jadethranx

[jadethranx]

more characters with heterochromia. fuck it. it’s no longer ‘cringe’ to give your OCs two different eye colours it’s actually extremely cool and fun and sometimes extremely sexy. godspeed

[jadethranx]

Feeling like your creativity has hit a wall? Trust me, it happens to everyone at some point.

A lot of people think creativity is something that just shows up when it feels like it, but actually, there are things we do that can totally block it without realizing. The biggest culprit? Putting way too much pressure on yourself or obsessing over the final product. When you’re more focused on how it’ll turn out than the fun of creating, it’s like telling your brain to freeze up.

So, how do you get unstuck? Sometimes, it’s as simple as switching things up, like moving to a different spot, trying a creative activity just for fun (where the outcome doesn’t even matter), or diving into a random prompt or exercise to get your mind going. It can also help to take a break from whatever you’re working on and do something else, like doodling, jamming to music, or even just taking a walk outside.

Just remember, creativity isn’t always about sudden genius moments. It’s more like a muscle you train over time, sometimes messy, sometimes slow, but always something you can grow. So, give yourself a break and let the process lead the way.

[jadethranx]

[jadethranx]

the idea that you need to stick to one genre or style as a writer is boring. mix it up, experiment, and if your story doesn’t fit neatly into a box, even better.

[jadethranx]

I usually go on Google translate and pick an obscure language or an invented language like Esperanto. Then think of the features of the place and look up the translation of the word. Like rock is roko in Esperanto. And red is ruga. Mash them together until you get something you like eg ruoko or rugako. The Ruoko desert. Or maybe the Rugako desert.

For some reason naming things has always been the most difficult part of any story

People’s names are alright. But I have no idea how to even start naming cities and continents. And yet I refuse to have things set on Earth, where everything is already conveniently named.

At least land generators for DnD exist for general map borders.

[jadethranx]

breathing organism

[jadethranx]

How to Write Relatable Characters: A Writer’s Guide

Relatable characters are the lifeblood of any compelling story. They're the ones readers root for, cry with, and remember long after they've turned the last page. But what exactly makes a character relatable? Why do some characters feel like old friends, while others fall flat? 

In this guide, I’ll walk you through the key elements that contribute to creating characters that resonate with readers on a personal level. From building a strong backstory to crafting authentic dialogue, this blog will equip you with the tools to create vivid, compelling, and believable characters that will captivate your readers and add depth to your narrative.

1. Understanding Relatability

Definition: What Makes a Character Relatable?

A relatable character is one that readers can connect with on a personal level. This connection might stem from shared experiences, emotions, values, or even flaws. Relatability is about creating a character who feels real—someone who could exist in the reader’s world, or even in their own life.

Importance: Why Relatable Characters Matter

Relatable characters are crucial because they engage the reader emotionally. When readers see a piece of themselves in a character, they become invested in that character’s journey. This investment is what drives readers to keep turning pages, eager to see how the character will overcome their challenges or achieve their goals.

Connection to Audience: How Relatability Creates Reader Engagement

Relatability bridges the gap between fiction and reality. When readers connect with a character, they experience the story on a deeper, more personal level. This connection makes the story more memorable and impactful, as readers are more likely to empathize with the character’s struggles and triumphs.

2. Building a Strong Backstory

Personal History: Adding Depth and Relatability

A well-crafted backstory is essential for creating depth in a character. It’s the foundation that shapes who they are, how they think, and how they react to the world around them. A character’s past experiences, upbringing, and the events that shaped their life provide context for their actions and decisions in the story.

Key Elements of a Backstory

Family and Upbringing: The influence of family, culture, and environment on the character’s development.

Past Traumas and Pivotal Events: Significant experiences that have left a lasting impact on the character.

Personal Motivations and Desires: The underlying drives that push the character forward.

Examples of Effective Backstories

Consider Harry Potter’s backstory: growing up as an orphan, mistreated by his aunt and uncle, and discovering he’s a wizard. This backstory not only explains his initial naivety and longing for acceptance but also makes his journey into the wizarding world all the more compelling.

3. Developing Flaws and Imperfections

Humanizing Characters Through Flaws

Perfect characters are boring. Flaws make characters human and relatable. They allow readers to see themselves in the character, imperfections and all. Flaws create tension and conflict, driving the character’s growth and development throughout the story.

Common Character Flaws

Insecurity: A character’s self-doubt can lead to relatable internal conflicts.

Fear: Whether it’s fear of failure, rejection, or the unknown, fear is a powerful motivator.

Pride: Excessive pride can lead to mistakes, making the character’s journey more complex.

Balancing Flaws with Strengths

While flaws are essential, it’s important to balance them with strengths to avoid making the character too unlikeable. A character’s strengths should complement their flaws, creating a well-rounded and realistic individual. For example, a character might be stubborn (a flaw) but also incredibly determined (a strength).

4. Creating Emotional Depth

Internal Conflicts and Emotional Complexity

Relatable characters often face internal struggles that mirror real-life emotions and dilemmas. These internal conflicts add layers to the character, making them more complex and interesting. Readers are drawn to characters who experience a range of emotions, from joy and love to anger and despair.

Techniques for Showing Emotional Journey

Dialogue: Use conversations to reveal a character’s feelings and thoughts.

Internal Monologue: Dive into the character’s mind to explore their inner turmoil.

Actions: Show emotions through the character’s reactions to situations.

Creating Reader Empathy

To create empathy, your character needs to be vulnerable. Show their fears, hopes, and insecurities. Let readers see the character at their lowest points, struggling to overcome challenges. This emotional journey is what will resonate with readers, making them feel invested in the character’s fate.

5. Crafting Authentic Dialogue

Realistic Speech Patterns

Authentic dialogue is crucial for making characters relatable. People don’t always speak in perfect sentences or with flawless grammar. They interrupt, hesitate, and sometimes say the wrong thing. Capturing these nuances in dialogue helps make your characters feel real.

