Mundane Scenes Are Important.

prompts that hit in all the right places

showing up outside your enemy's door

only one bed

knife against the throat

“it’s always been you” kisses

exclaiming “because i love you” during an argument

rain kisses

''use me''

having to undress your love interest to be able to tend to their wounds, trying your best not to stare at their bare-chest

being pushed to the ground/wall with your hands pinned down

sexual tension when tending to someone's wound

“I didn’t know where else to go”

fake dating (it was real all along)

confessing your feelings to someone you think are asleep

“it’s not like I’ll ever see [that person again]” while said person's standing behind them, suitcase in hand, about to reveal they’re moving back into town

''make me''

a character claiming they’re not going to do ~the thing~ but in the next frame is seen ~doing the thing~

“nothing is ever going to happen between us!”

two strangers bumping into each other on the street, instant attraction (not love. attraction! think instant case of god you’re hot)

during a stressful situation, a character can be seen running back into their house ‘’forgot my keys’’ *runs back out* *runs back in* ‘’forgot my wallet’’

the italicized “oh”

“what is it that you don’t get? i’m not attracted to [this person]!” cut to scene of the person in question staring longing at the object of their desire

going to sleep on different sides of the bed but waking up entangled

going to sleep in different beds but sneaking into the other's to snuggle

forehead kisses but it's the male being kissed on the forehead

dancing together, one of them takes the other’s hand, kisses it

''what you're doing right now is really stupid but you're so cute i can't help but laugh at it''

''let's kiss just to see what it's like''

when someone's like… i don’t know… hurt or something… and the other person's like… tending to their wounds… and then just… wrap their lover their arms, thankful they’re alive

when a character is taken hostage by the antagonist, and their lover goes absolutely ballistic, doing everything in their power to protect their lover, and the antagonist has to restrain them, but it doesn't stop this character from trying to get to their lover, doesn’t matter what happens to them, doesn’t matter if they get beaten as long as their lover's safe

Words to describe facial expressions

Absent: preoccupied 

Agonized: as if in pain or tormented

Alluring: attractive, in the sense of arousing desire

Appealing: attractive, in the sense of encouraging goodwill and/or interest

Beatific: blissful

Black: angry or sad, or hostile

Bleak: hopeless

Blinking: surprise, or lack of concern

Blithe: carefree, lighthearted, or heedlessly indifferent

Brooding: anxious and gloomy

Bug eyed: frightened or surprised

Chagrined: humiliated or disappointed

Cheeky: cocky, insolent

Cheerless: sad

Choleric: hot-tempered, irate

Darkly: with depressed or malevolent feelings

Deadpan: expressionless, to conceal emotion or heighten humor

Despondent: depressed or discouraged

Doleful: sad or afflicted

Dour: stern or obstinate

Dreamy: distracted by daydreaming or fantasizing

Ecstatic: delighted or entranced

Faint: cowardly, weak, or barely perceptible

Fixed: concentrated or immobile

Gazing: staring intently

Glancing: staring briefly as if curious but evasive

Glazed: expressionless due to fatigue or confusion

Grim: fatalistic or pessimistic

Grave: serious, expressing emotion due to loss or sadness

Haunted: frightened, worried, or guilty

Hopeless: depressed by a lack of encouragement or optimism

Hostile: aggressively angry, intimidating, or resistant

Hunted: tense as if worried about pursuit

Jeering: insulting or mocking

Languid: lazy or weak

Leering: sexually suggestive

Mild: easygoing

Mischievous: annoyingly or maliciously playful

Pained: affected with discomfort or pain

Peering: with curiosity or suspicion

Peeved: annoyed

Pleading: seeking apology or assistance

Quizzical: questioning or confused

Radiant: bright, happy

Sanguine: bloodthirsty, confident

Sardonic: mocking

Sour: unpleasant

Sullen: resentful

Vacant: blank or stupid looking

Wan: pale, sickly

Wary: cautious or cunning

Wide eyed: frightened or surprised

Withering: devastating

Wrathful: indignant or vengeful

Wry: twisted or crooked to express cleverness or a dark or ironic feeling

Writing fight scenes

masterlist. main navigation.

