#Characterization

[raayllum]

Is there like‚ some kind of symbolism of Claudia fixing Callum's hair VS Rayla lovely touching it?

There's probably a whole mini meta just waiting in TDP about hair (how Soren parts his hair switching post-timeskip to reflect how he's literally switched sides; Claudia's moon symbolism hair, which I do have a meta for in my drafts rn) so to put it simply: yes, I think so!

Claudia cares a lot about appearances. This ties into how much she hates feeling judged ("you're doing it again prince judy-face!" / "here to judge me, captain true heart?"). She values things looking put together, largely because she puts more emphasis on things being Physically okay rather than considering someone's emotional state (i.e. overruling Viren and Soren in S2 and S4 respectively). We see this overtly in "Lost Child":

“You’re still here. Even though I’m…” She gestured at herself, to something beyond the soil-soaked boots and tearstained face: a total mess. [...] A moment later, she blinked into the pond; her reflection beamed up at her. Her eyes brighter, her face fuller, more color in her cheeks. Small changes, but still—There I am, she thought.

We also see this in show canon. She checks with the little leaf-cub creature in 6x04 that her new haircut suits her. She also reflects that maybe seeing the creature as parts is bad, implicitly, because the creature is so cute/adorable. (This is in stark contrast to Ezran who reflects a season earlier in 5x06 that sea slugs may look gross, but they have a rich inner life and he's regularly made friends with them. Post with that comparison here)

Another consistent facet of Claudia is that her compliments are sometimes not entirely compliments. This happens just once with Terry ("Claudia says that makes me weird, and wonderful, so...") as she more readily compliments him ("you saved the day!" / "goofy and glorious just like you!"), but it happens basically any of the few times she compliments/offers praise etc. to Callum in any manner.

It was completely ridiculous. Adorable. Did you just say adorable? Did I? (1x02)

That was very confident Callum. Oh, thanks. Even if your hair's a little messy. (2x02)

You didn't open it? Why would I do that? [The letter] is for you. Though I could've easily opened it and then resealed it with magic. Did you? Did I? We may never know. But no. No.

Yeah, you always were a very clever human, weren't you, Callum? (4x08)

Impressive, Callum. Somehow you learned primal magic. But dark magic will always have the edge. (7x07)

(AKA she giveth and she taketh away.)

So Claudia fixes Callum's hair. She compliments him, but also makes him more nervous. She adjusts his appearance to something she thinks is 'better' (cleaner). Absolutely none of it is malicious, but it does reaffirm that when crushing on her Callum never felt entirely comfortable around her despite being longtime friends, whereas even though Rayla can be much gruffer, Callum feels a lot more comfortable around her (even once he develops feelings) in general.

So there's the obvious level of comfort (Rayla) vs non-comfort (Claudia), as well as a longstanding childhood crush vs what has blossomed into more mature, enduring love of 3+ years as of the end of 7x09.

Claudia sees that his hair is messy and points it out; Rayla sees that his hair is messy and quietly fixes it herself, doing so simply and leaving Callum looking more relaxed than before, rather than less like in 2x02.

Rayla, as we know, doesn't really care about appearances. She routinely doesn't care about titles, she goes with what her gut tells her, and anytime she expresses distress over her appearance ("I'm a mess") it's scaffolded under "I'm showing weakness" rather "I look bad". There's a similar fear of judgement lurking underneath as Claudia's, but I don't think Rayla sees herself as a Good Person the same Claudia does, and therefore doesn't have the need to keep seeing herself that way in the same manner.

Either way, Callum is always Callum to her ("You're so gross" with a fond smile on her face; his scarf is smelly and he knows it and just smirks at her over it; "you're a good person, Callum, maybe the goodest," etc), and always her Callum — her heart, her home, her best friend and partner — and that's what the 7x09 scene is ultimately about, I think.

Do me the honour of letting me talk a bit about hair-touching and white streaks, though, for a second, when it comes to Claudia, Terry, Callum, and Rayla.

