#writing refresher

[literaryvein-reblogs]

Word List: Went

Went—past tense of go (i.e., to move on a course; proceed)

Actuate - to move to action

Avoid - to keep away from

Bolt - to move or proceed rapidly

Bound - to move by leaping

Depart - to go away; leave

Escape - to get away

Exit - to go out or away

Flee - to run away

Fly - to be moved with sudden extreme emotion; to flee

Forge - to move forward slowly and steadily; or with a sudden increase of speed and power

Hop - to move by a quick springy leap or in a series of leaps

Jaunt - to make a usually short journey for pleasure

Jolt - to move with a sudden jerky motion

Journey - to go on a journey; travel

Leap - to spring free from or as if from the ground

Leave - to go away from; depart

Lurch - to move with a lurch; stagger

March - to move in a direct purposeful manner; proceed

Mosey - to hurry away

Move - to start away from some point or place; depart

Pace - to move along

Parade - to march in or as if in a procession

Pass - move, proceed, go

Progress - to move forward

Retreat - to make a retreat; withdraw

Saunter - to walk about in an idle or leisurely manner; stroll

Scoot - to move swiftly

Skip - to move or proceed with leaps and bounds or with a skip

Split - to leave, especially: without delay

Step - to be on one's way; leave—often used with "along"

Stride - to move with or as if with long steps

Stroll - to walk in a leisurely or idle manner

Tour - to make a tour (i.e., one's turn in an orderly schedule)

Travel - to go on or as if on a trip or tour; journey

Vanish - to pass quickly from sight

More: Word Lists

[crimeronan]

god i wish i wouldn't have to explain the intricacies of the neopets economy to you guys to give the full context for this but. the new neopets team that took over from jumpstart pledged that they were going to curb the inflation of rare items, which is great because a lot of rare items are worth literally hundreds of millions of neopoints, they are unbuyable unless you've been playing actively for 20 years. they did this earlier with a site festival that included random loot boxes, some of which had Unbelievably Fucking Rare And Precious items worth 200 million neopoints apiece.

well.

today they have gone a step further. by releasing this year's trick-or-treat bags. and having the trick-or-treat bags be stuffed to the brim with unbelievably fucking rare stamps, weapons, paint brushes, defense magic, and other unbuyables. (all prohibitively expensive and in-high-demand types of items.)

jellyneo, the premier neopets website, has recorded prices of some items plummeting from 2,000,000 neopoints to 4,000 neopoints IN THE LAST THREE HOURS. this is when most people haven't even heard about the event or OPENED THEIR BAGS YET.

and of course. cherry on top. 20-year-old account holders are crytyping on the site events neoboard about how mean and cruel it is to make rare stamps part of the prize pool, because their entire identity hinges on being part of the neopian bourgeoisie, and they are having MELTDOWNS over their assets being devalued until they're part of the lowly proletariat.

this is a children's game for children btw.

none of the money is real.

i'm having such a good time.

[physalian]

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.

[mauraeyk]

RUBY BELL AND JAMES BEAUFORT 1.06 | Maxton Hall

[side-of-honey]

Sorry for being kinda dead lately it's been hard to motivate myself to make full pieces ToT Have some doodles in the meantime tho. I enjoyed the purple game big surprise from the portal fan I know

[ex0toxin]

awughhh silly shipchart.. my canonverse hcs 🧠

og post

[acerunaway]

I NEED YOUR HELP

So I've been away from TTWDFGA for so long bc of full time job/family/zine stuff and now I don't know if I even like the characterization or anything about it?

(I went back to read it so I could remember details and felt mortified and couldn't get far into it)

So idk what to do about it but I thought maybe doodling could help, maybe? Kinda like these ones?

So if you have/had a favorite scene in TTWDFGA/The Things We Do For Gym Access and want to see me doodle it, request it by quoting the scene on this post or in an ask!

[mentallyunstablequeen101]

Are we all gonna ignore Will Solace can control the plague that can kill anyone easily????

[rox-and-prose]

I just saw a post that complained that the US spelling of "dialog" doesn't have the added "ue" on the end and listen I'm not here to claim US English spellings make more or less sense than any others but like on that specific one you want English to have....more? Silent letters?