@bluebxlle_writer on Instagram

1. Pacing

A fight scene should be fast-paced and intense. Unless it's a final battle with numerous parties, a fight scene that's too long tends to take away suspense. To speed up your pacing, use active voice to describe movement and don't overdescribe your characters' thoughts. Excessive inner monologue will be unrealistic, as people usually have no room to think during intense combats.

2. Character mannerisms

Here's a point that people often overlook, but is actually super important. Through fight scenes, you should be able to reveal your characters' contrasting mannerisms and personality. A cunning character would play dirty - fighting less and making use of their opponent's weakness more. A violent character would aim to kill. A softer one would only target to disarm their enemies, using weakened attacks. A short-minded character would only rely on force and attack without thinking. This will help readers understand your characters more and decide who to root for.

3. Making use of surroundings

Not only the characters, you also need to consider the setting of your fight scene and use it to your advantage. Is it suitable for fighting, or are there dangerous slopes that make it risky? Are there scattered items that can help your characters fight (e.g. nails, shards of glass, ropes, wooden boards, or cutlery)? Is it a public place where people can easily spot the fight and call the authorities, or is it a private spot where they can fight to the death?

4. Description

The main things that you need to describe in a fight scene are :

• Characters involved in the fight

• How they initiate and dodge attacks

• Fighting styles and any weapons used

• The injuries caused

Be careful to not drag out the description for too long, because it slows down the pace.

5. Raise the stakes

By raising the stakes of the fight, your readers will be more invested in it. Just when they think it's over, introduce another worse conflict that will keep the scene going. Think of your characters' goals and motivations as well. Maybe if the MC didn't win, the world would end! Or maybe, one person in the fight is going all-out, while the other is going easy because they used to be close :"D

6. Injuries

Fights are bound to be dirty and resulting in injuries, so don't let your character walk away unscathed - show the effect of their injuries. For example, someone who had been punched in the jaw has a good chance of passing out, and someone who had been stabbed won't just remove the knife and walk away without any problem. To portray realistic injuries, research well.

7. Drive the plot forward

You don't write fight scenes only to make your characters look cool - every fight needs to have a purpose and drive the plot forward. Maybe they have to fight to improve their fighting skills or escape from somewhere alive. Maybe they need to defeat the enemy in order to obtain an object or retrieve someone who had been kidnapped. The point is, every single fight scene should bring the characters one step closer (or further :D) to the climax.

8. Words to use

• Hand to hand combat :

Crush, smash, lunge, beat, punch, leap, slap, scratch, batter, pummel, whack, slam, dodge, clobber, box, shove, bruise, knock, flick, push, choke, charge, impact

• With weapon :

Swing, slice, brandish, stab, shoot, whip, parry, cut, bump, poke, drive, shock, strap, pelt, plunge, impale, lash, bleed, sting, penetrate

Things I learned about making comics

- Characters don’t have to always be detailed sometimes a small blob with a speach bubble is fine too

- Small panels can contain scenary it doesn’t have to be half page all the time

- Tilted panels shapes are cool but don’t do it in every page keep it for the action/tense scenes

- Don’t over do close shots or they lose their meaning

- Try to have a full body of your character (even if small) at least every 2 pages

- Let the audience breathe, characters don’t have to be in every single panel

- Same face angle is boring but too many different camera positions are confusing find a balance

- Backgrounds first, characters later

- Color backgrounds one page at a time but color objects all at once through all the comic (all the faces then all the air and so on)

- The closer the object the thicker the lineart

- THUMBNAILS THUMBNAILS THUMBNAILS

- Write down your text near those thumbnails you won’t remember shit later

- ALWAYS think ahead of the space for the speach bubbles

- Give your characters a dark and a light color each so they will pop against any background

- For a fast shade fill the shadow layer set it to multiply 20/30% and erase the lighter parts

- Compare the pages one next to the other the panel lines should not touch or be too close

- 4 pages at a time the layouts should all be different

- By all means do get your characters out the frames but if you gotta do it do it all the way, a single strain of hair sticking out just looks weird.