Voice and Tone

Each character should have a unique voice that reflects their personality, background, and emotional state. A character’s tone can convey their attitude, whether they’re sarcastic, serious, or playful. Paying attention to how your characters speak can add depth and authenticity to their interactions.

Dialogue as a Window into Character

Dialogue is a powerful tool for revealing character traits, flaws, and emotions. For example, a character who speaks in short, clipped sentences might be guarded or angry, while one who rambles might be nervous or insecure. Use dialogue to show, rather than tell, what your characters are feeling and thinking.

6. Relating Through Common Experiences

Shared Struggles and Universal Experiences

One of the most effective ways to create relatable characters is by giving them experiences that resonate with readers. These can be universal struggles, such as dealing with loss, searching for identity, or falling in love. When readers see characters going through similar experiences, they’re more likely to connect with them.

Cultural and Social Touchpoints

Characters can also relate to readers through cultural references or social issues. This could be anything from navigating family traditions to dealing with societal expectations. Incorporating these elements into your character’s life can make them more relatable to readers from similar backgrounds.

Examples of Characters Relating Through Shared Experiences

Consider Elizabeth Bennet from Pride and Prejudice. Her experiences of navigating societal expectations and family pressures are relatable to readers, even centuries after the book was written. Her wit and independence make her a character that many can see themselves in, despite the historical setting.

7. Avoiding Stereotypes and Clichés

Unique Characterization

While some character traits may be common, it’s important to avoid reducing your characters to stereotypes or clichés. Stereotypes can make characters feel one-dimensional and unoriginal. Instead, aim to create characters with unique, multi-faceted personalities that go beyond surface-level traits.

Subverting Expectations

One way to avoid clichés is to subvert reader expectations. For example, instead of making the “tough” character emotionally distant, show their softer side. Or, instead of the “nerdy” character being socially awkward, make them confident and charismatic. Subverting these stereotypes can create more interesting and relatable characters.

Writing Diverse Characters with Authenticity

When writing characters from diverse backgrounds, it’s crucial to do so with respect and authenticity. Avoid relying on stereotypes and instead, research and understand the nuances of the culture, experiences, and perspectives you’re portraying. Diverse characters should be as complex and fully realized as any other character in your story.

8. Giving Characters Agency and Growth

Active vs. Passive Characters

Relatable characters are often those who take control of their own destinies. Active characters make decisions, face consequences, and drive the story forward. On the other hand, passive characters who simply react to events can feel less engaging and relatable.

Character Arcs

A well-developed character arc shows how a character changes over time. This growth can be in response to internal conflicts, external challenges, or both. A character who evolves in a believable way is more likely to resonate with readers.

Growth and Change

Show your character learning from their experiences, whether it’s overcoming a fear, letting go of pride, or learning to trust others. This growth makes characters more dynamic and relatable, as readers witness their journey from start to finish.

9. Testing Relatability: Beta Readers and Feedback

Beta Readers

Beta readers are an invaluable resource for testing the relatability of your characters. They can provide feedback on whether your characters feel authentic and engaging. They can also point out any areas where the character’s actions or dialogue might seem out of place or unrelatable.

Character Surveys

Consider creating character surveys or questionnaires for your beta readers. These can include questions about the character’s likability, believability, and relatability. The feedback you receive can help you refine your characters and ensure they resonate with your audience.

Revisions

Use the feedback from beta readers to make necessary revisions to your characters. This might involve tweaking dialogue, deepening backstory, or adjusting character arcs. Revising with a focus on enhancing relatability can significantly improve the impact of your story.

Looking For More Writing Tips And Tricks? 

Are you an author looking for writing tips and tricks to better your manuscript? Or do you want to learn about how to get a literary agent, get published and properly market your book? Consider checking out the rest of Quillology with Haya Sameer; a blog dedicated to writing and publishing tips for authors! While you’re at it, don’t forget to head over to my TikTok and Instagram profiles @hayatheauthor to learn more about my WIP and writing journey! 

[jadethranx]

ultimate character development template

basics

name: meaning of name: nicknames/titles: age: gender: location: birthday: strengths + example where it's shown: weaknesses + example where it's shown: how it affects others:

emotional depth

attachment style + how it manifests in the story: physical fear: emotional/abstract fear: happy memory: sad memory: object of significance: philosophical outlook/belief: what characters are ignorant about themselves: how confident are they: goal: long-term dreams: what they're embarrassed/ashamed to tell others about: regrets: source of pride: source of misery: what they admire above all else: do they believe in fate:

personality

mbti: enneagram: big five: character archetype: star sign: who they pretend to be on the outside: who they actually are/how they feel towards the mask: mental health conditions: how it manifests for them: iq: eq: humour: reputation:

habits

bad habits: mannerisms when stressed: mannerisms when content: mannerisms when scared: mannerisms normally: verbal mannerisms/distinctive speaking style: how do they move across a room: what do they say and what remains unsaid: how they express love: hobbies:

appearance

defining features: eye shape + colour: hair texture + colour: skin texture + tone: vibe: height: build: clothing: any bodily disfigurement (scars, etc.): overall attractiveness: their opinion on their appearance: appeals to:

relationships

who they trust most: what they wish they could do for them: what's holding them back: who they hate most: what they wish they could do to them: what's holding them back: relationship with the protagonist: relationship with the antagonist: siblings: relationship with them: parents/step-parents: relationship with them: previous broken relationships: why did it break: what others expect of them: who believes in them: their mentor character/who they look up to: political/religious/other affiliations: what makes them different from every other character: non-human relationships + why: romantic "type" + why: relationship dynamics:

backstory/background

primary emotion towards their past: primary feelings while in their past: where did they grow up: defining incidents: earliest childhood memory: saddest memory: happiest memory: major accomplishments: their opinion on it: notable people in their backstory: effect on them today: trauma: what have they already lost: financial circumstance:

progression

why are they important (eg. why're they the only one able to do something?): what do they learn about themselves throughout the story: what do they learn about the world: how do they feel towards their newfound knowledge: character arc (positive, negative, neutral): how relationships change because of their actions: what mistakes do they make: what scene is their character highlighted: do they get what they want: why or why not: what happens to them after the story ends:

[jadethranx]

Ultimate List of Weapons and Arsenal for Fantasy Setting: Purpose and Who Uses Them. Writers save this!