[rafeandonlyrafe]

a collection of soft moments with rafe

words: 2.4k

warnings: none?, rafe being kinda desperate... okay maybe really desperate in the last one

taglist: @drewstarkeysbae @thelomlisrafecameron @f4ll-for-you @dilvcv

“i was tryin' to fly but i couldn't find wings.” you sing along to the song, swaying slightly as you finish cleaning off the table, ears perking up when you hear the door open and close, signaling that rafe just got home, but you continued your clean, “but you came along and you changed everything.”

you feel rafe’s hands on your hips suddenly, making you jump, not realizing over the music that he had entered the room. 

“you lift my feet off the ground.” taylor’s voice continues to sing from the speakers as rafe turns you in his hold. your hands instinctively go to his shoulders, smiling up at him as rafe starts to sway along to the music. “you spin me around.”

at the lyric, rafe begins to slowly spin you around the room, looking down at you with the most genuine look of love in his eyes that you’ve ever seen.

“i love you.” you mouth to rafe, not wanting to interrupt the song with your words as he pulls you closer to him, pressing a kiss to your forehead.

"feels like i'm fallin' and i'm lost in your eyes. you make me crazier, crazier, crazier."

--

“don’t we have to leave like right now rafe?” you ask, rushing to his closet when he asked you to pick out his outfit for him. one of his favorite things to do is pick out what you’re going to wear, especially for a night out with him, and he likes to reserve the favor for you too.

“we can be late.” rafe says, still in just a pair of gray sweatpants, while you’re completely ready in a simple deep blue dress, chosen of course by your boyfriend.

you sift through his shirts, having one in mind, a blue patterned button down that would match your dress. you finally find it and pull it out, handing it to rafe to put on while you find a pair of pants that would fit the color scheme.

you watch as rafe dresses, looking to you for approval. you frown. there’s nothing particularly wrong with the outfit, but it’s just not pulling together for you.

“hold on.” you hum, knowing you should be moving faster so you can get to your event, but you honestly are enjoying playing dress up using rafe. 

“try this.” you toss him a new shirt, but again it doesn’t spark anything in you. 

“put on your black shoes, i’ve got another in mind.” you turn back to his drawer, hoping that the light blue shirt you’re thinking of is complementary to your own dress.

you find it on the bottom of the drawer, and hold it up happily to rafe. “look! it’s perfect!” you know before he even tries it on that it’ll go perfectly with what you’re wearing.

rafe pulls the shirt over his shoulders, but you stop his hands from doing the buttons as you take over for him, tongue sticking out of your mouth slightly in concentration as your fingers work on the tiny button. 

you leave the top two undone, the event not being too formal, and liking the peak of skin. “perfect.” you say, looking at the two of you standing next to each other in the mirror.

“thank you baby.” rafe says, looping his arm around your waist. “i love spending time with you.”

you feel your cheeks flare red as you blush at his words. “all i did was get you dressed.” you try to deflect his words.

“i know and i loved it.” rafe presses a kiss to the side of your head.

--

“hm.” rafe says, “can you change your shoes?” you look down at your sandals, taking them off and putting a pair of converse instead. “you know, if you just told me where we were going i would be able to pick out a better pair of shoes.” “good try, baby.” rafe smiles, taking your hand as you head out the door, to whatever surprise that rafe has planned. 

you get into the car, trying to tell where rafe is taking you by the drive, but it’s out into the country, so you ignore trying to figure out where you’re going and instead just enjoy rafes hand on your thigh and the music playing through the stereo.

“rafe!” you gasp as you see the explosion of colors on the road ahead. “you did not!” “i did.” rafe says cockily, obviously expecting your excited reaction.

“i cannot believe you actually brought me flower picking.” you lean over as rafe parks, pressing kisses to his cheek. “you’re the best boyfriend ever.” “i know.” rafe laughs, putting the car into park and turning his head to let you kiss him, lips pushing together in a display thats a bit overly passionate for the parking lot, but you’re just so happy that your usually closed off to the world boyfriend becomes a total sweetheart just for you.

