough if the beginning is well-set up, but i’ve always struggled. any tips?

I'm going to focus on balancing exposition and action in this answer, as it seems to be the key area you are struggling with, rather than openings more generally.

Okay. Let's go!

1 - Need to know

The first question to ask yourself is what does the reader actually need to know to follow and understand the story?

Openings can vary by genre and the age group they are written for, but beneath all of the variations and methods, is the need to know. So long as you have that covered, the rest honestly just comes down to reader and author preference.

What a reader needs to know will depend on your story and your plot. E.g. if it is a portal fantasy, then we typically just need to know what the protagonist is missing/yearning for/struggling with in their everyday life in order for us to see how this is changed through their adventure in a new world. We will learn about the new world as the protagonist does so there will be a natural exposition point as they explore (exploring = action, we learn as they learn).

If, on the other hand, the whole story is set in a magical fantasy land that the protagonist has always known, then you're going to have to do more exposition in order for your reader to understand the key rules of the world and what things mean.

2 - Start at the interesting bit/provide your protag a goal or the reader with a question they want answered

We don't typically start on an ordinary day where nothing happens, even if it shows us what the protagonist's normal life is like. We start on the day that they have a job interview they desperately want to ace, or the day a body is found in the river, or a day where something unusual happens or two characters meet for the first time.

This raises external, concrete plot questions.

Because we have started at an interesting point in the story where something is actually happening, it makes it easier to interweave action with exposition.

To go hand in hand with this, give your character a goal/something they want. This doesn't have to be a big or seemingly important thing, although it can be. The recent film Everything Everywhere All At Once did a wonderful example of this in that the main character just wanted to do her taxes. Other examples might be that a character just wants to get home after a bad day, or to pick a cake for an event. Whatever.

This can have a number of different purposes depending on the story. For example, it provides tension and conflict because there is an obstacle in the way of what they want (to get home), or it provides an opportunity to showcase character or relationship (e.g. the cake).

3 - Options for exposition

There are different options for doing exposition.

A narrator or first person POV can tell the reader about the world even through direct narration or their internal thoughts. This works especially well if you have a strong sense of character. It is useful for conveying key information quickly, but you will likely want to break it up with other forms of exposition to avoid an info dump.

A flashback. Flashbacks are a great tool! I don't recommend starting a story with a flashback. They are much better for providing important information a little later after you have hooked your reader with the more immediate plot.

Dialogue. Dialogue is a natural and excellent way for us to learn about characters and the world that is also action. The danger being that your dialogue still has to sound natural. If the characters wouldn't be standing around actually talking like that in that setting at that time, sorry mate. Do a different exposition technique.

Exploration/setting. Characters can learn about a place/world as they explore it, which means the reader can learn with them as they experience the world.

One way to balance your exposition with action is to vary how you do your exposition. If your reader is having fun reading the story, they won't care that it's exposition/set up. All stories start with exposition. Look at your favourites and break down what they are actually doing, shamelessly steal the framework, and adapt as relevant for your work.

4 - Remember that you don't have to start by writing the opening

Openings are easier when you know what your story is about. This is because openings often showcase something that is going to be relevant throughout the story. This could be a specific image, a nod to theme, or some character trait that will be important.

If you don't know what your story is about yet because you are still writing it (totally valid!), feel free to come back to the opening later, in the same way that you might write the body of an essay and then do the introduction/conclusion last once you have figured out what you want to say.

You're allowed to work backwards. You're allowed to work in any jigsaw way that works for you. You don't have to write the first line first.

When you know your story, it's also a lot easier to figure out what your reader will need to know.

I've done the research, but I don't think the results I've found have answered my question. My WIP stars a trio of teens who are 14 - 15. And since this story centers around change, firsts, and coming into one's own, I wanted to feature a romance between two of the three MCs. I know more subtle signs of romance include shared looks, unspoken communication, hand holding, shoulder bumps, gentle headbutts, and going out of your way for the person your care for. But is that everything?

The Subtle Signs of Romantic Interest and Love

Whether affection is just beginning to develop or two people are in the early stages of a relationship, there are lots of subtle signs to indicate romantic interest and love. In no particular order…

External Signs

- stolen glances- lingering looks- intense eye contact- sharing a knowing look- eyes meeting- looking away bashfully after eyes meet- feeling nervous/tongue-tied when trying to talk to the other person- voice cracks when trying to speak to the other person- flirting- straying from normal attitude or behavior with other person- denying interest in other person when pressed by friends (in early stages)- communicating feelings through the eyes (worry, pain, pride, love, etc.)- awkwardness after accidental touching- shared laughter after accidental touching- an “electric” feeling when touching the other person- speaking at the same time (a little cliché, but it can happen)- tentative touching- finding ways to touch when intimate touch is restricted- open, affectionate touching (holding hands, hugging, nuzzling, etc.)- brushing a lock of hair behind the ear- gently stroking jaw line, chin, or cheek- kissing forehead, temple, or top of head- rubbing nose tips together- displaying flirtatious tics like biting lip, twirling hair, running hand through hair- talking excitedly or affectionately about the other person to friends- constantly talking about the other person to friends- blushing when teased by friends about the other person- giving the other person meaningful gifts- keeping mementos as reminders of the other person- making excuses to be near the other person- making excuses to spend time with the other person- wanting to get to know the other person’s friends and family- good mood/always smiling from being with or thinking about other person- giving each other nicknames or using pet names/terms of endearment- being reminded of other person when listening to love songs- sharing possessions, letting each other borrow meaningful possessions- willing to make sacrifices to be with the other person or to make them happy- sharing secrets, or things not often shared, with the other person- speaking softly or whispering in the person’s ear- cheeks/neck/chest becoming flushed- moving quickly toward the other person to close the distance- sighing, either out of happiness or missing the other person- losing track of time when with the other person- feeling like the rest of the world melts away when with the other person