Because despite Claudia and Terry being very touchy-feely for 3.5/4 seasons, Terry never once touches Claudia's hair in quite the same manner or framing that we see in 7x09. He touches her hair, sure — he braids it for her and then later cuts it — but this is the closest we get to an adjustment, which is when he's bathing her and cleaning her up in 6x03.

Now, pushing the white hair and all its associations to get to Claudia, flesh and blood and very much still alive, underneath would be ripe enough as a symbolic examination, honestly. The reason why this feels so different to me than 7x09, I think then, is that there are two scenes 7x09 mirrors when it comes to someone touching Claudia's hair in the "facing the camera, strands on the face/cheek" directly shot.

And it's herself.

SOREN: You saw what Dad turned Kasef into. What Dad turned into. Claudia, you're changing too. (3x07)

CLAUDIA: But... I'm still nice. I'm still me. (7x09)

In both instances, she's not willing to admit that Soren is right / that she's changed (or, arguably, that she needs to change just in the opposite direction). She touches it first as a sign of shame in the face of her brother's words, the first white streak in her dark hair. Then she touches one of the few dark streaks that remain, reassuring herself (because nobody else will or can at this point) that she's still the person she thinks of herself as, someone who's still nice ('good').

Callum, meanwhile, never touches his white streak. He wakes Rayla up in the middle of the night (which she takes much better than I would, I can say that much) and offers his scarf, asking if she trusts him. But Rayla notices his hair is a little askew, so she tidies it for him. And the whole time, his expression is completely open, smiling and trusting her in turn... even when she hasn't actually answered his question yet, and his expression softens even before she has too.

She doesn't tuck or hide it away. It's a part of him, and therefore a part she loves ("Everything"). And he knows it.

[aubris-fox]

an implied trait i dont see Roach characterized with often is that he seems kind of..clumsy?

like yeah, he's good at getting back on his feet and ultimately surviving things he probably shouldn't be able to, but this is the man who has two major moments of falling while working (one of those times it was kind of MacTavish's fault because he couldn't pull him up on time, but still)

he's capable of getting himself out of situations, but he also seems just as capable of fucking up and getting himself into them, and i think we should play around with that more. could be interesting.

[salsmartket]

This is so cute

Modern jayvik hc

Viktor loves the movie theater. He loves it. He’s got a membership card and goes almost once a week. He splurges and gets a big popcorn and a big icy and he always sits through the entire movie. He loves it, all the staff know him. Jayce starts going with him and falls asleep most times.

Jayce can’t swim but Viktor drags him to the community center pool every week. Viktor goes for his muscles and to get some exercise and relief on his joints. Jayce just sits and watches mostly, he reads too when he’s not watching Viktor.

Jayce loves video games. He loves animal crossing and anything Mario. Hes not super competitive but he loves Mario Kart. Viktor once threw a controller out a window when he got shelled.

Jayce gets up at the asscrack of dawn every Saturday to go to the farmers market. He pulls Viktor out of bed and dresses him because he wants a romantic walk through the market. Viktor is half sleeping until Jayce gets him a little coffee from one of the vendors.

[uhhsnail]

I love a character raised to be a weapon as much as the next guy. But what really gets me is a character raised to be a shield. Who can’t fathom being needed—or even being wanted— beyond keeping others safe. Who believe they are alive only to insure someone doesn’t die. no matter the cost. Characters who self-sacrifice not because they think they deserve it, but because no one else does deserve it, and it’s their job to protect.

Characters who’ve been told that’s why your important. Your worth something because this other person/ thing is important, and you are here solely to keep them safe.

Bonus points if it’s not a legitimate job they’ve been given. Maybe at one point it was, but now that they are free from it, they haven’t given up that mentality. No one is forcing or asking them to do this, but they need to. They need to in order to be deserving.

[ukrainian-groove-metal]

I love the "came back wrong" trope but from the opposite side.

