No Need To Tell Me, I'm Listening On Everyone

Kyoto 京都 // JiYeon 지연

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

Enemies/Friends to Lovers & more Masterpost

Enemies to Lovers (and vice versa)

How to write Enemies to Lovers + Dialogue Prompts

Oblivious Enemies to Lovers Prompts

Enemies to Lovers: Falling for the flirt

Enemies to Lovers: Co-worker Edition Part I

Enemies to Lovers: Co-worker Edition Part II

Enemies to Lovers: Meet Ugly College Edition

Enemies to Lovers: Drama Club Edition

Enemies to Lovers: Apocalypse AU

Enemies to Lovers: Band Edition

Enemies to Lovers: Assassins Edition

Enemies to Lovers: Martial Arts Edition

Enemies to Lovers: Given up on life

Lovers to enemies

Reasons for lovers turning to enemies

Exes to Lovers

Exes to lovers prompts

Exes to lovers dialogue

Friends to Lovers

Reluctant allies to friends to lovers dynamic

Friends to lovers Prompts

Flirty friends to lovers Prompts

Friends with benefits to lovers Prompts

Friends to Lovers Ideas

Best friends to lovers Prompts

Childhood friends to lovers Prompts

Childhood friends to enemies to lovers Prompts

More:

Enemies to friends with benefits Prompts

Enemies to friends Prompts

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Phrase List: Emotions

phrases and idioms to try to include in your poem/story

A crying shame - a situation that makes one feel sad or disappointed

Afraid to say - used as a way of expressing one's disappointment, regret, or sorrow

Agonies of guilt/remorse/regret - feelings of guilt, remorse, or regret

(As) happy as a clam - very happy

Beneath contempt - completely bad or worthless—used to describe someone or something that is too bad to deserve any respect

Calm, cool, and collected - not upset; not very bothered by things

Catch (someone or something) by surprise - to happen to (someone or something) unexpectedly; to attack, capture, or approach (someone or something) without warning

Debt of gratitude - appreciation or thanks that someone should give another person

Figure of contempt - a person who is regarded with contempt

Guilt trip - an instance of feeling guilty; a feeling of guilt or blame caused especially by another person's comment or accusation

Held in contempt - considered by the court to have broken the law by disobeying or disrespecting the judge

Jump for joy - to jump up and down because one is very happy

(Many) happy returns - used for wishing someone a happy birthday and to express the hope that he or she will live to celebrate many more birthdays in the future

More in sorrow than in anger - because of sadness or disappointment rather than anger

Poor/sad/sorry excuse for - a poor example of

Pride and joy - someone or something that makes someone very proud and happy

Put on a happy face - to appear happy even when one is not

Sad sack - a blundering, inept person

Scared stiff - very afraid—often + of

Scared to death - very afraid—often + of

Strike fear into the hearts of - to cause (someone) to be very afraid; to frighten

The calm/lull before the storm - a period of quiet that comes before a time of activity, excitement, violence, etc.

Tingle with excitement - to be very excited

To one's amusement - in a way that is amusing to someone; pleasing to someone

To someone's disappointment - causing someone to feel sad, unhappy, or displeased because something was not as good as expected or because something hoped for or expected did not happen

Source ⚜ More: Phrases ⚜ Word Lists ⚜ Writing Resources PDFs

Writing Notes: Anatomy of Letterforms

Aperture—the opening of a not entirely closed, somewhat rounded space within a character (such as in ‘c’).

Apex—the topmost intersection where two strokes terminate.

Arc—a curved portion of a stroke.

Arm—a horizontal or upward stroke that does not connect with a stem on at least one end.

Ascender—portion of the lowercase that rises above the x-height.

Axis—the imaginary line bisecting the upper- and lowermost points where a stroke becomes thinnest.

Baseline—the line on which the letters of a font seem to rest.

Beak—a serif-like terminal in some serif type designs.

Bowl—the curved part of a letter surrounding a counter.

Bracket—a curved or wedge-like connection between a serif and the main stroke.

Cap height—the distance from the baseline to the top of the uppercase letters.

Character—a symbol with a unique linguistic meaning, such as a letter, number, punctuation mark, etc.

Counter—the typically rounded negative space partially or fully enclosed by part of a letter.

Crossbar—a horizontal stroke bridging two other strokes.

Cross stroke—a typically horizontal stroke crossing the stem of the lowercase ‘t’ or ‘f’.

Crotch—the inner angle where two strokes connect.

Descender—portion of the lowercase which extends below the baseline.

Finial—the tapered terminal of a curved stroke.

Foot—the end of a stem or stroke resting on the baseline.

Gadzook—a decorative detail connecting the letters in a ligature but is not a stroke essential to either letter.

Glyph—a unique drawing of a character or characters as a single unit. (For instance, a single character may have more than one glyph, like the y’s below. Or there may be multiple characters in a single glyph, as in a ligature.)

Ink trap—additional space added where two strokes form an acute angle, done to avoid ink build-up in that spot when the character is printed. It’s a space designed to literally trap excess ink.