Internal Signs

- thinking fondly of the other person- thinking about them constantly- recalling fond memories- seeing constant reminders of the other person- worrying about the other person- daydreaming about future activities with the other person- daydreaming about sharing a future with the other person- analyzing a previous interaction- dreaming about the person- feeling “weak in the knees” around the other person- remembering moments containing looking/touching moments- wanting to know everything there is to know about the other person- wanting to spend every waking second with the other person- orchestrating meetings that seem to be happenstance- feeling joy/racing heartbeat/butterflies upon seeing other person- craving the person’s touch, or being able to touch them- constant feeling of being “on cloud nine”- often distracted due to thinking about other person- wanting to impress the other person or make them proud- when not with the other person, noticing things they would appreciate- unable to see anything but positives where the other person is concerned- feeling suddenly warm- feeling breathless- noticing (and loving) little details (moles, scars, birthmarks, unusual traits)- wanting to improve self to impress or benefit other person- eyes constantly seek the other person out- inability to stop looking at the person, difficulty not staring at them- thinking you see the other person in a crowd when they’re not there- difficulty sleeping/loss of sleep- feeling a deep desire to kiss the personIf you need an extra boost, watch a few romantic comedies or love stories. Watch the way the characters behave as their interest in one another is building and as they begin to explore a relationship. :)

Question!!! But how do I integrate subtlety into my writing? Like I have a hard time picking up on it and I annoyingly have a tendency to tell not show, so I wanted to know if you have any advice!

Writing with More Subtlety

-- Getting the hang of "showing vs telling" is a great place to start if you want to integrate subtlety into your writing. Saying, "Moonlight glinted off the lake," is more subtle than, "The moon was shining."

Guide: Showing vs Telling

-- Learning to evoke emotion and ambiance with sensory description is another way to write with more subtlety. After all, saying, "The house was scary looking," is not as subtle as, "Thick fog curled around the decaying timbers of the once grand Victorian home."

Horror by Darkness Horror by Daylight

-- Knowing what internal and external cues can be used to illustrate your characters' feelings is also helpful, because, "Sarah was sad," is not as subtle as, "Tears pooled in the corners of Sarah's eyes, and she bit her upper lip to keep it from quivering."

Showing a Character's Feelings The Subtle Signs of Romantic Interest and Love

-- Learning to weave details into your story is also helpful, as it's more subtle to work details in naturally than to do a big info dump.

Weaving Details into the Story

-- Finally, learn to drop hints rather than declare something outright.

Dropping Hints without Giving Everything Away

I hope that helps!

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How do I figure out what motions/handlings to write? (Hand gestures, moving in the scene, etc).

I am autistic and have never paid much attention to the way people move. I only do so now because I have been reading and noticed it was missing from my own writing. I never see anyone struggle with this, so I feel like I am missing some understanding on how to structure a scene

Guide: Working Body Language Into Your Writing

Body language is the process of communicating nonverbally through conscious or unconscious movements of the body.

Th four types of body language:

-- Facial Expressions -- Posture -- Hand Gestures -- Body Movement

Facial Expressions communicate thought and emotion using the features of the face, such as eyes, mouth, nose, and eyebrows. Some examples of facial expressions are:

-- an upturned mouth -- dimples -- a raised eyebrow -- flushed cheeks -- a scrunched nose -- rolling eyes -- gaping jaw -- eye signals (winking, narrowed eyes, twinkling eyes, etc.)

Posture communicates thought and emotion using the positioning of the body, head, and limbs. Some examples of posture:

-- sitting up straight -- slouching -- leaning toward someone -- hugging oneself -- crossed arms -- hands on hips -- slumped shoulders

Hand gestures communicate thought and emotion using intentional movements of the hand. Some examples of hand gestures:

-- pointing -- "face palm" -- waving -- beckoning with hand or finger -- thumbs up -- middle finger -- clenched fists -- covering mouth with hand -- placing hand over heart -- gesturing at someone/something -- clapping

Body movements communicate thought and emotion using bigger actions, like gestures using the head/neck or limbs, or moving the entire body. Some examples of body movements:

-- jumping up and down -- cowering -- flinching -- bowing/curtsying -- handshakes/hugs -- hitting/kicking/pushing -- taking a step back -- moving toward -- shrugging -- shaking head/nodding -- tipping head back -- dancing in place Choosing Body Language to Show Emotion

A character's thoughts and emotions can be conveyed using a combination of different body language signals. Every body language signal (such as a wink, smile, frown, shrug, wave, etc.) has a bunch of emotions it can be tied to.