Melee Weapons

1. Swords

- Longsword - Used by knights and warriors for versatile combat.

- Broadsword - Wielded by heavy infantry for powerful strikes.

- Rapier - Favored by duelists and nobles for precision and speed.

- Scimitar - Used by desert warriors and pirates for slashing attacks.

- Katana - Carried by samurai for swift, precise cuts.

- Claymore - Wielded by Highland warriors for heavy, sweeping attacks.

- Falchion - Used by mercenaries for its chopping power.

- Cutlass - Preferred by sailors and pirates for close-quarters combat.

2. Axes

- Battle Axe - Used by berserkers and heavy infantry for devastating blows.

- Hand Axe - Carried by scouts and light infantry for quick strikes.

- Throwing Axe - Utilized by skirmishers and hunters for ranged attacks.

- Great Axe - Wielded by barbarian warriors for massive damage.

- Tomahawk - Used by tribal warriors for both melee and throwing.

3. Maces and Hammers

- Warhammer - Used by knights and paladins to crush armor.

- Mace - Carried by clerics and guards for bludgeoning.

- Morning Star - Wielded by heavy infantry for spiked attacks.

- Flail - Used by foot soldiers to bypass shields.

- Maul - Carried by executioners and strongmen for heavy strikes.

4. Polearms

- Spear - Used by infantry and phalanx formations for thrusting.

- Halberd - Wielded by guards and soldiers for versatile attacks.

- Glaive - Carried by cavalry and elite guards for slashing and thrusting.

- Pike - Used by pikemen to counter cavalry.

- Trident - Favored by gladiators and fishermen for thrusting.

- Naginata - Wielded by samurai and monks for sweeping attacks.

5. Daggers and Knives

- Dagger - Carried by assassins and rogues for stealth kills.

- Stiletto - Used by spies and infiltrators for piercing.

- Dirk - Favored by sailors and scouts for close combat.

- Kris - Used by tribal warriors for its wavy blade.

- Bowie Knife - Carried by frontiersmen and adventurers for utility and combat.

6. Blunt Weapons

- Club - Used by peasants and guards for simple bludgeoning.

- Quarterstaff - Carried by monks and travelers for defense.

- Cudgel - Used by commoners and militia for self-defense.

- Baton - Carried by law enforcement for non-lethal control.

Ranged Weapons

1. Bows

- Longbow - Used by archers for long-range attacks.

- Shortbow - Favored by scouts and hunters for mobility.

- Crossbow - Carried by soldiers and hunters for powerful, accurate shots.

- Recurve Bow - Used by nomadic tribes for its compact design.

- Composite Bow - Favored by mounted archers for its strength and flexibility.

2. Throwing Weapons

- Throwing Knives - Used by assassins and ninjas for silent kills.

- Shuriken - Favored by ninjas for distraction and quick attacks.

- Throwing Axes - Utilized by skirmishers and hunters for ranged combat.

- Javelins - Carried by light infantry and hunters for throwing.

- Boomerang - Used by tribal warriors for hunting and combat.

3. Firearms (in some fantasy settings)

- Flintlock Pistol - Carried by pirates and duelists for close-range combat.

- Blunderbuss - Used by guards and hunters for its spread shot.

- Musket - Carried by soldiers for long-range engagements.

- Hand Cannon - Used by adventurers and mercenaries for powerful shots.

Magical Weapons

1. Enchanted Swords

- Flameblade - Wielded by fire mages and warriors for burning attacks.

- Frostbrand - Carried by ice mages and knights for freezing strikes.

- Shadowblade - Used by dark mages and assassins for stealth and shadow attacks.

- Lightbringer - Wielded by paladins and holy warriors for radiant damage.

2. Staves and Wands

- Wizard's Staff - Carried by wizards and sorcerers to channel magic.

- Wand of Lightning - Used by storm mages for lightning attacks.

- Staff of Healing - Carried by clerics and healers for restorative magic.

- Wand of Fireballs - Used by fire mages for explosive attacks.

3. Magical Artifacts

- Amulet of Protection - Worn by adventurers and warriors for defense.

- Ring of Invisibility - Used by spies and thieves for stealth.

- Cloak of Shadows - Worn by assassins and shadow mages for concealment.

- Orb of Power - Carried by archmages and sorcerers for enhanced magic.

Exotic Weapons

1. Whips

- Chain Whip - Used by martial artists and monks for flexible attacks.

- Fire Whip - Wielded by fire mages and circus performers for fiery strikes.

- Lightning Whip - Carried by storm mages for electrifying attacks.

2. Chakrams

- Throwing Disc - Used by warriors and hunters for ranged combat.

- Bladed Chakram - Favored by assassins and acrobats for slicing attacks.

3. Claws and Gauntlets

- Dragon Claws - Worn by beastmasters and warriors for slashing.

- Thunder Gauntlets - Used by storm mages and warriors for electric shocks.

- Poison Gauntlets - Carried by assassins and alchemists for toxic strikes.

4. Other Exotic Weapons

- Scythe - Used by reapers and necromancers for harvesting souls.

- Kusarigama (chain and sickle) - Wielded by ninjas and martial artists for versatile attacks.

- Nunchaku - Used by martial artists for rapid strikes.

- Tetsubo (iron club) - Carried by warriors and ogres for heavy bludgeoning.