Joint—the place where a stroke joins a stem.

Leg—the short, often diagonal, downstroke of letters like ‘R’, ‘K’ and ‘k’, typically resting on the baseline.

Lobe—a curved or rounded projection from the stem or main portion of the letter.

Loop—the bowl below the baseline on a double story lowercase ‘g’.

Neck—also known as a collar or link, the stroke that connects the top and bottom portions of a lowercase ‘g’.

Overshoot—portion of a letter pushing just beyond a line of measurement to achieve the appearance of being the same height as comparable letters.

Sans serif—without serifs.

Serif—a small stroke added to the end of a main stroke.

Shoulder—the curve at the beginning of a downward stroke, such as in ‘m’, ‘n’, or ‘h’.

Spine—the primary curved stroke of the letter ‘S’ or ‘s’.

Spur—a small protrusion off a main stroke.

Stem—the main, typically vertical, stroke of a glyph.

Stroke—a line forming part of a written or printed character.

Swash—an addition at the end of a stroke intended to beautify or add other visual interest to a glyph beyond what is necessary to define a character.

Tail—the descending, often decorative, stroke of the ‘Q’, and sometimes ‘R’ or ‘K’.

Tittle—the dot on the ‘i’ or ‘j’.

Vertex—the bottommost intersection where two strokes terminate.

X-height—the height of the lowercase without ascenders or descenders, usually typified by the height of the letter ‘x’.

Terminal—the end of a stroke:

Abrupt—the stroke ends without taper or embellishment.

Ball—the stroke finishes with a circular shape.

Calligraphic—the stroke finish gives a strong indication of the shape of the writing instrument used to form the letter.

Foxtail—the end of the stoke widens before curving around and ending in a point, similar to the shape of a fox’s tail.

Lachrymal or Teardrop—the stroke finishes in a teardrop shape.

Wedge—the stroke has a serif-like wedge added to it.

Source ⚜ More: Writing Notes & References ⚜ Writing Resources PDFs

we all know who is this

oh my god, he takes his helmet off when he’s required to wear armor and he’s all sweaty underneath and his hair is sticking to his forehead and the sides of his face and his cheeks are completely red and his eyes still have that spark of wild adrenaline in them, oh my godddddd

[00:35] | ateez choi san

“And if I do?”

pairing » ateez choi san x fem!reader

trope/au » established relationship au, non-idol au

genre » very fluffy, falling asleep during studying and boyfriend san who is worried for you because you don't take the greatest care of yourself, (it really was supposed to be fluff all through the end) turns suggestive towards the last quarter of the story, reader is a bit playful, san is very in love with you, of course you are super in love with him too

word count; estimated reading time » 1032; ~4 mins

warnings (lmk if i missed anything!) » quite suggestive at the end, indeed...a suggestive sentence at the very end, san lifts the reader up, reader wears glasses, reader implied to be smaller than san, san restrains reader's hands, pet names (bubs, baby girl)

navi/masterlist!! 🤍 ateez masterlist 🤍 the boyz lee juyeon ver.

my ateez debut! here it is @jaehunnyy !! i really wanted to post smth for your bday so please take this as a late bday present 😭 thanks for proofreading a bit of this one and finding the pictures for the banners 🥰 you saved me a bunch of tears fr 😀 have fun with the second one (even though it's the same...😭)

It’s not an unusual occurrence for you to be staying up late at night and for San to find you draped over your books and worksheets when he gets home. In fact, it’s becoming such a usual occurrence that San is making it a habit to open the front door with such gentleness that the click of the door opening would be too loud for his liking. In reality, your study desk at your shared apartment is quite a distance from the entrance of the apartment, so if San wanted to, he could enter in the same way as if you were awake.

But he didn’t want to.

In the rare case that you decide to snooze off on the couch, he doesn’t want to be the one to ruin your precious, peaceful sleeping time. Unfortunately for him, he would still be needing to do it one way or another if he ever finds you asleep on the couch or anywhere but your shared bed. The victorious smile from closing the front door quietly soon turns upside down, frowning at the sight of your head lying on your stack of handouts in the study room. The stack acted as your pillow, your arms around the rectangular pile. You look like you have been resting your body for some time now, given that San’s soft head pat didn’t faze you at all. With a slightly heavy sigh, San makes his way to the other side of the desk to get a better look at your face. He kneels on the floor, content with being more at eye level with you. 

He’s surprised to see that you must’ve been so exhausted that taking your glasses off might have been too much effort for you. The side frame completely rests on the paper, the nose pad of the glasses no longer resting properly on your nose. San hisses at how the hard plastic pushes against your nose, already imagining the pain when you wake up and realise tomorrow.

“Bubs,” he tests your consciousness with a whisper. “Your whole body is going to hurt when you wake up, you know?” Your breathing is still as even as before, and the no response from you deepens his frown. “I’m sorry, but I’m going to move you, okay?” 