“don’t you dare open your car door.” rafe says, pulling away from the kiss. you just smile as he rounds the car, opening your door and helping you out. 

you take a deep breath of the flower scented air, eyes looking over all the different rows of brightly colored flowers. 

“come on, we gotta get our jar and scissors.” rafe takes your hand in his, leading you towards the booth. there’s only a few other people picking flowers today, so there’s no line when you approach and rafe quickly pays.

“alright, baby, i already know you’re thinking about what you want.” rafe laughs, knowing he’s not really there for choosing the style of the bouquet you make, rather to be the one to cut the stems for you and hold everything.

“mmm, i’m really feeling like an orangey-red-yellow color palette.” you say, heading towards the flowers with rafe following close behind.

--

“rafe! come here!” you call out to him, and you hear his rapid footsteps as he runs into the bathroom.

“are you okay?” he asks, eyes searching for any sort of potential danger you might be in.

“i’m fine, rafey!” you say, waving your hands as if that’s going to dissuade his worry and take it all away.

rafe comes to where you’re standing in front of the mirror, pressing you into the sink as he pushes his chest into your back. “you scared me.” “sorry, baby.” you hum, picking up a packet from off the sink. “want to do a facemask with me?” “is this what you called me in here for?” rafe questions, looking at the plastic package in your hand.

“mhm. i’m doing one too, it’ll be fun.” rafe sighs, burying his head in your shoulder, pressing a kiss to your bare skin, glad that you’re only wearing a tanktop so he has more access. he considers saying no, but he just can’t deny you what you want. 

“fine, but no pictures and don’t tell anyone about this. ever.” 

you squeal in happiness, ripping open the package and directing rafe to bend down that way you can place the sheet mask on his face, choosing a brightening one for him while you’re going to go for hydrating. 

you giggle seeing your boyfriend, who plenty people consider scary, in the skincare. he glances in the mirror with a frown.

“you look super cute.” you say. “now let me put my mask on then we can sit on the bed and watch tv until it’s time to take them off.”

--

“what is all this for?” rafe questions, not expecting to come home to the counters filled with baked goods.

“oh perfect timing!” you say, heading over to rafe and giving him a quick kiss on the lips in greeting.

you place your hands on his shoulders, steering him towards the island. “sit down, i need you to taste test everything for me.” “i would be more than happy to do that baby but um-” he pauses, eyes once again moving over the multitude of cupcakes decorated in different ways, along with cookies and some pastries he doesn’t know the name of. 

“oh, right!” you giggle, placing a cupcake in front of him. “i decided to enter a baking competition.” “really?” rafe asks, peeling the wrapper off a cupcake and taking a bite, his eyebrows shooting up. “well, you’re definitely going to win, this is delicious.” “really? be honest rafe, don’t just say that because i’m your girlfriend.” rafe shakes his head, taking another bite. “no seriously babe.” you let out a little squeal in happiness, clapping your hands together as rafe chews more. “okay, but stop eating that, you’re going to get full and i have a lot more i need you to try.”

you take the plate holding the cupcake away from rafe, sliding a different pastry in front of him. rafe eats it, again complimenting you as you cycle through the different things you’ve made while he was away.

“here, this is a pumpkin puff pastry.” you give him the next dessert.

rafe happily takes a bite, but his face suddenly twists. he covers it up quickly, but not before you’re able to tell. 

“you don’t like it?” you ask, and rafes heart breaks at your big eyes looking at him, so upset.

“no, it’s really good, i just-” rafe grabs the glass of water you got him, taking a sip to wash down the treat.

“i just am not a fan of pumpkin.” rafes words don’t seem to make you feel any better, so he turns on his stool and pulls you into him, placing your body in between his legs. 

“princess, i’ve loved everything you made, you’re absolutely going to win this baking competition, gorgeous.” “you really think so?” you ask, reaching your hands up to play with the collar of rafes shirt.

“of course.” he leans forward, pressing a kiss to your forehead. “now whats next for me to try?” rafe asks, even though his stomach hurts from how much he’s eaten.

--

rafe presses another kiss to your cheek, making you look up from the book your reading. “what is it baby?” “nothing.” rafe shakes his head, but takes the now closed book out of your hands and sets it on the coffee tables. you can’t hold back a giggle as he takes your hands and brings it up to his face.