Siege Weapons

1. Catapult - Used by armies to hurl large stones or projectiles at fortifications.

2. Ballista - Employed by defenders and attackers to shoot large bolts.

3. Trebuchet - Used by besieging forces to launch heavy projectiles over long distances.

4. Battering Ram - Carried by infantry to break down gates and walls.

5. Siege Tower - Used by attackers to scale walls and engage defenders directly.

Improvised Weapons

1. Torch - Used by adventurers and villagers for light and fire attacks.

2. Pitchfork - Carried by farmers and peasants for self-defense.

3. Shovel - Used by laborers and gravediggers for digging and combat.

4. Rock - Thrown by anyone in desperate situations for a quick attack.

5. Chair - Used in tavern brawls and by anyone needing an impromptu weapon.

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[jadethranx]

Urban population by city size | OECD

[jadethranx]

First Time Author Mistakes You Don’t Have To Make

This is for self-published authors, somewhat, I didn’t go through the agent/publishing house process, but I did give it a try.

1. Thinking everyone you work with will like your book

I wasn’t under this illusion, but I did assume that every beta I worked with would be able to stay objective, i.e. saying while they don’t like an element they think it still works instead of “I don’t like this” with no explanation. Which was not the case. If this happens, best thing to do is to cut your losses. They’re not your target audience.

2. Underestimating how long it takes

Your book baby is your top priority and yours alone. Everyone else that you could work with does so at their pace on their schedules. I wrote ENNS in one month. It took almost six months of beta readers and a professional edit for a lot of reasons, but largely in part due to betas just not being very speedy. In other areas, too. I didn’t query ENNS because my first experience trying to work with publishing houses was a lot of “hurry up and wait” and I did not have time to wait 6+ months, with exclusive submissions, just to be told no.

3. Underestimating how much it costs

I had funds prepared and set aside in a savings account to pay the editor that I knew would be the steepest cost of the whole writing process. I’d saved up over a couple months and was virtually unaffected by the exorbitant fee when the bill came due because I had prepared. Betas and editors cost money, and you can’t skimp on those otherwise you’re just burning money. If you hire illustrators or promoters, they eat up cash. Formatting, too, costs money. If I wanted to break even with ENNS, I would have to sell over a thousand copies. Just to break even. Even if you do it all yourself, of which I did my own illustrations and formatting, the programs I used cost money, and time.

4. Vetting book promoters

Anyone following this blog might know of my recent escapades in dealing with scammers. It’s my personal opinion that anyone who will promote any book for money does not have an opinion worth trusting. Do I think my book is good? Absolutely. Do I think every book they promote is good? No. Nor do these people seem to care about anything more than profit. I wouldn’t buy a product based on a review without integrity, and have learned a hard lesson in trying to undo that mistake. If you just want word out, then you can act without discretion and just pick the cheapest influencers. But their word means nothing if they’ll sell it to the lowest bidder.

—

These are just four things I didn’t quite think about going in. I’ve been a writer for almost 10 years now but this is my first time all the way through the publication process and it was a wake up call in many areas, especially with the bad actors on social media.

But the bottom line is this: Don’t underestimate the cost of the process, whether that cost be money or time or simply stress. Writing is easy. Publishing is work.

—

My LGBTQ+ vampire fantasy novel Eternal Night of the Northern Sky is out for preorder now! Paperback debut on 8/25/24.

[jadethranx]

List of 120 unique fantasy jobs to give to your fantasy characters. Writers save this!

1. Spellscribe: Weaves magic into ink, creating enchanted scrolls and spellbooks.

2. Dreamweaver: Shapes dreams, ensuring a peaceful slumber for all.

3. Star Cartographer: Maps constellations and celestial paths.

4. Potion Alchemist: Brews elixirs, love potions, and invisibility brews.

5. Whispering Wind Courier: Carries messages on ethereal zephyrs.

6. Crystal Harmonist: Plays melodies on gemstone xylophones.

7. Arcane Librarian: Guards forbidden tomes and ancient grimoires.

8. Stormcaller: Commands lightning and tempests.

9. Shadow Weaver: Manipulates shadows for stealth or illusion.

10. Fey Ambassador: Bridges the gap between humans and fae.

11. Time Tinkerer: Repairs temporal rifts and broken clocks.

12. Soul Gardener: Tends to souls in the afterlife.

13. Dragon Whisperer: Communicates with fire-breathing beasts.

14. Labyrinth Architect: Designs mazes with shifting walls.

15. Aetheronaut: Pilots airships through the skies.

16. Cauldron Chef: Cooks magical stews and enchanted pastries.

17. Goblin Negotiator: Haggles with mischievous goblins over stolen treasures.

18. Wisp Shepherd: Herds glowing wisps across moonlit meadows.

19. Constellation Painter: Dips brushes in stardust to create cosmic art.

20. Swordsmith of Destiny: Forges blades with prophetic properties.

21. Oracle of Riddles: Answers questions through cryptic puzzles.

22. Moss Whisperer: Encourages moss-covered stones to share their secrets.

23. Harvest Moon Dancer: Leads celestial dances during lunar eclipses.

24. Chimera Veterinarian: Cares for mythical hybrid creatures.

25. Lore Bard: Sings epic sagas of forgotten heroes.

26. Stardust Prospector: Mines cosmic minerals from fallen meteors.

27. Mistwalker: Guides lost souls through foggy moors.

28. Enchanted Cobbler: Crafts shoes that grant extraordinary abilities.

29. Celestial Clockmaker: Constructs timepieces powered by starlight.

30. Gargoyle Sculptor: Carves stone guardians with hidden sentience.

31. Wandmaker: Whittles wands from ancient tree branches.

32. Mermaid Translator: Deciphers underwater songs and sea whispers.

33. Nightshade Apothecary: Harvests moonflowers and midnight herbs.

34. Serpent Charmer: Mesmerizes serpents with haunting melodies.

35. Skyship Navigator: Charts courses through floating islands.

36. Frostfire Sculptor: Shapes ice and flame into ephemeral statues.

37. Cursed Cursebreaker: Lifts hexes and breaks enchantments.

38. Goblin Archaeologist: Digs up lost goblin civilizations.

39. Sylph Perfumer: Captures the essence of zephyrs in fragrances.

40. Mystic Cartographer: Maps hidden ley lines and magical nexuses.

41. Moonstone Miner: Extracts shards of moonlight from caverns.

42. Gryphon Trainer: Raises and trains majestic gryphons.

43. Candlemaker of Lost Hopes: Creates candles that reveal forgotten memories.

44. Starwhisper Cartographer: Maps cosmic phenomena—comets' paths, shooting star trails, and celestial alignments.

45. Gloomsmith: Crafts melancholic artifacts—music boxes that play haunting melodies, mirrors that reflect lost loves, and inkwells that pen tear-stained poetry.