For example, we all know that smiling is typically a sign of positive emotions like happiness, joy, satisfaction, triumph, and affection. Shrugging is usually an indication of indifference or not knowing something. However, we can also modify body language using adjectives. For example, a "nervous smile" or a "sad smile" tells us something very different from just a regular smile. An "apathetic shrug" clarifies indifference, whereas an "enthusiastic shrug" implies excitement about something but not having all the answers or facts.

Sometimes, choosing the right emotion to illustrate a character's thoughts and feelings is as simple as considering what you yourself might do in that moment. Or, perhaps someone you know who is like your character. Other times, it can be beneficial to research which body language signals are typically indicative of a particular emotion. For that, I would strongly recommend purchasing a copy of The Emotion Thesaurus by Becca Puglisi and Angela Ackerman. This handy reference lists a variety of emotions along with the body language that often indicate them, and it goes even further in that it also describes the internal sensations that often go with these emotions, which is handy when you're writing in first-person or third-person close/limited. The book is available for purchase in print and e-book, and you can find samples by searching for "One Stop for Writers Emotion Thesaurus."

I hope that helps!

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I’ve been writing seriously for over 30 years and love to share what I’ve learned. Have a writing question? My inbox is always open!

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hi! I’m always looking for character design sheets/questionnaires to fill out for my characters, but I rarely find any I like. do you happen to have any suggestions?

Character Design Sheets/Questionnaires

(And My Alternative...)

While I think character design sheets/questionnaires can be fun to do, I also think they’re unnecessary and a bit of a time sink. After all, your character’s favorite kind of pizza won’t tell you much about who they are as a person, and probably doesn’t affect the plot at all.

In terms of fleshing out a character, I actually find it much more valuable to focus on the important things: Basic Biographical Details

Full Name: Nickname: Date of Birth: Gender: Description: Background Information Birthplace: Back Story: Current Residence: Occupation: Skills: Hobbies: Additional Details (If Applicable)

Aliases: Species: Powers: Crimes: Charges: Accomplices: Affiliation: Relationships

Parents: Siblings: Extended Family: Significant Other/s: Exes: Closest Friend: Friends: Coworkers: Classmates: Housemates:  Neighbors: Impact Traits

Positive Traits: Negative Traits: Emotional Wound: Internal Conflict: Pre-Story Life Goals: Pre-Story Life Goals Motivation: Story Goal/s Story Goal/s Motivation: Stakes: Voice: Arc:

Fun Details

Quirks & Mannerisms: Hopes & Dreams: Likes & Dislikes: Clothing Style: Pet Peeves: Those are most of the big ones I worry about. Ultimately, if it doesn’t impact the story, character development, or truly help you understand who this character is, it’s not really important.

I hope that helps! <3

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Walking/Running

Amble - walk leisurely

Careen - move swiftly in one direction

Falter - move hesitatingly; start to lose strength and momentum

Flounder - walk with great difficulty

Limp - walk with difficulty, normally due to injury

Lumber - move heavily or clumsily

Lurch - walk as if unable to control one’s movements; an unsteady tilt or roll

Meander - walk aimlessly or with little purpose

Parade - march in a procession

Prowl - move about in or as if in a predatory manner

Ramble - move about aimlessly or without any destination

Saunter - walk in a slow, or relaxed manner, without hurry or effort

Skulk - move stealthily; keep out of sight

Stagger - walk or move unsteadily, as if to fall

Stalk - walk stiffly

Stride - walk with long steps

Stroll - walk leisurely and with no apparent aim

Strut - to walk with a lofty proud gait

Stumble - miss a step and fall or nearly fall

Swagger - walk with confidence, arrogance or aggressiveness

Totter - move in a feeble, unsteady way

Waddle - walk with short steps and a clumsily swaying motion

Wade - walk through shallow water

Writing Arguments Between Characters

– Arguments in books are some of the most pivotal and important scenes in a narrative, but they’re also some of the most difficult because fights, in the moment, can seem much more dramatic in our heads than they would seem to an outsider. The great thing about writing is that you have the option to add context you wouldn’t have otherwise, which puts the reader in the characters’ heads and into the heat of the moment. I decided it was worth an article because it’s a very hit or miss kind of scene to pursue and I’ve received a lot of questions on the subject, so I’d like to answer (most of) them here. Enjoy! 

Instigation

Which character began the fight? Sometimes fights start days before they actually turn into a heated argument, so if there is a build up to the scene, make sure you’ve taken the time to make that clear in the last couple scenes or chapters. 

Sometimes, it isn’t actually clear to the characters what or who started the argument and it just sort of bubbles up over time or as events make the characters more confused, angry, scared, etc.