- Don’t be scared of empty sections

- There should be a difference between the orizontal and vertical spaces between the panels

- Study other comics especially ones with good visual flow

- Everything should have a purpose and sometimes to be fun to read is enough

How I Outline My Characters

Intro

Hey guys! Today I’m going to be talking about how I outline and build my characters. I used to be so uninspired when I was building characters, because to me it just felt like I was filling in blanks, and I couldn’t really connect to the character. So I just decided to take a bare-bones character profile (specifically Reedsy’s, which I highly recommend) and cut and add things as I saw fit. I want to stress that it’s in no way comprehensive–in fact, I’m always adding new things–but it does cover quite a bit, and so far, it’s worked well for me!

1. Identity and appearance

This section involves all the fundamental parts of a character. First, I begin with names: the character’s name in English (or in another language, if applicable) and their nickname(s). Then, I go through all the details of birth, location, age, etc. etc. Next, I dive into nationality and heritage, the languages the character understands, and their gender and pronouns (I know there’s a difference between the two, I just group them together because it’s easier to keep track of). Finally, I go into all the statistics of appearance and health, along with a description of what they look like in the text!

2. Personality and psychology

In the second section of my character profile, I nail down the basic personality and psychology of the character. “General” includes their normal temperament, preferences, moral compass, and more. The second subsection delves into “plot-significant” elements of the character’s mind, such as the heart’s desire, weaknesses, insecurities, and fears. “Classifications,” the third subsection, is just about categorizations like zodiac signs and personality types. Last is a list of miscellaneous “favorites” of the character. I pay a lot of attention to the first two parts of this section, as they are essential for me to figure out the story!

3. Communication and mannerisms

Next, I delve into the communications and mannerisms of the character, whether that’s vocal, physical, or emotional. Most of this is pretty self-explanatory, so I’ll just elaborate on a few. A swear word can tell you a lot about a character, surprisingly enough–whether it’s religious or not, whether the character whispers it or yells it, etc.

Under the “physical” subsection, “gestures” refers to the level of gesturing that a character does, as well as what kind of gestures they make–e.g. big and sweeping gestures, or small and confined ones? In the “emotions” subsection, "humor” refers to what the character finds funny, e.g. dark humor. “Smile” refers to what the character’s smile looks like, which can be very telling. For example, do they have a close-lipped smile or a wide, toothy grin? Do they have both but show one of them more often, and if so, why?

4. Social media and related

Here, I decide what social media platforms the character would use if they had them, and if so, what type of content they would post. This is a fun character exercise and it can be taken further by actually creating social media profiles for your characters on certain websites!

I also make a miniature playlist of what songs I think they would listen to, specifically songs that would be on their all-time most played Spotify playlist. Making playlists is one of my favorite ways to flesh out characters!

5. Backstory

Probably the most important part of the profile plot-wise, “Backstory” covers the entire background of a character–their childhood, memories, aspirations, abstract details, and everything to do with the past and what their life and mind was like prior to the story. Under “Description,” I simply write out a longer summary of the character’s backstory.

6. Family

Here, I just build the character’s family, noting their names, ages, birth/death, history, their relationship with the character, etc. This is pretty self-explanatory. After going into immediate family, I mention extended family. Both can reveal insights into the character–are they closer to one side of their family than to the other? Why? Is there any conflict that may be shown between the character and their family in the story?

7. Relationships

This section is all about relationships; familial, platonic or romantic. This helps me figure out the dynamics between characters. I also include a “Perception” section, which allows me to view the character from multiple angles. If this character is involved in romance, I note what qualities they want in a relationship or in their ideal partner(s).

8. Story elements

Finally, I figure out the current situation of the character: where are they right now and where do they want to be? What’s their goal? What motivates them? These questions let me build a plot. Lastly, I plan out their character arc–how they change and develop during the course of the story.