46. Siren Songstress: Sings enchanting melodies by moonlit shores, luring sailors toward rocky fates or guiding them safely through treacherous waters.

47. Astral Weaver: Spins threads from stardust, creating cloaks that grant glimpses of alternate realities or tapestries that depict forgotten legends.

48. Cryptobotanist: Studies otherworldly flora—glow-in-the-dark mushrooms, singing vines, and moonblossoms that bloom only during eclipses.

49. Soothsayer: Reads the future in tea leaves, cloud formations, or the patterns of fireflies. Their predictions shape destinies.

50. Stormglass Sculptor: Carves intricate sculptures from stormglass—frozen lightning, raindrop chandeliers, and thunderstorm dioramas.

51. Wispkeeper: Tends to wisps—tiny, glowing spirits that flit through forests. They bottle wisp-light for healing potions.

52. Eidolon Portraitist: Paints portraits of ghosts, capturing their essence before they fade into oblivion.

53. Moss Oracle: Listens to moss-covered stones, deciphering their murmurs to reveal lost histories.

54. Labyrinth Minstrel: Wanders through shifting mazes, singing songs that guide lost travelers to safety.

55. Frostbite Healer: Extracts shards of moonlight from caverns.

56. Gryphon Trainer: Raises and trains majestic gryphons.

57. Candlemaker of Lost Hopes: Creates candles that reveal forgotten memories.

58. Starwhisper Cartographer: Maps cosmic phenomena—comets’ paths, shooting star trails, and celestial alignments. Their charts guide explorers to hidden constellations.

59. Gloomsmith: Crafts melancholic artifacts—music boxes that play haunting melodies, mirrors that reflect lost loves, and inkwells that pen tear-stained poetry.

60. Siren Songstress: Sings enchanting melodies by moonlit shores, luring sailors toward rocky fates or guiding them safely through treacherous waters.

61. Astral Weaver: Spins threads from stardust, creating cloaks that grant glimpses of alternate realities or tapestries that depict forgotten legends.

62. Cryptobotanist: Studies otherworldly flora—glow-in-the-dark mushrooms, singing vines, and moonblossoms that bloom only during eclipses.

63. Soothsayer: Reads the future in tea leaves, cloud formations, or the patterns of fireflies. Their predictions shape destinies.

64. Stormglass Sculptor: Carves intricate sculptures from stormglass—frozen lightning, raindrop chandeliers, and thunderstorm dioramas.

65. Wispkeeper: Tends to wisps—tiny, glowing spirits that flit through forests. They bottle wisp-light for healing potions.

66. Eidolon Portraitist: Paints portraits of ghosts, capturing their essence before they fade into oblivion.

67. Moss Oracle: Listens to moss-covered stones, deciphering their murmurs to reveal lost histories.

68. Labyrinth Minstrel: Wanders through shifting mazes, singing songs that guide lost travelers to safety.

69. Frostbite Healer: Treats frostbitten extremities with salves made from frost sprites’ tears.

70. Chalice Enchanter: Carves runes into crystal goblets, infusing each sip with memories or emotions.

71. Goblin Archaeologist: Digs up lost goblin civilizations, unearthing rusty gadgets and cryptic hieroglyphs.

72. Sylph Perfumer: Captures the essence of zephyrs in fragrances—dawn mist, thunderstorm ozone, and moonrise musk.

73. Mystic Cartographer: Maps hidden ley lines and magical nexuses. Their charts reveal portals and ley-gates.

74. Moonstone Miner: Extracts shards of moonlight from caverns, which can be used for enchantments or as lantern fuel.

75. Gryphon Trainer: Raises and trains majestic gryphons for aerial patrols or epic quests.

76. Candlemaker of Whispers: Crafts candles that flicker with spectral flames, allowing communication with the departed.

77. Stardust Prospector: Mines cosmic minerals from fallen meteors—star iron, comet opals, and nebula gems.

78. Golem Animator: Breathes life into clay and stone constructs, imbuing them with purpose.

79. Wraith Whisperer: Communicates with restless spirits, negotiating unfinished business.

80. Celestial Navigator: Guides ships by star charts, steering vessels through astral currents.

81. Chaos Theorist: Predicts chaotic events using butterfly-wing equations, preventing or exploiting chaos.

82. Fairy Ring Dancer: Enters mystical circles to converse with fairies, striking bargains or seeking wisdom.

83. Banshee Lullaby Singer: Soothes grieving souls with haunting songs, easing their passage to the beyond.

84. Goblin Diplomat: Negotiates peace treaties between realms, balancing goblin mischief and human interests.

85. Veilwalker: Steps between dimensions using shimmering veils, exploring parallel worlds.

86. Moonshard Weaver: Threads moonstone shards into cloaks that grant moonwalking abilities.

87. Gryphon Whisperer: Communicates with gryphons through empathic bonds.

88. Cursed Curator: Collects cursed artifacts, safeguarding them in hidden vaults.

89. Sphinx Riddler: Poses enigmas to travelers seeking wisdom, granting answers in exchange for riddles.

90. Bard of Echoes: Sings songs that echo through time, preserving forgotten tales.

91. Goblin Inventor: Constructs whimsical gadgets—umbrellas that predict rain, shoes that dance, and hats that translate squirrel chatter.