Imagine you are dead. And then you are RIPPED from the embrace of decay into the world of the living again. Your memories are hazy and you don't recognize any of these people, but they act like they're close to you? Like they love you? So you try to get your memories back, to act like you belong here, but everybody tries to forget you died. And you can't. It is omnipresent. And just trying to grapple with that fact pushes the people who "love" you away, and they're incapable of understanding, and they're so confused, what's wrong N̶̄̀O̶͛͗T̷̉́ ̷͋͝Y̴̎̌Ȍ̴̈U̸̓R NÄM̴̃͑E̵̾̇? And you just need them to understand, you aren't that person! You aren't! You don't know who that person is! You don't know why any of this is happening, but they're unwilling to bend, they keep insisting you are that person, your memories will come back, everything will be normal again, and you want to scream and cry and claw yourself open to show them you're different. Your existence as a being wholly separate from whoever you "used to be" is a sin unto itself. All you can do is scrabble for life and to them, you're killing whoever they loved to do it.

just. lots of fun in that concept, you know?

[literaryvein-reblogs]

more words for characterization (pt. 4)

Age

adolescent, afresh, ancient, antiquarian, antique, big, childish, crude, doddering, elderly, fresh, full-grown/full-fledged, green, hoary, immemorial, infant/infantile, junior, late, medieval, mint, modish, new, novel, older, old-fashioned, originally, outdated/out-of-date, passé, quaint, refreshing, secondhand, stale, state-of-the-art, undeveloped, up-to-date, well-preserved, youthful

Appearance

adorable, aesthetic/esthetic, artistic, beautiful, comely, crisp, dapper, decorative, desirable, dressy, exquisite, eye-catching, fancy, fetching, flawless, glorious, good-looking, graceful, grungy, hideous, homely, irresistible, natty, ornate, plain, pretty, refreshing, resplendent, seductive, spiffy, striking, stylish, ugly, unbecoming, willowy, with-it

Genuineness

abstract, actually, alias, apocryphal, apparently, arty, authentic, baseless, beta, bona fide, circumstantial, concrete, contrived, credible, deceptive, delusive, dreamy, ecclesiastical, empirical/empiric, enigmatic/enigmatical, ersatz, ethereal, factual, fallacious, fantastic, far-fetched, fictitious, foolproof, fraudulent, good, hard, historical, honest-to-God, illusory/illusive, imitative, indisputable, invisible, just, lifelike, made-up, magic/magical, make-believe, matter-of-fact, metaphysical, monstrous, mystic/mystical, mythical/mythological, nonexistent, openhearted, ostensibly, paranormal, physical, positive, pretended, quack, quite, realistic, right, sincerely, specious, spurious, supernatural, synthetic, tangible, true, unearthly, unnatural, unthinkable, unvarnished, unworldly, valid, veritable, wholehearted/whole-hearted, wrong

Movement

ambulatory, brisk, clumsy, fleet, fluent, frozen, gawky, graceless, immobile, indolent, itinerant, leisurely, lifeless, liquid, lithe, maladroit, migrant/migratory, motionless, moving, nomadic, oafish, passive, pendulous/pendent, portable, restless, roundabout, sedentary, slow, speedy, static, vibrant, winding

Style

adorable, baroque, becoming, black, bold, brassy, cheap, class, classy, contemporary, country, cultural, dashing, dowdy, eat high on the hog, exquisite, featureless, flamboyant, floral, flowery, formless, futuristic, garish, gay, glamorous, gorgeous, grand, graphic, hot, improvised, informal, innovative, kinky, loud, lush, luxurious, mean, meretricious, modish, neat, new, obsolete, old-fashioned, orderly, ornamental, ostentatious, outdated/out-of-date, palatial, picturesque, plush, posh, prevalent, quaint, refined, resplendent, rustic, scruffy, sharp, simple, sleazy, smart, snazzy, spiffy, spruce, stately, state-of-the-art, stylish, swank/swanky, tacky, tasteless, tousled, two-bit, unbecoming, unworldly, up-to-date, vogue

NOTE

The above are concepts classified according to subject and usage. It not only helps writers and thinkers to organize their ideas but leads them from those very ideas to the words that can best express them.