“do you want some attention?” you ask, rubbing your thumbs over his cheeks.

“mmm.” rafe just hums, closing his eyes as he finally gets what he wants. you scooch over on the couch so you’re sitting closer to him, your thighs pressing together. 

you move a hand up to play with rafes hair, making him drop his head against the couch, cheek pressing into the cushion. you lean forward and kiss the tip of his nose, admiring his blissed out face now that you’ve finally got your hands on him.

“gimme a kiss.” rafe says, wrapping an arm around your waist and pulling you onto his lap.

you melt into his body, enjoying the soft knitted sweater he’s wearing and the way it feels against you. 

you press your lips against rafes, letting him take the lead in the slow and easy kiss, taking pleasure in the way his lips glide over yours.

you pull away after a minute, resting your head against rafes forehead. it’s a rare moment of complete peace, where rafe is calm and relaxed. you hate to break it, but you eventually stand up, giving him another kiss on the lips.

“where are you going?” rafe asks, reaching out and tugging on your hand.

“i’m going to go take a shower.” you say, feeling gross with your oily hair, plus, you really need to shave, the prickly hairs are starting to bother you.

“okay, i’ll join you.” rafe stands up to follow you, but you place your hands on his chest with a shake of the head. 

“usually, i’d love for you to join me, but i’ve got… girly stuff to do.” you decide that it’s a good enough explanation, but of course it doesn’t dissuade rafe. 

“okay and?” he deadpans, making you roll your eyes.

“just not this time, rafe.” you start to walk away, up the stairs to your bedroom, but rafe is right on your tail.

you decide to ignore him, heading into the bathroom and beginning your shower prep, deciding to do a hair mask while you shave, getting out your razor and creme from the counter underneath the sink.

“i’ll turn the water on for us.” rafe makes a point of using the pronoun. 

“baby.” you groan, placing your products on the shower bench. “i don’t want you to just stand there and watch me shave! i love you but i need a minute alone, okay?” “fine.” rafe leaves the room quickly, swinging the door shut behind him. you sigh and rub your eyes, but turn the water on to heat up.

time passes quickly as you go through your extended shower routine, your phone playing music from it’s place on the sink counter. you finish up, feeling completely refreshed and clean. you pull the robe rafe got you around your body and head out of the bathroom.

“rafe?” you gasp, seeing him sitting on the floor next to your bed, his knees pulled up to his chest, head slumped forward.

“baby!” he picks his head up suddenly, but you can still read his emotions how upset he is.

“hey, hey, what’s wrong?” you kneel down in front of him, leaning forward to kiss his forehead. his eyes are ever so slightly red and you wonder if he’s been rubbing at them or if he’s been crying.

“i-” rafe takes a deep breath, “i hate being away from you.” “oh, honey.” you heart breaks, and you lean forward to wrap your arms around rafes shoulders, who drops his knees so you can get closer. “if i would have known it was that big of a deal, i would have let you shower with me, i just didn’t think you actually wanted to see me like shave and stuff.”

“next time you’ll let me in?” rafe asks in a soft voice that breaks your heart.

“of course.” you take his face in your hands, angling it to press a kiss to his lips. “i love you.”

the spark in rafes eye is finally back. “i love you too.”

[literaryvein-reblogs]

Writing Notes: Point of View

Point of view (POV) - the position from which the events of a story are observed.

The author establishes point of view through the use of characters, dialogue, actions, setting, and events.

Authors rarely speak in their own voices. Instead, they assume a particular persona and adopt a "voice" that enables them to narrate their stories and novels. This voice is called point of view.

4 Common Points of View

1. Omniscient 2. Limited Omniscient:

Major character

Minor character

3. Objective 4. First Person:

Major character

Minor character

OMNISCIENT

The story is told in the third person ("he," "she," "it") by a narrator who knows everything about the characters, actions, and events.

The narrator is able to move in time and place, to shift from character to character, and to reveal or conceal as little or as much as he or she pleases.

This type of narrator is "all knowing."

Example from "Godfather Death:"

"He ought to have remembered his godfather's warning."