That’s another thing you need to know before you start writing an argument: what emotion is driving the characters to participate? Fear? Anger? Confusion? Sadness? Frustration? Tiredness? Repression of past feelings? Betrayal? In order to make the characters argue believably, you need to be in their headspace, and you can only do that if you know why they’re fighting in the first place.

Tone and pace

Build up

In order for an argument to be impactful to the reader, there needs to be some substantial escalation. Fights are like stories. There’s something that starts it, there’s rising tension, there’s a climax, and then there’s a cool down period before the resolution. Focus on the way you do the rising action especially, because the climax of the argument should be an “oh sh*t” moment.

Dialogue & Interraction

There are different types of arguments people can have. There’s the slow burn ones that the reader knows are coming, but are still really jarring when they come to pass. There are also the ones that seem like they’re out of nowhere if you don’t have context, but to someone who has been following maybe the past few days of the two people’s lives, they can tell that the actual subject of conflict isn’t what they’re really fighting about, but a deeper underlying issue they’ve both been struggling with. There are many ways an argument can go and feel to a reader, but a huge part of the subtext is how the two characters interact. 

If your characters are screaming about a dish that was put away wet and left a ring on the stained cabinets, it will be fairly obvious to the reader, as that sort of interaction, at surface level, wouldn’t serve much of a story-telling purpose, and therefore will lead the reader to assume there’s more to it and search their arsenal of contextual evidence to find the real source of tension between the characters. This can also be accomplished through clues in dialogue, such as sarcasm in response to when something relating to the actual issue is mentioned, or a lull in the argument when the two characters realize that they’re not really talking about a stupid bowl, are they?

Resolution

How the argument ends could be used to shift where the reader believes the story is going from there on. The end could be very insignificant to your story, as fights between characters are often used to get across some key information about characters or context or introduce new conflicts, which brings up my next point.

Integration

Arguments are a really good opportunity to integrate lots of important information for your reader in a way that shows instead of telling. You can use arguments to relay lots of information to your reader, such as:

Character tendencies

Relationships between characters

Smaller conflicts

Foreshadowing

Associations that will be useful in future scenes

Shifts in tone

Changes in the direction of the story

Underlying issues that might come up later

and many more.

Some General Tips To Keep In Mind

Always ask yourself “would so and so really do this?”

During arguments, people’s responses will often be blended with their reactions. Their face will be shocked and their words will be sharp. Try to include these little mixes in order to make the pace faster and more suspenseful.

Most large arguments start with something smaller and less significant

A lot of the time, the reactions won’t be like “i can’t believe he said that to me”, they’ll be defensive and/or a shot back without much thought.

Most arguments, especially between two characters who generally like each other, will end with something like one person walking out of the room, one person deciding to sleep on the couch, or one person avoiding or ignoring the other. Most fights between characters who know and matter to each other don’t end with a punch in the face.

Arguments don’t usually end when they’re no longer yelling at each other.

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Do you have any third wheel meme templates? thanks

as a third wheel myself i am happy to provide these;

Hey! Asking for some writing advice here.

How does one write a villain exactly. In a very simple world with no superpowers and stuff how do you give them motivation. How do you make them slowly descent into villainy. Somehow when the villain actually thinks they're doing the right thing until the very end?

Thx love

There are a few different questions here that I'm going to try to to unpick.

I'll start with a brief overview of the connections between protagonist + antagonist, just because recognising them can be really useful in shaping your own ideas. Then I'll dive into motivation. So.

Antagonist + Protagonist = CONFLICT

If you know your protagonist well, then you have all the ingredients you need to write a great villain/antagonist for them too. Here is why.

Your villain/antagonist is, at the most basic fundamental starting point, something that is between your protagonist and what the protagonist wants/needs. As a very simple example, if your protagonist wants to make sure that everyone is free, then your antagonist is going to in some way be involved with making sure they are not free. Once you know what your antagonist needs to do in a story, then it's a lot easier to pose the question to yourself of 'okay, why would someone do that?'

Villains often reflect an opposite or warped view of the values and motivations that your protagonist has. They mirror or foil your main character. So, your antagonist's motivation will often be either opposite to the protagonist (e.g, your protagonist is motivated by selflessness, so your antagonist is motivated by selfishness in some way) or they will be the same motivation or value gone twisted (e.g. we both have people we love who we would do anything to protect...it's the villains way of acting on that motivation that makes them the villain, not the motivation.)

Of course, you can not have your antagonist + protagonist connected in this way. This is often the case if the source of conflict in your story is not another actual character or if you have a more generic villain. Lots of great stories have generic villains. It typically just means the villain is not a focus. It might be, like, about the friendships made in the journey instead.

Motivations:

I find it helpful to think of all my characters having two motivations.

The external story-specific motivation. This is whatever the antagonist is trying to achieve in your particular story and where things like genre and superpowers etc come into play.

The internal motivation that is more universal. The internal motivation is, while still specific to the character, the driving emotions and values. With a villain, that is often hatred or fear or lust for power because they're villains, but as noted earlier it can be a twisted form of love, or a strong sense of an injustice committed against them. This shapes the external motivation (e.g. 'lust for power = I want the throne, 'fear' = I'm going to kill or belittle or control what scares me so I don't have to feel scared anymore', justice might equal revenge or gaining power to ensure that a wrong is corrected. ) It could also be a bias or a prejudice that they're raised on driving them, that they genuinely believe in. Lots of possibilities!

