Body Type And Shape

Hi!, ive encountered a problem i hope you would aid in? ive been trying to write this domestic breakfast scene where one character is still half-asleep trying to uphold a conversation but i can't. Its the "calm before the storm" kind of scene and i want to give my readers time to breathe and relate to the characters.

Writing Notes: Mundane Scenes

How Mundane Scenes can be Important (by editor Richelle Braswell):

Pacing: Mundane scenes can provide a breather from the action-packed scenes and add variation so that readers don’t get bored or worn down.

World-building: Mundane moments such as how characters get dressed in the morning or prepare their food can add realism and details to your world. It gives a sense of depth to characters lives and shows instead of tells how life operates.

Give weight to events: Mundane activities such as resting or tending to injuries can give weight to previous plot points such as a battle or reveal. We sit with the consequences, and thus the events feel like they have greater importance and space in the narrative.

Synthesize information: Characters can review things like whodunit clues or what they know so far over a meal or while traveling. Meanwhile, the reader can process events up until that point. These scenes are best used during the midpoint of a book or right before the climax.

Build tension: These much slower moments like chatting and weeding the garden can add tension to stories by sitting with the unknown. Readers will sense when things are too quiet and feel a building anticipation.

Develop character arcs: Slow moments such as shopping or washing-up can be important touchpoints to depict gradual character growth. If there is nonstop action, then there isn’t a chance for characters to stop and reflect and give the readers some insight into any changed thought processes and dilemmas.

Develop romance: Mundane moments are some of the best places to give characters space to make the bed together and fold laundry. Their romance and dynamic can be developed here but note that it is most effective when used sparingly and when the reader does not lose a sense of narrative drive.

Decisions as a challenge: Choices have gravity in a narrative when there is space for the main characters to struggle with doing the right thing. It can add further drama if they aren’t making tough decisions while dodging flying arrows or being chased, but while sweeping their floors or organizing their bookshelf. The reader experiences the weight of the choice since it can be carefully considered before it leads to a hero’s triumph or tragedy.

Whatever you do with a mundane scene, the idea to keep in mind is how it contributes to the whole.

some related literary tropes

"Slice of Life" Trope

Life, observed and examined.

A cast of characters go about their daily lives, making observations and being themselves.

There is an emphasis on the very moment, with the intent of focusing the audience on that moment rather than using that moment as part of a narrative.

"Calm before the Storm" Trope

Characterized by a sense of anticipation, perhaps tension, even dread of what is to come.

It allows the characters a moment of respite prior to everything going to hell.

Maybe they make final preparations.

Maybe they go bid farewell.

Maybe they go tie up loose ends or bury hatchets.

They might decide now's the time to finally spend the night with that special someone.

Or maybe they just meditate to still their minds and/or calm their nerves.

Or they may decide to throw a party while they still can.

This scene allows us a quiet moment to just be with the characters, especially if it winds up being the end of the line for some of them.

Great clouds lit from within by lightning gather on the horizon, an army can be seen assembling, or the Final Battle is just around the corner. Everyone knows it is inevitable.

Tomorrow the silence will be broken. Tomorrow there will be chaos. But for now, all is quiet.

"Action Film, Quiet Drama Scene" Trope

An action film trope that you can also incorporate in your writing.

In this kind of scene, there are no expensive visuals or frenetic action, just usually two characters talking about what they believe in, what they care about, their deepest pains, or anything that relates to the stakes of the situation.

This is not the same as the purely exposition scene in that there is something deeper displayed here.

In these scenes, you can understand the plot, grasp its theme, or develop a rapport with the characters to make the big scenes matter to your readers.

When it really works, it can make the action sequences all the more compelling, because the quiet scenes have allowed you to emotionally invest in the characters and care about their fate.

Examples

In The Hunger Games: Mockingjay – Part 2, after a long time fleeing through the giant death trap of the Capitol and suffering several losses, Cressida leads the squad to a friend's house. Their time in the basement covers a lot of ground, from mourning their losses to Katniss' guilt to the Love Triangle.

Inception: In the climax, we finally see whether or not Fischer reconciles with the memory of his father.

The Lord of the Rings: The scene between Aragorn and Arwen on the bridge in The Fellowship of the Ring. It introduces depth to Aragorn's character and reveals his backstory; the scenes of the Shire at peace in The Fellowship of the Ring (especially in the Directors Cut), filled with laughter, friendship and happy children (what a warrior lays down his life to protect) is what makes us actually care whether or not Frodo and the Fellowship defeat Sauron or not.

Sources: 1 2 3 4 ⚜ More: References ⚜ Writing Resources PDFs

Here are some information and related tropes to keep in mind as you write your scene. Use the tropes as inspiration, and alter as needed/desired to better fit your story. Reading how other authors have done this as well, especially in your favourite stories, is one way to know how you would execute it in your own story. You can find more details and examples in the links above. Hope this helps with your writing!