It was, in part, created to turn an idea into a specific word. By linking together the main entries that share similar concepts, the index makes possible creative semantic connections between words in our language, stimulating thought and broadening vocabulary. Writing Resources PDFs

Source ⚜ Writing Basics & Refreshers ⚜ On Vocabulary

[salsmartket]

You’re so on to something

i don't care what you think about it, but jayce is so lana del rey coded, and viktor is so hozier coded

[breadandlottery]

Consequentialism | Stoicism | Moral Absolutism

[elumish]

One way to build your writing skills--a way that I would argue is necessary if you ever want to write original fiction for publication--is to write from the point of view of, and with the focus on, a wide range of different characters.

it's really easy to fall into a rut when writing the same character or characters all the time, or even the same type of character all the time, where characterization tends to become muscle memory as much as anything else. You know what that character will do, so you know what characters of that type will do, so you know what characters will do, so that's what your characters do.

And when you don't have to think about it, you don't build--and can start to atrophy--those muscles required to do detailed, specific, engaging character building. What does it mean for this character, in this time, to do or experience this thing. What are the myriad of things that have built your character up to being who they are, and how do those things (individually and in aggregate) impact the choices that they make, the actions that they take, the reactions that they have, and the people that they engage with.

What can end up happening--and I see this all the time in published fiction--is that authors end up only being able to write 2-3 character types of each gender, and it all feels a bit samey.

Without opening a book by so many authors I have read, I can predict with a fair amount of accuracy what most of their characters will act like, because it's kind of the same across the board. Even when they start distinct, they end up drifting towards the same personality/character types like carcinization.

Writing from the point of view of/focusing on a range of characters (especially if they are different genders, of different backgrounds, with different wants and fears and habits and interests and personalities) forces you to actually be specific in your writing, if you want it to be any good.

Your 15-year-old B-student who really wants to spend their time playing rugby shouldn't sound like your 45-year-old businessman with a penchant for collecting Star Trek action figures who is trying to plan the perfect anniversary for his wife and neither of them should sound like the 23-year-old who spends their time going out at nightclubs and showing up a little bit hungover at work and worrying about finding a job that will let them move out of the apartment they're sharing with three other people.

Practice, and then practice some part, and then keep practicing. Write different characters, ask yourself if you're writing a character a certain way because you think they would be that way or because it's just habit, and be specific.

[artist-issues]

Your story doesn't "have a message;" your story IS a message. The narrative and characters and setting and dialogue are just determining whether or not you delivered that message well.

[princesssarisa]

The Different Portrayals of Papageno in "The Magic Flute" (Die Zauberflöte)

Of all the characters in Mozart's The Magic Flute, Papageno is probably the one most open to interpretation by the singer and the stage director. As I've watched different performances of the opera, the funny bird-catcher seems almost like a different character in each version.

Every singer brings unique qualities to the role, but I've narrowed the most common portrayals down to four – which can be combined with each other too. I've seen baritones give excellent performances in every one of these portrayals, as well as in blends of them.

The Innocent

This is the sweetest portrayal of Papageno and the most endearingly simple-minded. He’s most often portrayed by younger baritones: the more baby-faced, the better. This uneducated, naïve young creature of the woods and mountains is almost a Peter Pan figure (without Peter Pan’s brashness or ruthlessness, though with a little of his boyish cockiness), who has never quite grown up. His childlike qualities include total earnestness as he asks questions with obvious answers, childlike quaking and whimpering in the face of danger, and childlike sobbing in moments of despair. Yet while his failure to “be a man” sometimes tries other people’s patience, no one except Monostatos can really dislike him. His friendly, cheerful, exuberant yet gentle demeanor is filled with natural charm, and the broad, sunny comedy of nearly all his scenes keeps the audience laughing, yet his boyish vulnerability is touching too, even when it’s played for laughs. Most endearing of all is his lively, wide-eyed, unabashed joy in all of life’s most simple pleasures. He might be an unsophisticated man-child, but whatever he lacks in maturity or wisdom he makes up for in zest for life and in warmth of heart.