I think this is true of people as well. We have our foundational core beliefs and desires (to be loved, to succeed, to be accepted whatever) and then we have the things we try to get in the real world to meet those needs (whether they really will or not).

Either way, it's the second one that comes into play with the slow descent into villainy and the villain thinking that they're doing the right thing until the end. Because, initially, their heart genuinely is not in a villainous place. They may actually be doing the right thing at the start. And then bad things happen. They are changed by the journey. They are a protagonist gone tragic.

We all experience emotions that can drive us to behave poorly; the desire for revenge or recognition, to ensure that the people we care about are safe, to get money so that we can provide for ourselves and others etc. None of us are without prejudice or privilege. Those things do not make you a villain, but they can be an excellent starting place for one.

Think about times when you've messed up. A villain is often an exaggerated version of that. You start pushing your own boundaries because there is something you really want/need and, depending on how far you push that...do you feel like you can still go back? Or do you feel like you might as well finish it after everything. At what point do you breathe for air, look up at what you've done, and go shit.

That's the villain who realises way too late that they're the villain.

Final note: I've been using antagonist and villain pretty interchangeably here...but they have slightly different connotations. Your antagonist does not have to be a villain to be effective. They just have to be an obstacle to the protagonist. E.g. if two people are going for the same dream job or trying to win a competition, the other competitors are antagonists to a certain extent, but that doesn't mean they're villainous or bad people. Whether you have an outright villain will depend on your story.

I hope this helps!

Some going further questions to take with you.

Is your villain trying to stop your protagonist from reaching their goal? Or is your protagonist trying to stop the antagonist from reaching their goal?

How does the villain's external goal in the story reflect the inner need? Note. They are aware of their external goal. Most people are not aware of the inner goal in the same way.

Do you know what you want your stories themes to be? (This doesn't have to be complicated and it's fine if you don't, that's what editing is for). Your protagonist and antagonist often weigh in on these themes. For example, your antagonist might be a path the protagonist could have gone down, if they made a different choice or something happened differently in their past.

good traits gone bad

perfectionism - never being satisfied

honesty - coming off as rude and insensitive

devotion - can turn into obsession

generosity - being taken advantage of

loyalty - can make them blind for character faults in others

being dependable - always depending on them

ambitiousness - coming off as ruthless

optimism - not being realistic

diligence - not able to bend strict rules

protectiveness - being overprotective

cautiousness - never risking anything

being determined - too focussed on one thing

persuasiveness - coming off as manipulative

tidiness - can become an obsession

being realistic - being seen as pessimistic

assertiveness - coming off as bossy

pride - not accepting help from others

innocence - being seen as naive

selflessness - not thinking about themself enough

being forgiving - not holding others accountable

curiosity - asking too much questions

persistence - being seen as annoying

being charming - can seem manipulative

modesty - not reaching for more

confidence - coming off as arrogant

wit/humor - not taking things serious

patience - being left hanging

strategic - coming off as calculated

being caring - being overbearing

tolerance - being expected to tolerate a lot

eagerness - coming off as impatient

being observant - being seen as nosy

independence - not accepting help

being considerate - forgetting about themself

fearlessness - ignoring real danger

politeness - not telling what they really think

reliability - being taken advantage of

empathy - getting overwhelmed with feeling too much for other people

subtle ways to include foreshadowing

one character knowing something offhandedly that they shouldn't, isn't addressed until later

the crow rhyme

colours!! esp if like, blue is evil in your world and the mc's best friend is always noted to wear blue...betrayal?

write with the ending in mind

use patterns from tragic past events to warn of the future

keep the characters distracted! run it in the background until the grand reveal

WEATHER.

do some research into Chekhov's gun

mention something that the mc dismisses over and over

KEEP TRACK OF WHAT YOU PUT. don't leave things hanging.

unreliable characters giving information that turn out to be true

flowers and names with meanings

anything with meanings actually

metaphors. if one character describes another as "a real demon" and the other turns out to be the bad guy, you're kind of like...ohhh yeahhh

anyways add anything else in the tags

WEBSITES FOR WRITERS {masterpost}

E.A. Deverell - FREE worksheets (characters, world building, narrator, etc.) and paid courses;

NotionByRach - FREEBIES (workbook, notion template, games, challenges, etc.);

Hiveword - Helps to research any topic to write about (has other resources, too);

BetaBooks - Share your draft with your beta reader (can be more than one), and see where they stopped reading, their comments, etc.;

Charlotte Dillon - Research links;

Writing realistic injuries - The title is pretty self-explanatory: while writing about an injury, take a look at this useful website;

One Stop for Writers - You guys... this website has literally everything we need: a) Description thesaurus collection, b) Character builder, c) Story maps, d) Scene maps & timelines, e) World building surveys, f) Worksheets, f) Tutorials, and much more! Although it has a paid plan ($90/year | $50/6 months | $9/month), you can still get a 2-week FREE trial;

One Stop for Writers Roadmap - It has many tips for you, divided into three different topics: a) How to plan a story, b) How to write a story, c) How to revise a story. The best thing about this? It's FREE!