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🍓┆a taste of jealousy

choi san x gn! reader

│synopsis: the one with the confession

│genre: fluff, friends to lovers

│trigger warnings: mid jealousy

│ prompt 25 + san + strawberry

Another midweek game night with your friends to unwind from your hectic schedules. Tonight, you'd volunteered to prepare snacks for everyone. The soft melody of a lo-fi playlist hummed through the speakers as you moved around the kitchen.

"Need some help with those?" Wooyoung appeared beside you, eyeing the pile of ingredients on the counter with a mischievous grin.

"Thanks," you smiled, sliding a cutting board his way. "These finger foods won't make themselves."

As Wooyoung began chopping vegetables beside you, he leaned in closer than necessary, his shoulder brushing yours. "You know what they say about the way to a man's heart..." he teased, winking at you.

You couldn't help but burst into laughter. "Is that what I'm doing? And here I thought I was just making snacks."

Wooyoung reached across you for the salt, his hand settling briefly on your waist. "Kitchen's small," he explained, "Need to get around you somehow."

"Somehow indeed," you replied with a raised eyebrow, but didn't move away.

"Open up," he said suddenly, plucking a grape from the fruit bowl and holding it to your lips. "Quality control is essential." You laughed again, opening your mouth as he popped the grape in.

What neither of you noticed was San standing in the doorway, his eyes fixed on the intimate scene. The comfortable gray hoodie he wore looked soft against his skin as he shifted his weight, jaw tightening at the sight.

As Wooyoung fed you another grape, his hand still casually resting on your waist, San cleared his throat loudly.

"Sannie!" you called, brightening at his presence. "Perfect timing. We're almost done with the snacks."

But his usual playful smile was missing, "Looks like you two have it handled," he said, voice neutral. "Yunho's setting up the board game." Before you could respond, he turned and disappeared back into the living room.

"What's his problem?" Wooyoung whispered, raising an eyebrow but still not moving his hand from your waist.

"I don't know," you frowned, gently stepping away and wiping your hands on a towel. "He's been weird all week."

Wooyoung leaned closer, lowering his voice. "Well, I'm not sticking around for whatever that was. Take these chips out when you go—and good luck." As Wooyoung slipped away to join the others, you arranged the last snacks on a tray.

When you entered the living room, San was sitting cross-legged on the floor by the coffee table, shuffling a deck of UNO cards with more force than necessary. You set the tray on the coffee table and looked at him, noticing the tense set of his shoulders as he continued to shuffle the cards. The others were engaged in conversation, seemingly oblivious to the tension between you and San. His eyes briefly flickered up to meet yours, and in that fleeting moment, you caught a glimpse of hurt. He quickly looked away, focusing intensely on the cards in his hands as if they held the answers to questions he couldn't bring himself to ask.

"Can we talk?" you finally asked looking attentively at his expression, heart racing as your eyes met. Without answering, San got up and took your hand leading you down the hallway to his bedroom, closing the door behind you both.

"What's going on?" you asked softly, noticing how he couldn't quite meet your eyes.

San ran a hand through his hair, tension rippling across his shoulders. "Can we just be direct with each other?" You nodded in answer, waiting for him to continue. "What's going on with you and Wooyoung?"

"Nothing's going on," you replied honestly, your voice softening. "Wooyoung is just being... Wooyoung. You know how he is."

"He was touching you," San stated plainly, the words hanging heavy between you. A small, conflicted frown crossed your face. This side of San was something new.

"Yes, he was," you admitted, "But he was just being playful," you continued, stepping closer to him. "San, why aren’t you looking at me?" You reached for his hand, intertwining your fingers with his, feeling his reluctant grip tighten around yours.

He let out a heavy sigh, his eyes finally meeting yours. "I..." he started, then shook his head, his grip on your hand tightening. "I can't stand watching him touch you like that," he finally confessed, words tumbling out.

You blinked in surprise, "What are you saying?"

"I didn't mean to—" he started, then stopped, looking almost defeated. "I like you," he blurted out, then immediately backtracked. "No, that's not right. I really, really like you. Have for months now, actually."

Your heart fluttered in your chest as his words sank in. "San..." you whispered, moving closer to him.

"I know he's my best friend," he continued, words rushing out now that the dam had broken. "And I know I have no right to be jealous, but I can't help it. Every time he touches you, every time you laugh at his jokes..." His voice trailed off, eyes dropping to where your hands were still intertwined. "I-I know you probably don't feel the same way. I see how you and Wooyoung get along so well, and he's funnier than me anyway, and probably better looking, and—"

"San—" you tried to interrupt, but he was on a roll.

"—and I totally understand if you want him instead. He's my best friend, and he's great, so I get it. I just couldn't keep pretending that I don't feel anything when I'm around you, and I'm sorry if this makes things weird, but—"

"San!" you tried again, louder this time.

"—I promise I won't make it awkward if you reject me. We can just forget this ever happened and go back to—"

You'd had enough. In one swift movement, you grabbed him by his hoodie and pulled him down to your level. "Kiss me and shut up," you commanded. For a moment, San froze, his eyes wide with shock. Your lips pressed against his, but you felt no response—just the stiffness of surprise as he stood there, completely stunned. You pulled back slightly, his mouth hung slightly open, his breathing shallow as he tried to process what had just happened.