Sad things you can do in a book other than killing of a character

Character death is sad, but it also has huge consequences on your plot that can’t be reversed. Not to mention, depending on your genre, character deaths are often reserved for later in the series as a way of telling the reader that things are getting serious. 

So, until that moment, here’s a quick list of things you can do to tug at your readers emotions: 

1.- Destruction of an item of value. For this to work you’re going to have to set this up early on, it could be a childhood toy they need to sleep at night, a necklace they swear gives them good luck, and old family trinket or any number of things. The important thing is you show just how important it is to the character, make them happy and excited just to talk about it. Later on your character will feel loss and so will the audience. 

2.- Arguing. Two characters with a strong bond arguing can be heartbreaking, even if you know the argument is going to resolve itself eventually, going from cuddles and banter to cold looks and the silent treatment, can easily hurt the audience just as much as the characters. 

3.- Betrayal. When well done, it’s worst than character death. When you as a reader fall head over heels in love with a character, only for them to betray the rest, it’s heartbreaking, especially if when you read back the foreshadowing was there. It was so obvious yet you were all so blind! As blind as the other characters. Also, unlike character death, they’re still there, there to taunt you with their mere existence. 

4.- Failure. We have probably all felt that emptiness, that feeling as the world crumbles around us, haplessness, when we failed an exam in school or just couldn’t get the house clean in time for that visit. Take that feeling and reflect it into your characters, it doesn’t have to be an exam, it can be anything, a task they’re parents asked them to do and they tried their best, a mission, anything. Just let them fail and feel the world crumble. 

5.- Being forced to stay behind. Following from point four, if a character is not good enough they can be left behind, perhaps it comes from a place of love, an attempt to protect them from enemies too strong, yet it still hurts. Perhaps they haven’t failed, perhaps they are left behind for another reason, because they are “too valuable”, or because they’ll be more useful back home. Either way, watching those close to you go of to fight for what you believe in, without you, can be painful. 

6.- Finding out something they believed in was a lie. It can be something relatively insignificant, an assumption they never bothered to question. Or something world shattering. Allow me to offer up an example with an unimportant spoiler from my second book (it’s not even out yet but oh well): in this book, while talking about some law, Henry realises his daughter believes he and her mother were married. This is an assumption Itazu made and never questioned. It affects nothing, nothing changes, yet finding out her mother and her father were not the happy married couple she’d always pictured, it’s painful. 

This could also be something huge, finding out you’re adopted for example. 

7.- History. Oh, history, how depressing it can be. And if you have a fantasy world you have many opportunities to go into this. From slaughters to slavery, finding out how society got to where it is, the base on which it is built. Well, it’s pretty depressing. Obviously be careful how much inspiration you take from real world history and always be respectful and do your research! 

8.- Scarring. An injury can be painful, it can be scary. And depending on what caused it, leave you with traumatising memories. Now add to that a physical visible reminder on your skin you can never remove. Well, that can be pretty horrible. Imagine the scar came from a battle the protagonist longs to forget, but can’t because every night before going to sleep they can’t help but glance at their arm where the nasty scars forever lies. 

As usual,  check out my book, stories I’ve written plus other social medias: here.

This another post I could probably do a part two on someday. Can you think of any books where any of these are done effectively? Do any of these happen in your owns book? Please tell me! I love hearing from you all. 

The Language Of Flowers

Acacia: Hidden love, beauty in withdrawal

Amaryllis: Pride, a hard won success

Anemone: Vanishing hopes

Bells of Ireland: Wish for good luck

Carnation: Fascination, love and distinction

Daffodil (Narcissus): Honesty and truth

Dahlia flower: Warnings and change

Daisy: Innocence, loyal love and purity

Delphinium: Open heart, ardent attachement

Gardenia: Symbol of secret love

Gladiolus: Remembrance, faithfulness and sincerity

Hyacinth: I'm sorry, please forgive me.