92. Serpent Astronomer: Studies cosmic serpents—constellations that writhe across the sky.

93. Wisp Choreographer: Stages ethereal dances in moonlit glades, captivating forest creatures.

94. Lorekeeper of Lost Languages: Deciphers ancient scripts, unlocking forbidden knowledge.

95. Mistral Cartographer: Maps winds—trade winds, storm fronts, and zephyr currents.

96. Harbinger of Eclipses: Predicts solar and lunar eclipses, foretelling cosmic shifts.

97. Grimoire Illuminator: Adds luminescent runes to spellbooks, making incantations glow.

98. Nymph Whisperer: Listens to water nymphs’ laughter, translating it into healing melodies.

99. Celestial Harvester: Gathers stardust for celestial events—meteor showers, comet arrivals.

100. Goblin Mechanomancer: Constructs clockwork creatures—mechanical squirrels, steam-powered beetles.

101. Sylph Skyweaver: Spins cloud silk into airy garments that grant flight.

102. Oracle of Shifting Sands: Reads desert dunes, predicting sandstorms and mirages.

103. Moonmoth Keeper: Tends to moonmoths—luminous insects that guide lost travelers.

104. Gryphon Herald: Announces royal decrees from the backs of majestic gryphons.

105. Cauldron Seer: Gazes into bubbling cauldrons, glimpsing past, present, and future.

106. Whisperwood Arborist: Nurtures ancient trees that whisper forgotten secrets.

107. Stardust Cartographer: Maps cosmic phenomena—supernovae, black holes, and quasars.

108. Goblin Clockmaker: Constructs timepieces with peculiar quirks—watches that run backward, hourglasses that pause.

109. Sphinx Scholar: Studies riddles, deciphering their hidden meanings.

110. Wisp Guardian: Protects sacred wisps from curious wanderers.

111.Labyrinth Keeper: Guards labyrinth entrances, ensuring only worthy seekers enter.

112. Frostfire Forger: Crafts weapons that blaze with icy flames.

113. Goblin Meteorologist: Predicts weather using enchanted barometers and cloud crystals.

114. Sylph Windwhisperer: Converses with gusts, learning their secrets.

115. Dreamcatcher Artisan: Weaves dreamcatchers that trap nightmares and release sweet dreams.

116. Celestial Herald: Announces cosmic events—comets, eclipses, and planetary alignments.

117. Grimoire Binder: Assembles spellbooks, binding them with dragonhide and phoenix feathers.

118. Nymph Songkeeper: Records water nymphs’ melodies, preserving them in enchanted shells.

119. Goblin Tinkerer: Repairs broken gadgets—flying broomsticks, talking teapots.

120. Starforged Smith: Hammers star fragments into celestial armor and swords.

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[jadethranx]

words to use instead of ______

"Very"

Mild: clearly, decidedly, distinctly, markedly, considerably, notably, largely, recognizably, especially, indubitably Moderate: especially, surprisingly, substantially, uncommonly, chiefly, incredibly, obviously, unmistakably, considerably, awfully, wonderfully, particularly Bold: profusely, unequivocally, strikingly, astonishingly, exceedingly, absolutely, exceptionally, extremely, unquestionably, vastly, incontestably

"A Lot" (time)

Mild: often, oftentimes, sometime Moderate: frequently, usually, various, generally Bold: regularly, recurrent, persistent

"A Lot" (size)

Mild: many, much, several Moderate: numerous, bountiful, considerable Bold: multitude, profuse, vast

"Big"

Mild: sizable, ample, large, considerable, great, above average, important Moderate: ponderous, significant, crucial, vast, copious, magnificent, substantial Bold: enormous, immense, colossal, extensive, endless, paramount, boundless, prodigious, imposing, gigantic, voluminous, limitless, essential

"Small"

Mild: slight, limited, trivial, minor, light, puny, superficial, undersized, dinky, negligible, faint Moderate: scant, petite, inconsiderable, microscopic, dwarf, unsubstantial, minimum, miniature, tiny Bold: insignificant, minute, meager, infinitesimal, ineffectual, undetectable, inconsequential

"Good"

Mild: acceptable, favorable, agreeable, pleasing, satisfactory, satisfying, super, able, relevant, accomplished, efficient, reliable, ample, useful, profitable, adequate, adept Moderate: great, honorable, admirable, commendable, sound, splendid, superb, valuable, wonderful, worthy, clever, proficient, qualified, apt, skillful, thorough, wholesome Bold: excellent, exceptional, gratifying, marvelous, reputable, stupendous, superior, exemplary, virtuous, expert, solid, advantageous, flawless, extensive, perfect

"Bad"

Mild: cheap, dissatisfactory, faculty, off, mean, wrong, unpleasant, unwell, low, grim, sour, regretful Moderate: careless, defective, inferior, imperfect, deficient, rough, ill-suited, inadequate, unsatisfactory, delinquent, sinful, unruly, wicked, rancid, grave, harsh, terrible, downcast Bold: awful, unacceptable, corrupt, dreadful, putrid, erroneous, detrimental, ruinous, vile, villainous, diseased, adverse, evil

more words to use instead other words to use instead even more words to use instead

[jadethranx]

How to Make Your Writing Less Stiff Part 3

Crazy how one impulsive post has quickly outshined every other post I have made on this blog. Anyway here’s more to consider. Once again, I am recirculating tried-and-true writing advice that shouldn’t have to compromise your author voice and isn’t always applicable when the narrative demands otherwise.

Part 1

Part 2

1. Eliminating to-be verbs (passive voice)

Am/is/are/was/were are another type of filler that doesn’t add anything to your sentences.

There were fireworks in the sky tonight. /// Fireworks glittered in the sky tonight.

My cat was chirping at the lights on the ceiling. /// My cat chirped at the lights on the ceiling.

She was standing /// She stood

He was running /// He ran

Also applicable in present tense, of which I’ve been stuck writing lately.

There are two fish-net goals on either end of the improvised field. /// Two fish-net goals mark either end of the improvised field.

For once, it’s a cloudless night. /// For once, the stars shine clear.

Sometimes the sentence needs a little finagling to remove the bad verb and sometimes you can let a couple remain if it sounds better with the cadence or syntax. Generally, they’re not necessary and you won’t realize how strange it looks until you go back and delete them (it also helps shave off your word count).