Story Structure Database - The Story Structure Database is an archive of books and movies, recording all their major plot points;

National Centre for Writing - FREE worksheets and writing courses. Has also paid courses;

Penguin Random House - Has some writing contests and great opportunities;

Crime Reads - Get inspired before writing a crime scene;

The Creative Academy for Writers - "Writers helping writers along every step of the path to publication." It's FREE and has ZOOM writing rooms;

Reedsy - "A trusted place to learn how to successfully publish your book" It has many tips, and tools (generators), contests, prompts lists, etc. FREE;

QueryTracker - Find agents for your books (personally, I've never used this before, but I thought I should feature it here);

Pacemaker - Track your goals (example: Write 50K words - then, everytime you write, you track the number of the words, and it will make a graphic for you with your progress). It's FREE but has a paid plan;

Save the Cat! - The blog of the most known storytelling method. You can find posts, sheets, a software (student discount - 70%), and other things;

I hope this is helpful for you!

☕️ buy me a coffee! ☕️

List of symptoms

I hate having whump fantasies that involve some vague fever that doesn’t have consistent symptoms to make it feel real. Here’s a handy list to flesh out the nature of your whumpee’s illness.

Let’s go:

Dizziness/faintness

Congestion

Sneezing

Coughing

Headache

Muscle aches

Joint aches

Cramping

Exhaustion/lethargy

Shivering

Wheezing/trouble breathing

Sore throat (trouble speaking and swallowing)

Sweating (leads to dehydration)

Flushed and/or pale skin

Delirium (delusions, nightmares, lack of filter, inability to regulate emotions, hallucinations, incoherent speech, confusion)

Nausea/vomiting

Abdominal pain (burning, stabbing, soreness)

Chest pain (burning, stabbing, soreness, tightness)

Pain/pressure behind the eyes

Feeling too hot or too cold

Weakness

Blurred vision

Weight loss (loss of appetite)

Rapid heartbeat

Abnormal breathing (rapid, shallow, panting)

Sensory sensitivity (light, sound, touch, smell, taste)

Tell me more……

I’m sorry friends, but “just google it” is no longer viable advice. What are we even telling people to do anymore, go try to google useful info and the first three pages are just ads for products that might be the exact opposite of what the person is trying to find but The Algorithm thinks the words are related enough? And if it’s not ads it’s just sponsored websites filled with listicles, just pages and pages of “TOP FIFTEEN [thing you googled] IMAGINED AS DISNEY PRINCESSES” like… what are we even doing anymore, google? I can no longer use you as shorthand for people doing real and actual helpful research on their own.

How to start your book

Here are my best tips to write your opening chapter in your novel like a pro.

Start in a peculiar situation What is a situation that’s totally unexpected to your readers, but an everyday occurrence to your characters? Start there!

Make sure you cover all these elements 💜 Introducing your protagonist 💜 And their flaw 💜 And what they struggle with 💜 Build a first look at the atmosphere of your book 💜 Signal your genre 💜 Establish your narrative position

Keep it all about the intrigue! It’s very tempting to unload everything onto your reader in the first chapter, because you just want them to know everything. But the more you can hold back, the more intrigue you will create, and therefore - more reason for the reader to keep flipping pages.

Don’t forget to hint at your story question Now this is a really important step that a lot of writers leave out and their first chapter suffers for it. It has to do with your hero’s flaw. This will be closely connected to the story question you’re asking. Make sure you include a quick hint at the bigger conflict that your story will be exploring and how your hero’s flaw might play into it.

Your characters are key Absolutely the most crucial thing about your first few chapters is to establish a connection with your characters. Character empathy is what drives readers’ interest. Don’t go in with a whole character backstory, but instead show us who they are right now, and why we should care about what happens to them.

Things to avoid ❌ Info-dumping! ❌ Introducing too much about your world all at once ❌ Introducing too many characters ❌ Giving your readers answers instead of questions

Also…

Want fully customizable templates for your writing? Character sheets, outlines, chapter treatments, world-building, questionnaires and more?

Grab our 3 E-books for writers through the [link here] or below! They each come with 40 pages of easy theory and resources.