Iris: Eloquence

Lily (general) : Purity of the heart and refined beauty

Lily of the valley: Return of happiness

Marigold: Passion and creativity

Orchid: Beauty, refinement and love

Peony: Happy marriage

Lavender: Love at first sight

Red rose: Love, respect, courage and passion

White rose: Purity, secrecy, silence, innocence and charm

Sunflower: Good luck and ambition

Tulip: Irresistible love

Violet: Faithfulness, modesty and delicate love

Zinnia: Lasting affection, daily remembrance and good memories

Struggling with emotional scenes? Here are some tips for writing emotion!

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1. While you’re writing, try to build an explanation for their feelings. What triggered their emotion? Is their reaction rational or are they overreacting? Do they fight, flight, fawn or freeze when provoked? Do they feel threatened? 

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2. Show, don’t tell. Describe what is happening instead of plainly stating the situation. Try not to use words like sad, happy, devastated, in pain, angry, nervous, scared, or worried. They cut back on the emotional integrity of the scene and make it hard for readers to connect with your characters. Here are some different behaviors for different emotions.

-Eager-

Bouncing up and down

Unable to sit still

Breathing deeply

Fidgeting

Pretending to do something

Trying to stay busy

Constantly looking at the clock

-Nervous-

Red and hot face

Sweaty palms

Voice cracks

Shaky hands

Biting nails

Biting lips/inside of cheek

Wide eyes

Shallow breathing

Heart racing

-Excited-

Wide smile

Squeal/scream

Bouncing up and down

Fidgeting

Playing with hands

Tapping foot

Talking fast

Tapping pencil

Pacing back and forth

-Scared-

Curling up/bringing knees to head

Closing eyes

Covering ears

Stop breathing or breathing quickly

Biting nails

Shaking

Gritting teeth

Hugging/squeezing something tight

-Frustrated-

Stomping

Grunting/mumbling/yelling

Deep breaths

Red and hot face

Hitting/kicking something

Pointing

Straining/veins become more visible

-Sobbing-

Eyes filling up with tears

Eyes burn/turn red

Red cheeks

Face becomes puffy

Pursed lips

Holding head down

Hyperventilating

Fast blinking

Trying not to blink/holding back tears

-Happy-

Smiling wide

Laughing loudly

Cheeks hurting

Talking loudly

Higher pitched voice

Animated/expressive

-Upset-

Walking slowly/shuffling feet

Head down/avoiding eye contact

Biting inside of cheek

Dissociation

Keeping quiet

Fidgeting

-Bored-

Pacing back and forth

Sighing loudly

Complaining

Fidgeting

Blank face

Looking for something to do

Making up stories

Talking about random topics

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3. Try and bring some trauma into your character’s emotions. For example, something might happen that reminds them of a suppressed/traumatic memory. This is an easy way to hook your reader and have them really feel like your character is a real person with real emotions. They might have some internal conflict they need to work through and a certain situation reminds them of that. They might become irritable at the thought of their traumatic experience and they might snap at whoever is nearby. 

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4. Most characters won’t dump their entire backstory or feelings in a conversation. Try and reserve your character’s emotions to make more interesting scenes later on. For example, your character may be triggered and someone may ask them what’s wrong. Will they give in, soften up and share? Or will they cut themself off and say they’re fine? Also take into account that your character might not know the other character very well and won’t be comfortable sharing personal information with them, like details regarding their trauma.

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5. Last but not least, you don’t need to have a major event happen to connect emotionally with your audience. You don’t have to kill off a character every time you need to spice up your story, even simple interactions can just help your readers understand your character better. Show how they react to certain topics or situations. Describe their feelings, their surroundings, their body language. Their defense mechanisms will help the audience to better understand what kind of person they are.

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I remember you had a post on your old blog, about how to fall in love with your story again. Do you think you still have it around somewhere, WQA? That post had some life-saving advice that could come handy for someone!

Getting Excited About Your Story Again

Oh! I didn’t realize I never re-posted it here, so thank you! Here it is, plus a couple links to newer, similar posts with more ideas. I hope this helps!

1) Cast your characters, or if you’re artistic, try drawing them. If you’ve got Photoshop skills, try making a movie-style poster for your story.