The Peasant

This is a more mature, down-to-earth Papageno, who clearly represents the common man. He comes across as an average, hardy 28-year-old peasant, lifted straight out of the 18th century Austrian countryside into an exotic fairy tale world. Although uneducated and unrefined compared to Tamino, he’s not particularly naïve, but conveys sound working-class intelligence and practicality, and he often delivers his funny lines with a knowing, snarky wit. This makes him a kindred spirit to classic earthy “comic servant” characters like Sancho Panza or Leporello. His lustiness is also pronounced as he craves good food, alcohol, and female companionship: it’s clear that his desire for a Papagena is carnal, not just emotional. And despite all his fears and foibles, there’s an underlying stolidness to him; a sense of resilience that suits a man whose spent his life working hard to earn a humble living. Ultimately, he fails Sarastro’s tests not because he’s silly or weak, but because he’s just too ordinary for the grandly idealistic world of the priests. This makes him less broadly funny than some other Papagenos are, but it makes him easy for the audience to personally relate to, and easy for them to view as a friend too.

The Odd Duck

This is the most eccentric Papageno. His costume tends to be more wildly feathery than other Papagenos’ and make him look less human and more birdlike. He often has more birdlike mannerisms too: for example, making chirping sounds when he sees a pretty girl, or literally screeching in terror. But even if he’s portrayed as fully human, he’s defined by adorable quirkiness. In contrast to the staid dignity of the upper-class characters who surround him, he has puckish, squirrely energy, with little thought for dull things like “manners” or “social rules,” and his emotions always run free and high, sometimes causing funny melodramatics when he’s especially scared or distraught. Yet his joy in living is equally strong and unabashed, and for the audience, it’s infectious. Nor is there any restraint on his love of food, wine, and pretty girls, or on his playful and mischievous sense of humor. This free spirit is a true “child of nature,” who, like a wild bird, lives by his animal instincts: he doesn’t care what anyone else thinks of him, no matter how strange, silly, or inappropriate he seems by normal standards of society. He just does whatever he feels like doing, and the audience can’t help but love him for it.

The Sad Clown

This is the least comical Papageno, but no less endearing than the others. His costume tends to lack feathers and be drably colored, disheveled, and poor-looking. Nor is his demeanor as broadly cheerful as other Papagenos’, but more reserved, and as for his style of humor, he’s most akin to Charlie Chaplin’s Little Tramp. The audience laughs at his foibles and slapstick, but feels pity him as well, because he shows a full and realistic range of emotions, with a subtle yet distinct vein of melancholy. He makes us realize what an unlucky man Papageno really is, as he constantly fails other people’s expectations and is browbeaten by both the villains and the heroes alike (all except Pamina). The sense of loneliness he conveys is especially poignant: not only in his deep yearning for a Papagena, but because he grew up without parents, has no real friends (only social superiors, some kind, others less so), and has never known any form of love. This Papageno’s eventual suicide attempt seems much less ridiculous than usual: even though it’s still played partly for laughs, we can almost believe he might go through with it. When he finally finds his Papagena in the end, his happiness feels long overdue and well earned.

The Pecking Rooster

This Papageno portrayal is more of a subtype than an individual type: he can predominantly be either an Innocent, a Peasant, or a Sad Clown. But either way, he’s pricklier than other Papagenos, with more machismo and a little bit more of a temper. Like a rooster defending the henhouse, he feistily defends his own safety and comfort, and like the Cowardly Lion with his “Put ‘em up! Put ‘em up!” he tries (but fails) to mask his fears with “manly” pugnaciousness and pride. Expect this Papageno to posture exuberantly as he claims to have the strength of a giant, to puff himself up to scare Monostatos away, to be as stubborn as a mule in refusing to face each new danger, and to bicker with Tamino and the priests every step of the way. His anger at being constantly ordered around, dragged into unpleasant situations, and denied the reward he was promised (a bride) is loud and clear. Yet unlike his villainous counterpart Monostatos, he’s never consumed by his anger, but combines it with classic Papageno warmth and good humor. For that reason, audiences empathize with his frustration, and admire his proud efforts to stand up to the powers that frustrate him, even though he comically fails to thwart them.

Here are some examples of the different Papagenos from different filmed performances of the opera. (I'll add more as I see them.)

*William Workman (Hamburg, 1971): The Innocent.

*Håkan Hagegård (Ingmar Bergman film, 1975): The Innocent, with undertones of the Sad Clown.