The Plotter’s Almanac

The Character Bible

The World Builder’s Chronicle

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Writer's ToolBoox

The Writer's ToolBoox is a pack of 3 extensive E-books that cover the areas of: character craft, world building, and plotting. It comes with

ᴛɪᴘꜱ ꜰᴏʀ ᴡʀɪᴛᴇʀꜱ [ꜰʀᴏᴍ ᴀ ᴡʀɪᴛᴇʀ]

don't let your skill in writing deter you. publishers look for the storyline, not always excellent writing. many of the greatest books came from mediocre writers—and also excellent and terrible ones.

keep writing even when it sucks. you don't know how to write this battle scene yet? skip ahead. write [battle scene here] and continue. in the end, you'll still have a book—and you can fill in the blanks later.

find your motivation. whether it's constantly updating That One Friend or posting your progress, motivation is key.

write everything down. everything. you had the perfect plot appear to you in a dream? scribble down everything you can remember as so as you can. I like to keep cue cards on my nightstand just in case.

play with words. titles, sentences, whatever. a lot of it will probably change either way, so this is the perfect opportunity to try out a new turn of phrase—or move along on one you're not quite sure clicks yet.

explain why, don't tell me. if something is the most beautiful thing a character's ever laid eyes on, describe it—don't just say "it's beautiful".

ask for critique. you will always be partial to your writing. getting others to read it will almost always provide feedback to help you write even better.

stick to the book—until they snap. write a character who is disciplined, courteous, and kind. make every interaction to reinforce the reader's view as such. but when they're left alone, when their closest friend betrays them, when the world falls to their feet...make them finally break.

magic. has. limits. there is no "infinite well" for everyone to draw from, nor "infinite spells" that have been discovered. magic has a price. magic has a limit. it takes a toll on the user—otherwise why can't they simply snap their fingers and make everything go their way?

read, read, read. reading is the source of inspiration.

first drafts suck. and that's putting it gently. ignoring all the typos, unfinished sentences, and blatant breaking of each and every grammar rules, there's still a lot of terrible. the point of drafts is to progress and make it better: it's the sketch beneath an oil painting. it's okay to say it's not great—but that won't mean the ideas and inspiration are not there. first drafts suck, and that's how you get better.

write every day. get into the habit—one sentence more, or one hundred pages, both will train you to improve.

more is the key to improvement. more writing, more reading, more feedback, and you can only get better. writing is a skill, not a talent, and it's something that grows with you.

follow the rules but also scrap them completely. as barbossa wisely says in PotC, "the code is more what you'd call 'guidelines' than actual rules". none of this is by the book, as ironic as that may be.

write for yourself. I cannot stress this enough. if what you do is not something you enjoy, it will only get harder. push yourself, but know your limits. know when you need to take a break, and when you need to try again. write for yourself, and you will put out your best work.

Rainbow Crates tsats cover!

sleeve was done by @alessiajontrunfio !

card was drawn by @velinxi !

[REDACTED] moodboard

character motivations:

fear

hurt

survival

failure

being pressured

instability

desire / hunger

guilt

belief they are doing something good

love

loyalty

vengeance / revenge

inequality

unfulfillment

hatred

honour / dishonour

pride

jealousy

death

humiliation

pain

greed

shame

rejection

loss

power

Dive in Deeper: Humor

Hello, hello! Today’s post will be about humor!

“What? Humor? But I’m naturally funny!”

Ha, ha! Maybe you are but that doesn’t mean you don’t need advise on how to transfer your unique sense of humor into the pages of your amazing new book!

As a quick refresher let me remind everyone that this post is one of the rest that belong in the series 22 Essential Literary Devices.

Let’s dive in, shall we?

What Is Humor Writing?

Humor writing is a piece of fiction or nonfiction written with the express purpose of being funny.

How it strikes a humorous chord and the resulting laughs (or groans) it produces depends on the piece.

Three Types of Humor Writing

Humor novels. Humor novels are their own genre. These can be both fiction and nonfiction. In fiction, satirical novels fall in this category. Satire fiction uses humor, irony, and exaggeration to critique or expose a corrupt aspect of society. Two of literature’s most popular satire novels are George Orwell’s Animal Farm (1945) and Joseph Heller’s Catch-22 (1961).

Short form. Short humor pieces usually take the form of a short story or piece of humor fiction. A short humor piece is usually a piece of writing under 1,000 words whose main purpose is to amuse.

Humor essay. Humor essays are usually a personal essay whose primary aim is to amuse rather than inform or persuade. Sometimes, writers mix fiction with nonfiction in humor essays for comedic effect.

Four Golden Rules for Writing Humor

Identify your style of humor. Everyone has a different sense of humor. We all find different things funny for different reasons. This is why it’s important that before you sit down and try to write funny things, you think about your own personal sense of humor and how you want to mine that to produce a piece of humor writing. Trying to mimic other people’s styles in creative writing won’t work. If you try and write in a style that is not your own, or if you try and force yourself to be funny in a way that you are not, the effort behind your writing will show. There are many kinds of humor. Look at this list of some popular types of humor and try and analyze where your individual strengths are and what you feel most comfortable with.

Observational/situational humor. This involves finding humor in mundane, everyday situations.

Anecdotal humor. This involves mining personal stories for humor.

Dark (or gallows) humor. Finding humor in darker, more unpleasant circumstances or aspects of life, like death, suffering, and unhappiness.

Self-deprecating humor. This involves you, the writer, making fun of yourself for comedic effect. Having a sense of humor about yourself endears you to others.

Satirical humor. Looking to the various faults of individuals, organizations, or society and mining them for comedic purposes.

Use the rule of three. The rule of three is a common rule in humor writing and one of the most common comedy writing secrets. It involves establishing a set pattern with two ideas and then subverting that pattern with a third, incompatible idea. For example: “Can I get you anything? Coffee? Doughnut? A better attitude?”