San rises to his feet once again, grabbing the blanket drapped on your study desk that he has prepared. He’s told you multiple times to at least cover your body if you don’t plan to take a nap on the bed, but he should have known that when tiredness kicks in, all a person wants to do is to close their eyes. San spreads the light cotton across your back, kissing the side of your head and humming sweet melodies to avoid surprising you too much with his movement.

“San?” You slur sleepily, still unable to fully wake up. San clicks your desk light off and soon sees your content smile at his little gesture. “When did you get home?”

“Just a few seconds ago. When did you fall asleep?”

“Just a few minutes ago.” A raised eyebrow from your boyfriend is what prompts you to tell him the truth. “A little longer than that.”

San tuts disapprovingly, “You can’t keep slouching off on the table. It’s not good for your body. And this,” he takes your glasses off by the hinges, “it’s not comfortable for you.”

You hum at his loving lecture for you, beginning to straighten your back from the long nap. Truthfully, if San weren’t beside you right now, you would be sending complaints to your past self for dozing off at the table, your back cramping and sore. But Choi San knows you too well, and the creases between your eyebrows tell him everything.

“See?” He reprimands. 

You’re not given another chance to rebut when he swivels the chair around for you to face him. In a second, you’re in his arms, the back of your knee and back supported securely with his arms, and your shoulder pressed against his chest. San looks down at you, pressing a quick kiss on your forehead that you respond to by pressing yours along his jawline. Along the short walk to the adjacent room, you plant kisses all over his face, giggling at the way his cheeks grow red with every second. 

Just a few seconds before San would rest you gently on the mattress, you steal a kiss from his plump lips, arms wrapped around his nape and threading your fingers into the strands of his hair. San almost stumbles but soon regains balance when he registers the way you delicately take his lips. Along with the giggles and fabric rustling against each other in the small room, it’s not long until your head properly lays on a pillow. San doesn’t let you breathe after, climbing on top of your figure with his palms beside your head to support himself. His knees sink to the mattress beside your thighs, and you’re left breathless with the man before you. The remnants of his cologne are clearer now, and the proximity leaves you curling up a side of your lips.

Your boyfriend knows the meaning of your expression well from experience. “Don’t rile me up, baby girl…”

Just like he did a second ago, your eyebrow rises. Your pointer traces along the center of his exposed neck, feeling the gulp and his intense stare on you. You glide across his skin, tracing along his collarbones slowly, making sure that your touch lingers on his skin. When your finger slides down to the neckline of his fabric, it curls around his shirt to pull his tense expression closer to you. A quick touch of your lips is all you spare him before regaining eye contact with him.

“And if I do?”

Those words are enough for San to lose control, pulling the sheets to his palms as he fists them tightly. One hand leaves the bed, restraining both your wrists under his hold above your head. He dives closer to the crook of your neck, ragged breathing and warm breath against your skin.

“I’ll make sure you’ll sleep peacefully for days.”

navi/masterlist!! 🤍 ateez masterlist 🤍 the boyz lee juyeon ver.

tags: @k-films @kflixnet @starlit-network @kstrucknet @blossomnet

@haneul-and-clouds @jaehunnyy @mars101

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.

Word Lists

will update this every few weeks/months. alternatively, here are all my tagged word lists.

Blood ⚜ Blush ⚜ Book ⚜ Eye ⚜ Flower ⚜ Fly ⚜ Girl / Boy

Glow ⚜ Gold ⚜ Heaven ⚜ Hell ⚜ Honey ⚜ Moon ⚜ Sun

Sick ⚜ Soul ⚜ Time ⚜ Ward ⚜ Water

Collections

"Beautiful" Words: Part 1 2 3 4 5 6 7 8

"Poetic" Words: Part 1 2 ⚜ "Ugly" Words

Animals ⚜ Dance ⚜ Emotions ⚜ Garden ⚜ Kill ⚜ Personality Traits

Food: Part 1 2 3 4 5 ⚜ Aphrodisiacs ⚜ Drinking

Love: Part 1 2 ⚜ Sex Scenes ⚜ Sensory Words ⚜ Saying No

Palindromes ⚜ Shapes ⚜ Voice ⚜ 1930s Slang ⚜ Habitats

Legendary Creatures ⚜ Parts of a Castle ⚜ Silent Letters

Lexical Universals ⚜ Magical Properties of Oils

Loan Words: French in Middle English ⚜ Nonsense Words

Months: August ⚜ September ⚜ October

Seasons: Autumn ⚜ Spring ⚜ Summer

Topics List: Part 1 2 ⚜ Terms of Endearment

Uncommon Words: Body ⚜ Emotions

Characters

Achilles ⚜ Patrolcus ⚜ Amy Dunne ⚜ Aphrodite

Aragorn ⚜ Arwen ⚜ Hannibal ⚜ Will Graham

Giorno ⚜ Josuke ⚜ Katniss ⚜ Morticia

Languages

Ancient Greek ⚜ Czech ⚜ Greek Words for Love

French Part 1 2 ⚜ Italian ⚜ Japanese ⚜ Latin

Portuguese ⚜ Romanian ⚜ Russian ⚜ Spanish

Literature

Sylvia Plath ⚜ The Secret History

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