*Benjamin Luxon (Glyndebourne, 1977): The Peasant, with traces of the Innocent and the Sad Clown.

*Christian Boesch (Salzburg, 1982): A blend of the Innocent, the Peasant, and the Pecking Rooster, with undertones of the Sad Clown.

*John Fulford (Sydney, 1986): The Peasant.

*Mikael Samuelson (Drottningholm, 1989): The Odd Duck, with the earthiness of the Peasant.

*Manfred Hemm (the Met, 1991): The Innocent.

*Detlef Roth (Paris, 2001): A blend of the Innocent, the Odd Duck, and the Pecking Rooster.

*Simon Keenlyside (Covent Garden, 2003): The Sad Clown.

*Christian Gehaher (Salzburg, 2006): A blend of the Peasant and the Pecking Rooster, with hints of the Odd Duck.

*Nathan Gunn (the Met, 2006): A blend of the Peasant and the Odd Duck, with traces of the Pecking Rooster.

*Markus Werba (the Met, 2017): A blend of the Innocent and the Peasant, with traces of the Pecking Rooster.

Meanwhile, in my gender-bent retelling, An Eternal Crown, I think Lorikeet is a cross between the Innocent and the Odd Duck, with a few undertones of the Sad Clown.

I'd be interested to learn which portrayal(s) @leporellian is using for the anthropomorphic cat Papageno in their Magic Flute-inspired novel Song of the Sky.

@ariel-seagull-wings, @tuttocenere, @vogelfanger1984, @thealmightyemprex, @thevampiricnihal, @cjbolan

[ahfrickenfrick]

i feel like duke would be seen as a mediator a lot for problems but he’s secretly creating some of them cause he’s bored/petty/vengeful

like oh, tim took too long getting into his suit resulting in condiment king spraying duke with ketchup, so suddenly his laptop was plucked of its stickers, he of course assumes it was jason or stephanie

or when dick knowingly came over when he knew he was sick, resulting in duke missing out on a field trip due to a 24 hour cold, so suddenly the patrol schedule never got to dick on time, making him think bruce was being prickly again, forcing him over to the manor more

one day when he’s bored he places clues and riddles all around the mansion all leading to either dead ends or starts to other riddles, just to see what they would do

i need more petty duke LMFAO

[raayllum]

1x09 / 4x04 / 6x04

[jkl-fff]

Remember that time

Laois dealt with the projection of all his insecurities and disappointments with human society (his parents' uncomprehending disapproval of who he fundamentally was as a person, the schoolmates who bullied him for not fitting in, the colleagues who took advantage of his trusting nature, and the guy who he thought was his best friend turning out to be someone who just sorta tolerated him) by conjuring up a manifestation of his special interest (monsters) to literally crush them?

Certified and iconic Autistic Joy(TM) moment right there. Good for him and his swag.

[literaryvein-reblogs]

more words for characterization (pt. 2)

Attributes of behavior: [A-D] abstemious, accident-prone, acid, acrimonious, adamant, affable, affectionate, agreeable, aimless, aloof, amuck, animated, anxious, arbitrary, ardent, arrogant, ascetic, attentive, austere, avid, backhanded, bad, barbarian, barbarous, beaming, belligerent, big, blindly, boisterous, bossy, brassy, brazen, brusque, cagey, calm, capricious, casual, cavalier, cheeky, chill, chummy, clumsy, cocky/cocksure, combative, comic/comical, compassionate, complaisant, compulsive, conciliatory, considerate, contemptuous, contrary, convivial, cordial, corrupt, courageous, courtly, cowardly, crabby/crabbed, cranky, craven, crotchety, cruel, cunning, daring, dauntless, debonair, decent, decided, defensive, defiant, deliberately, delightful, delirious, demure, detached, diffident, disagreeable, disarming, discreet, disgruntled, disinterested, disobedient, disorderly, disputatious, disruptive, dissolute, distraught, divisive, doctrinaire, dolorous, doting, double-dealing, draconian