Mine humorous anecdotes from your real life. This is especially pertinent for humor essays. If you think about it, most of the funny things in your own life are things that our friends and family also find funny. These are the stories we tell over and over. These are the stories we use to bond or connect with others. Sometimes, we mine these stories for a more humorous effect. This is exactly what a humor essay does. Before you start writing, make sure you identify why a particular story or anecdote is funny. Is it funny to you because of your unique circumstances or understanding of a wider context? If so, it’s unlikely to be funny to your readers without that prior context.

Leverage cliches. While clichés are something most writers try to avoid, it’s important to recognize them. Humor relies in part on twisting a cliché—transforming or undermining it. You do this by setting up an expectation based on the cliché and then providing a surprise outcome. For example: “What doesn’t kill you makes you stranger.” In humor writing, this process is called reforming.

Quick Tips For Writing Humor

Surprise the reader. Twist a cliché or undermine any expectation you’ve set up.

Put your funny expressions at the end of a sentence. Humor is often a release of tension, so the sentence builds that tension, and the pay-off happens most naturally at the end.

Use contrast. Are your characters in a terrifying situation? Add something light, like a man obsessing about his briefcase instead of the T-Rex looming behind him.

Find funny words. Some words are just funnier than others, so make a list of those that amuse you the most.

Try a “figgin” —a story element that promises to be something horrible or disgusting but which turns out to be humorous, and yet later has a pay-off, or a moment where the item becomes important to the plot.

Give them “sherbet lemon” —minor details you put in a text to make the reader smile. These small pulses are in the text just for humor; they don’t necessarily have a pay-off later.

There ya have it folks! Humor! Now you too can be even more funny and write it down through your writing!

If you find this helpful please follow, comment and reblog!

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Stop making this prologue mistake

Are you making this mistake when writing a prologue? Lots of new writers don’t know what prologues are for.

But let’s first jump into what they are not for →

Infodumping, worldbuilding, or backstory! A prologue is not the place to set the image of what your world is, what led to it being this way, why your protagonist finds themselves in their current predicament, or retelling the backstory of your hero.

Why not? Because when a reader first opens your book, they don’t yet have an incentive to care about your world or your character, and therefore pummeling them with a ton of information about things they haven’t gotten to know yet (or care about!) is the easiest way to lose their interest.

I know you might be thinking - but how will they know whose story I’m telling and what world it’s set in? This comes down to one simple thing → Trust your readers.

Building your world, your characters, and their backstories organically throughout the story you’re telling is going to result in a lot more gratitude from your readers.

Why? Because you’re not serving them all the information on a silver platter. Instead, you’re letting them ask questions and discover things on their own. They will FEEL that sense of trust you’re giving them, when you don’t over explain yourself.

So what are prologues actually for then? A strong prologue should tease the story, or set up the central story question that you’re asking. It should never give away too much, but act as a small glimpse or hint of things to come. It should make your readers intrigued about the story.

Here’s how you can figure it out easily →

The simplest distinction to conclude whether you have a strong prologue is this: Does your prologue pose questions or answer them? If it’s the former - great!

If it’s the latter - rethink whether you need it, or you might simply be too untrusting of your readers.

Need helping plotting your novel out? Check out Novel Plotting Academy and don’t wait for New Year’s resolutions to start writing!

Enroll today through the link HERE or below!

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Simple Plotting Tools to Get You Clear on Your Story

Can you hear your characters?

I have a whole lot of trouble making my dialogue sound natural if I don’t know what my characters sound like. Having a strong sense of their voice can help distinguish your characters from each other, show their personalities, and make them more engaging to readers. 

Here’s some details to think over if you’re trying to nail down a character’s voice:

Speed

Pitch

Volume

Accent

Vocabulary

Amount spoken

Willingness to speak

Stutters

Hesitations

Repetitions

Quirks 

Common phrases 

Other questions to ask:

Do their voices or the way they talk change depending on who they’re talking to or the situation they’re in? 

How can their personality come through their voice? Their sarcasm, empathy, awkwardness, etc. 

What in their backstory contributes to the way they talk? 

When they make a statement, how often does it come off as unsure or questioning, versus confident and factual? 

How does their voice relate or coexist with their body language? 

50 WORDS TO USE INSTEAD OF “SAID”

Do you ever find yourself over-using the word “said” in your writing? Try using these words/phrases instead:

stated

commented

declared

spoke

responded

voiced

noted

uttered

iterated

explained

remarked

acknowledged

mentioned

announced

shouted

expressed

articulated

exclaimed

proclaimed

whispered

babbled

observed

deadpanned

joked

hinted

informed

coaxed

offered

cried

affirmed

vocalized

laughed

ordered

suggested

admitted

verbalized

indicated

confirmed

apologized

muttered

proposed

chatted

lied

rambled

talked

pointed out

blurted out

chimed in

brought up

wondered aloud

(NOTE: Keep in mind that all of these words have slightly different meanings and are associated with different emotions/scenarios.)