Sometimes the to-be verb is necessary. You're writing in past-tense and must convey that.

He was running out of time does not have the same meaning as He ran out of time, and are not interchangeable. You'd have to change the entire sentence to something probably a lot wordier to escape the 'was'. To-be verbs are not the end of the world.

2. Putting character descriptors in the wrong place

I made a post already about motivated exposition, specifically about character descriptions and the mirror trope, saying character details in the wrong place can look odd and screw with the flow of the paragraph, especially if you throw in too many.

She ties her long, curly, brown tresses up in a messy bun. /// She ties her curls up in a messy brown bun. (bonus alliteration too)

Generally, I see this most often with hair, a terrible rule of threes. Eyes less so, but eyes have their own issue. Eye color gets repeated at an exhausting frequency. Whatever you have in your manuscript, you could probably delete 30-40% of the reminders that the love interest has baby blues and readers would be happy, especially if you use the same metaphor over and over again, like gemstones.

He rolled his bright, emerald eyes. /// He rolled his eyes, a vibrant green in the lamplight.

To me, one reads like you want to get the character description out as fast as possible, so the hand of the author comes in to wave and stop the story to give you the details. Fixing it, my way or another way, stands out less as exposition, which is what character descriptions boil down to—something the audience needs to know to appreciate and/or understand the story.

3. Lacking flow between sentences

Much like sentences that are all about the same length with little variety in syntax, sentences that follow each other like a grocery list or instruction manual instead of a proper narrative are difficult to find gripping.

Jack gets out a stock pot from the cupboard. He fills it with the tap and sets it on the stove. Then, he grabs russet potatoes and butter from the fridge. He leaves the butter out to soften, and sets the pot to boil. He then adds salt to the water.

From the cupboard, Jack drags a hefty stockpot. He fills it with the tap, adds salt to taste, and sets it on the stove.

Russet potatoes or yukon gold? Jack drums his fingers on the fridge door in thought. Russet—that’s what the recipe calls for. He tosses the bag on the counter and the butter beside it to soften.

This is just one version of a possible edit to the first paragraph, not the end-all, be-all perfect reconstruction. It’s not just about having transitions, like ‘then’, it’s about how one sentence flows into the next, and you can accomplish better flow in many different ways.

4. Getting too specific with movement.

I don’t see this super often, but when it happens, it tends to be pretty bad. I think it happens because writers feel the need to overcompensate and over-clarify on what’s happening. Remember: The more specific you get, the more your readers are going to wonder what’s so important about these details. This is fiction, so every detail matters.

A ridiculous example:

Jack walks over to his closet. He kneels down at the shoe rack and tugs his running shoes free. He walks back to his desk chair, sits down, and ties the laces.

Unless tying his shoes is a monumental achievement for this character, all readers would need is:

Jack shoves on his running shoes.

*quick note: Do not add "down" after the following: Kneels, stoops, crouches, squats. The "down" is already implied in the verb.

This also happens with multiple movements in succession.

Beth enters the room and steps on her shoelace, nearly causing her to trip. She kneels and ties her shoes. She stands upright and keeps moving.

Or

Beth walks in and nearly trips over her shoelace. She sighs, reties it, and keeps moving.

Even then, unless Beth is a chronically clumsy character or this near-trip is a side effect of her being late or tired (i.e. meaningful), tripping over a shoelace is kind of boring if it does nothing for her character. Miles Morales’ untied shoelaces are thematically part of his story.

Sometimes, over-describing a character’s movement is meant to show how nervous they are—overthinking everything they’re doing, second-guessing themselves ad nauseam. Or they’re autistic coded and this is how this character normally thinks as deeply methodical. Or, you’re trying to emphasize some mundanity about their life and doing it on purpose.

If you’re not writing something where the extra details service the character or the story at large, consider trimming it.

—

These are *suggestions* and writing is highly subjective. Hope this helps!

[jadethranx]

How to make your writing sound less stiff part 2

Part 1

Again, just suggestions that shouldn’t have to compromise your author voice, as I sit here doing my own edits for a WIP.

1. Crutch words

Specifically when you have your narrator taking an action instead of just… writing that action. Examples:

Character wonders/imagines/thinks/realizes

Character sees/smells/feels

Now not all of these need to be cut. There’s a difference between:

Elias stops. He realizes they’re going in the wrong direction.

And

Elias takes far too long to realize that it’s not horribly dark wherever they are

Crutch words are words that don’t add anything to the sentence and the sentence can carry on with the exact same meaning even if you delete it. Thus:

Elias stops. They’re going in the wrong direction.

I need a word in the second example, whether it’s realizes, understands, or notices, unless I rework the entire sentence. The “realization” is implied by the hard cut to the next sentence in the first example.

2. Creating your own “author voice”

Unless the tone of the scene demands otherwise, my writing style is very conversational. I have a lot of sentence fragments to reflect my characters’ scatterbrained thoughts. I let them be sarcastic and sassy within the narration. I leave in instances of “just” (another crutch word) when I think it helps the sentence. Example:

…but it’s just another cave to Elias.

Deleting the “just” wouldn’t hit as hard or read as dismissive and resigned.

I may be writing in 3rd person limited, but I still let the personalities of my characters flavor everything from the syntax to metaphor choices. It’s up to you how you want to write your “voice”.

I’ll let dialogue cut off narration, like:

Not that he wouldn’t. However, “You can’t expect me to believe that.”

Sure it’s ~grammatically incorrect~ but you get more leeway in fiction. This isn’t an essay written in MLA or APA format. It’s okay to break a few rules, they’re more like guidelines anyway.

3. Metaphor, allegory, and simile

There is a time and a place to abandon this and shoot straight because oftentimes you might not realize you’re using these at all. It’s the difference between:

Blinding sunlight reflects off the window sill

And

Sunlight bounces like high-beams off the window sill

It’s up to you and what best fits the scene.