[E-J] eager, easy, edgy, effervescent, emotionless, envious, equable, evasive, even-tempered, excitable, exuberant, faithful, fake, false, fanatical, favorably, fearful, feigned, ferocious, fervent/fervid, fickle, fiery, finicky, flamboyant, flighty, flirtatious, foolhardy, foolishly, forceful, forward, fractious, freely, fretful, frivolous, fussy, gamely, genteel, glacial, gluttonous, goody-goody, graceless, grandiose, gritty, gruff, gung ho, halfhearted, hardhearted, haram-scarum, headstrong, hearty, helpless, high and mighty, high-handed, high-strung, holier-than-thou, hot, huffy, humble, hypocritical, idle, ill-mannered, ill-natured, ill-tempered, impatient, impertinent, impolite, importunate, impudent, inactive, inconsiderate, ingratiating, inhuman/inhumane, innocuous, insidious, insubordinate, intractable/intransigent, introverted, invidious, irreconcilable, irreverent, jaded, jaunty, jazzed-up, jovial, jumpy

[K-R] keen, kittenish, lax, lecherous, lethargic, liberal, lifeless, light-headed, litigious, lofty, loquacious, loud, loving, Machiavellian, maladroit, malicious, mannered, martial, mean, meat-eating, menacing, merciful, mercurial, militant, mischievous, miserly, mousy, munificent, naive, nasty, naughty, neglectful, neighborly, nervy, nomadic, noncompliant, nonconformist, nosy, obedient, obliging, obsequious, obtrusive, offhand, on edge, on purpose, orderly, ostentatious, overbearing, overwrought, parsimonious, passionate, peevish, pent-up, peppy, peripatetic, permissive, pert, petulant, philosophical/philosophic, phobic, pitiless, plaintive, playful, plucky, politic, pompous, pragmatic, precipitous/precipitate, predatory, presumptuous, prickly, prissy, profane, prompt, propitious, provident, prudish, puerile, pumped, puritanical, quarrelsome, quick-tempered, racy, raffish, rash, ready, rebellious, reckless, regardful, relentless, remiss, remorseless, renegade, repugnant, resigned, responsible, restful, restrained, retiring, revolutionary, rocky, rollicking, rootin’-tootin’, rousing, rude, runaway, ruthless

[S-Z] safe, sanctimonious, sassy, savage, scintillating, secluded, self-conscious, self-righteous, sentimental, serpentine, severe, shameful, sheepish, shifty, short-sighted, shy, simple, sincere, skittish, slippery, sluggish, small, smooth, snappy, snide, snooty, sober, soft, solid, sophomoric, spineless, spontaneous, sporting/sportive, sprightly, square, staid, starchy, staunch, stealthy, stiff, stingy, stoic/stoical, stony, strained, strait-laced, strenuous, stringent, stuck-up, suave, submissive, subversive, supercilious, supine, surly, sympathetic, tactful, tame, tearful, tempestuous, tender, tense, thankful, theatrical, thieving/thievish, thoughtless, tight, tipsy, touchy, traitorous, treasonous, truculent, true-blue, turbulent, two-faced, unaffected, unasked, unattached, unbridled, uncivilized, uncontrollable, uncouth, undependable, underhand, unemotional, unfriendly, unguarded, unintentional/unintended, unkind, unmerciful, unprejudiced, unreasonable, unrelenting, unruly, unseemly, unsettled, unsophisticated, unsympathetic, untoward, unwary, unwise, unworldly, uppity, urbane, vainglorious, valorous, vengeful, vibrant, vicious, vigilant, violent, virile, vital, volatile, wacky, wanton, warm, wary, watchful, wayward, well-bred, wicked, willful, wily, winning/winsome, witless, yellow, zany, zealous

NOTE

The above are concepts classified according to subject and usage. It not only helps writers and thinkers to organize their ideas but leads them from those very ideas to the words that can best express them.

It was, in part, created to turn an idea into a specific word. By linking together the main entries that share similar concepts, the index makes possible creative semantic connections between words in our language, stimulating thought and broadening vocabulary. Writing Resources PDFs

Source ⚜ Writing Basics & Refreshers ⚜ On Vocabulary ⚜ Part 1