2) Create a tumblr gallery filled with images that inspire you where your story is concerned. These could be images of things in your story, things you want to include in your story, or just things that make you think of your story.

3) Make a playlist of songs to serve as a soundtrack for your story.

4) Make a list of five things you love about every character, five things you love about the plot, and five things you love about the setting.

5) Write a short essay about the important themes in your story and why they matter to you. See if similar themes run through any of your other stories.

6) Get a fun and easy going friend or sibling to play “radio show” with you. Have them interview you about your story as though you were an author talking about their novel on a radio show. Try to be serious about it for as long as you can–which won’t be long because it’s super cheesy but lots of fun.

7) Try to write a poem about the plot of your story as though your protagonist was the one writing it.

8) Draw maps and floor plans of your setting and sets. Go window shopping online to look for furniture and props to fill your character’s home with.

9) Make a Wordle using words from your story.

10) Read your story out loud as if you were reading it to a group of fans. Try to imagine their reactions at different points in the story. When would their attention be the most rapt? When would they smile? When would they sniffle? When would they cheer?

Feeling Unmotivated with WIP Getting Unstuck: Motivation Beyond Mood Boards & Playlists

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Have a question? My inbox is always open, but make sure to check my FAQ and post master lists first to see if I’ve already answered a similar question. :)

How to write smut ?

(@urfriendlywriter | req by @rbsstuff @yourlocalmerchgirl anyone under the appropriate age, please proceed with caution :') hope this helps guys! )

writing smut depends on each person's writing style but i think there's something so gut-wrenchingly beautiful about smut when it's not very graphic and vivid. like., would this turn on a reader more?

"he kissed her, pulling her body closer to him."

or this?

"His lips felt so familiar it hurt her heart. His breathing had become more strained; his muscles tensed. She let herself sink into his embrace as his hands flattened against her spine. He drew her closer."

(Before proceeding further, these are all "in my opinion" what I think would make it better. Apply parts of the advice you like and neglect the aspects you do not agree with it. Once again I'm not saying you have to follow a certain type of style to write smut! Creative freedom exists for a reason!)

One may like either the top or the bottom one better, but it totally depends on your writing to make it work. Neither is bad, but the second example is more flattering, talking literally.

express one's sensory feelings, and the readers will automatically know what's happening.

writing, "her walls clenched against him, her breath hitching with his every thrust" is better than writing, "she was about to cum".

here are some vocabulary you can introduce in your writing:

whimpered, whispered, breathed lightly, stuttered, groaned, grunted, yearned, whined, ached, clenched, coaxed, cried out, heaved, hissed

shivering, shuddering, curling up against one's body, squirming, squirting, touching, teasing, taunting, guiding, kneeling, begging, pining, pinching, grinding,

swallowing, panting, sucking in a sharp breath, thrusting, moving gently, gripped, biting, quivering,

nibbling, tugging, pressing, licking, flicking, sucking, panting, gritting, exhaling in short breaths,

wet kisses, brushing soft kisses across their body (yk where), licking, sucking, teasing, tracing, tickling, bucking hips, forcing one on their knees

holding hips, guiding the one on top, moving aimlessly, mindlessly, sounds they make turn insanely beautiful, sinful to listen to

some adverbs to use: desperately, hurriedly, knowingly, teasingly, tauntingly, aimlessly, shamelessly, breathlessly, passionately, delicately, hungrily

he sighed with pleasure

her skin flushed

he shuddered when her body moved against his

he planted kisses along her jawline

her lips turned red, messy, kissed and flushed.

his hands were on his hair, pulling him.

light touches traveled down his back

words were coiled at his throat, coming out as broken sobs, wanting more

he arched his back, his breath quivering

her legs parted, sinking into the other's body, encircling around their waist.

+ mention the position, how they're being moved around---are they face down, kneeling, or standing, or on top or on bottom--it's really helpful to give a clear picture.

+ use lustful talk, slow seduction, teasing touches, erratic breathing, give the readers all while also giving them nothing. make them yearn but DO NOT PROLONG IT.

sources to refer to for more: (will be updated soon!)