Sometimes there’s more power in not being poetic, just bluntly explicit. Situations like describing a character’s battle wounds (whatever kind of battle they might be from, whether it be war or abuse) don’t need flowery prose and if your manuscript is metaphor-heavy, suddenly dropping them in a serious situation will help with the mood and tonal shift, even if your readers can’t quite pick up on why immediately.

Whatever the case is, pick a metaphor that fits the narrator. If my narrator is comparing a shade of red to something, pick a comparison that makes sense.

Red like the clouds at sunset might make sense for a character that would appreciate sunsets. It’s romantic but not sensual, it’s warm and comforting.

Red like lipstick stains on a wine glass hints at a very different image and tone.

Metaphor can also either water down the impact of something, or make it so much worse so pay attention to what you want your reader to feel when they read it. Are you trying to shield them from the horror or dig it in deep?

4. Paragraph formatting

Nothing sticks out on a page quite like a line of narrative all by itself. Abusing this tactic will lessen its effect so save single sentence paragraphs for lines you want to hammer your audiences with. Lines like romantic revelations, or shocking twists, or characters giving up, giving in. Or just a badass line that deserves a whole paragraph to itself.

I do it all the time just like this.

Your writing style might not feature a bunch of chunky paragraphs to emphasize smaller lines of text (or if you’re writing a fic on A03, the size of the screen makes many paragraphs one line), but if yours does, slapping a zinger between two beefy paragraphs helps with immersion.

5. Polysyndeton and Asyndeton

Not gibberish! These, like single-sentence paragraphs, mix up the usual flow of the narrative that are lists of concepts with or without conjunctions.

Asyndeton: We came. We saw. We conquered. It was cold, grey, lifeless.

Polysyndeton: And the birds are out and the sun is shining and it might rain later but right now I am going to enjoy the blue sky and the puffy white clouds like cotton balls. They stand and they clap and they sing.

Both are for emphasis. Asyndeton tends to be "colder" and more blunt, because the sentence is blunt. Polysyntedon tends to be more exciting, overwhelming.

We came and we saw and we conquered.

The original is rather grim. This version is almost uplifting, like it's celebrating as opposed to taunting, depending on how you look at it.

—

All of these are highly situational, but if you’re stuck, maybe try some out and see what happens.

*italicized quotes are from ENNS, the rest I made up on the spot save for the Veni Vidi Vici.

[jadethranx]

How to make your writing sound less stiff

Just a few suggestions. You shouldn’t have to compromise your writing style and voice with any of these, and some situations and scenes might demand some stiff or jerky writing to better convey emotion and immersion. I am not the first to come up with these, just circulating them again.

1. Vary sentence structure.

This is an example paragraph. You might see this generated from AI. I can’t help but read this in a robotic voice. It’s very flat and undynamic. No matter what the words are, it will be boring. It’s boring because you don’t think in stiff sentences. Comedians don’t tell jokes in stiff sentences. We don’t tell campfire stories in stiff sentences. These often lack flow between points, too.

So funnily enough, I had to sit through 87k words of a “romance” written just like this. It was stiff, janky, and very unpoetic. Which is fine, the author didn’t tell me it was erotica. It just felt like an old lady narrator, like Old Rose from Titanic telling the audience decades after the fact instead of living it right in the moment. It was in first person pov, too, which just made it worse. To be able to write something so explicit and yet so un-titillating was a talent. Like, beginner fanfic smut writers at least do it with enthusiasm.

2. Vary dialogue tag placement

You got three options, pre-, mid-, and post-tags.

Leader said, “this is a pre-dialogue tag.”

“This,” Lancer said, “is a mid-dialogue tag.”

“This is a post-dialogue tag,” Heart said.

Pre and Post have about the same effect but mid-tags do a lot of heavy lifting.

They help break up long paragraphs of dialogue that are jank to look at

They give you pauses for ~dramatic effect~

They prompt you to provide some other action, introspection, or scene descriptor with the tag. *don't forget that if you're continuing the sentence as if the tag wasn't there, not to capitalize the first word after the tag. Capitalize if the tag breaks up two complete sentences, not if it interrupts a single sentence.

It also looks better along the lefthand margin when you don’t start every paragraph with either the same character name, the same pronouns, or the same “ as it reads more natural and organic.

3. When the scene demands, get dynamic

General rule of thumb is that action scenes demand quick exchanges, short paragraphs, and very lean descriptors. Action scenes are where you put your juicy verbs to use and cut as many adverbs as you can. But regardless of if you’re in first person, second person, or third person limited, you can let the mood of the narrator bleed out into their narration.

Like, in horror, you can use a lot of onomatopoeia.

Drip Drip Drip

Or let the narration become jerky and unfocused and less strict in punctuation and maybe even a couple run-on sentences as your character struggles to think or catch their breath and is getting very overwhelmed.

You can toss out some grammar rules, too and get more poetic.

Warm breath tickles the back of her neck. It rattles, a quiet, soggy, rasp. She shivers. If she doesn’t look, it’s not there. If she doesn’t look, it’s not there. Sweat beads at her temple. Her heart thunders in her chest. Ba-bump-ba-bump-ba-bump-ba- It moves on, leaving a void of cold behind. She uncurls her fists, fingers achy and palms stinging from her nails. It’s gone.

4. Remember to balance dialogue, monologue, introspection, action, and descriptors.

The amount of times I have been faced with giant blocks of dialogue with zero tags, zero emotions, just speech on a page like they’re notecards to be read on a stage is higher than I expected. Don’t forget that though you may know exactly how your dialogue sounds in your head, your readers don’t. They need dialogue tags to pick up on things like tone, specifically for sarcasm and sincerity, whether a character is joking or hurt or happy.

If you’ve written a block of text (usually exposition or backstory stuff) that’s longer than 50 words, figure out a way to trim it. No matter what, break it up into multiple sections and fill in those breaks with important narrative that reflects the narrator’s feelings on what they’re saying and whoever they’re speaking to’s reaction to the words being said. Otherwise it’s meaningless.

—

Hope this helps anyone struggling! Now get writing.