"Did you just...?" he whispered, his voice trailing off as his fingertips touched his own lips in disbelief.

"Yes," you replied softly, suddenly feeling vulnerable. "Maybe I should have waited for your permission first," you finished, heart pounding in your chest with uncertainty. For what felt like an eternity but was barely a second, San remained motionless. Then, slowly, his eyes softened as he leaned in. His hands gently found your waist, touch feather-light and hesitant. When his lips finally met yours, it was tentative at first—a whisper of a kiss that asked a question. The sweet taste of your strawberry lip gloss lingered between you as he pulled back slightly, searching your eyes before continuing. His second kiss was more certain but still gentle, a tender exploration filled with relief and longing. You sighed against his lips, your fingers lightly gripping his hoodie as warmth bloomed in your chest.

"You're being ridiculous," you murmured against his lips. "I've never wanted Wooyoung."

San pulled back just enough to look into your eyes, his breathing ragged. "You don't?"

You shook your head, smiling. "How could I want anyone else when you're all I think about?

"Really? You mean it?"

You nodded. "You're the only one I want. The only one." His face softened in a way you'd never seen before, dimples appearing as his smile widened. Gently, he cupped your face with both hands, thumbs brushing over your cheeks as if you were something precious. The tenderness in his eyes made your heart skip a beat as he leaned in to kiss you again, this time with all the certainty in the world.

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Some tips on the do’s and don’ts of adding more description to your Writing

Do‘s:

Make your writing come alive by describing things that appeal to the senses. Instead of saying "It was a beautiful garden," you could say "The garden was filled with the scent of fresh roses, the sound of buzzing bees, and the vibrant colors of blooming flowers."

Instead of just saying what something is like, show it through your words. For instance, instead of saying "She was sad," you could describe her actions and surroundings to show her sadness: "Tears welled up in her eyes as she stared out the rain-streaked window, clutching a crumpled tissue in her hand."

Instead of using general words, get specific. Instead of saying "He drove a car," you could say "He drove a sleek, black convertible, the wind tousling his hair as he sped down the open highway."

Keep your writing interesting by mixing up short and long sentences. Don't always write in the same way. For example, "The sky was dark. The trees swayed in the wind. It felt eerie," could be improved by adding variety: "Dark clouds gathered overhead, causing the trees to sway ominously in the gusting wind, casting an eerie feeling over the landscape."

Use your descriptions to set the mood of your story. Instead of just saying "It was a scary place," describe the setting to evoke fear in your readers: "The abandoned house loomed in the moonlight, its broken windows and creaking doors whispering of unseen terrors lurking within."

Don't just drop descriptions randomly into your writing. Make sure they fit naturally into the flow of your story. Instead of stopping the action to describe something, weave it into the narrative: "As she ran through the forest, the branches clawed at her skin, leaving scratches like whispers of the dangers lurking in the shadows."

While descriptions are important, don't forget to keep your story moving forward. Don't spend too much time describing things at the expense of the action. Find a balance between describing the scene and keeping the plot moving.

Don't:

Using too many adjectives can make your writing sound cluttered and overwhelming. Stick to the essentials and choose your words carefully.

Don't forget that dialogue and interactions between characters are key parts of your story. Use them to reveal personality and move the plot forward.

Don't repeat yourself. Once you've described something, trust your readers to remember it. Don't keep saying the same thing over and over again.

Sometimes, what you don't say can be just as important as what you do say. Let your readers read between the lines and draw their own conclusions.

Avoid using tired old phrases that everyone has heard before. Try to come up with fresh, original descriptions that will grab your readers' attention.

Be mindful of the pace of your story. Don't slow things down with long descriptions in the middle of an action scene. Save the detailed descriptions for quieter moments when the pace naturally slows down.

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A Writer on Writing: George Orwell

George Orwell:

Probably it is better to put off using words as long as possible and get one’s meanings as clear as one can through pictures and sensations. Afterward one can choose – not simply accept – the phrases that will best cover the meaning, and then switch round and decide what impression one’s words are likely to make on another person. This last effort of the mind cuts out all stale or mixed images, all prefabricated phrases, needless repetitions, and humbug and vagueness generally. But one can often be in doubt about the effect of a word or a phrase, and one needs rules that one can rely on when instinct fails. I think the following rules will cover most cases:

Never use a metaphor, simile or other figure of speech which you are used to seeing in print.

Never use a long word where a short one will do.

If it is possible to cut a word out, always cut it out.

Never use the passive where you can use the active.

Never use a foreign phrase, a scientific word or a jargon word if you can think of an everyday English equivalent.

Break any of these rules sooner than say anything outright barbarous.

These rules sound elementary, and so they are, but they demand a deep change of attitude in anyone who has grown used to writing in the style now fashionable. One could keep all of them and still write bad English, but one could not write the kind of stuff that I quoted in those five specimens at the beginning of this article.

Source More: George Orwell

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