The narrator has unlimited knowledge, even knowing the mind of Death, and he comments on and evaluates the doctor as he is dying.

LIMITED OMNISCIENT

The story is also told in the third person, but only from the viewpoint of a single character, whether a major or minor one.

The author selects which character to see through, and the narrator is confined to knowing only the thoughts and actions of that character.

Such a character is the "lens" through which events pass in the story.

Example from Gustave Flaubert's Madame Bovary:

"Charles went upstairs to see the patient. He found him in bed, seating under blankets, his nightcap lying where he had flung it....The fracture was a simple one, without complications of any kind. Charles couldn't have wished for anything easier. Then he recalled his teachers' bedside manner in accident cases, and proceeded to cheer up his patient...."

It is only through Charlie's eyes that readers "see" and learn about the patient.

OBJECTIVE

The story is told in third person, but the narrator does not enter the mind of any character.

The narrator objectively describes events from the outside.

The reader is left to infer the character's inner thoughts and feelings.

The narrator knows which details to use to communicate deep meaning.

Example from Dashiell Hammett's the Maltese Falcon:

"Spade's thick fingers made a cigarette with deliberate care, sifting a measured quantity of tan flakes down into curved paper, spreading the flakes so that they lay equal at the ends with a slight depression in the middle...."

Readers must infer that Spade is deliberate, cool, efficient, and painstaking during a crisis; the author never uses those adjectives to describe Spade.

FIRST PERSON

The story is told in first person ("I"), through the thoughts and feelings of the narrator, not anyone else's.

What reaches the reader is subjective.

So, more important than whether the narrator is a major or minor character is the narrator's reliability.

An unreliable narrator can present a distorted picture of events; a reliable one can render events with accuracy.

Example from Aesop's Ant and the Grasshopper:

"Cold and hungry, I watched the ant tugging over the snow a piece of corn he had stored up last summer. My feelers twitched, and I was conscious of a tic in my left hind leg. Finally I could bear it no longer. 'Please, friend ant,' I asked, 'may I have a bit of your corn?"

Readers only know the thoughts and feelings of the grasshopper. They know nothing about what the ant thinks or how the ant feels.

Determining Point of View

The attitudes and opinions of a narrator aren't necessarily those of the author.

Don't confuse a character with the author.

To determine point of view, ask who the narrator is and what pronoun the author attaches to the narrator.

Also ask yourself what role, if any, the narrator plays.

By using a particular point of view, an author determines how much the narrator reveals about the characters.

If these writing notes help with your poem/story, do tag me. Or send me a link. I'd love to read them!

[tariah23]

I sketched these real quick at my work desk the other day they’re a mess lmfao

[turtleblogatlast]

Middle of the night thought that I may extrapolate on much, much later: The next iteration of Leo always has something about them that the previous iteration wanted or was denied of.

[bamsara]

Hey chief you've been sitting on the new chapter for a while what's the current word count? (also crumb? little crumb for us perhaps?)

I have about 70k worth of draft written but thats DRAFT and incoherent rambling so not an actual idea of the chapter word count, but since I've been talking about SL Monty latley I think it's fair to throw these here

[mishy-mashy]

3 reasons I can think of, for why the first Three vestiges were too hard to find information on

[Reason 1]

The time they were born in.

Their births, and any records of them, could just be completely undocumented or non-existent.

They were born in times where systems and governments were down, and it's everyone for themselves.

People aren't going to register their existence, especially the Metas, when they all want to stay under the radar and hide from everyone else.

If you're in the middle of a war zone that spread to where you live, and your baby brother was just born, are you really going to go [Oh no! I have to register his birth for that sweet sweet child tax!]?

Or something like that. But still.

There are more important things, like survival, than registering a baby's birth and going through hospital paperwork. And it's been explicitly stated that the first appearance of Abilities caused a Great Depression all over Japan.

The government is gone. There's no point in registering anything anymore.

Yoichi was literally born at a riverside, and never went to a hospital. By the time the first Three are toddlers / young children, Japan is already chaos and up in flames.

Children are actively avoided because they're the most likely to be Meta Humans. No one wants anything to do with them.

Chances are, the records about the first Three never existed, or were destroyed in all the strife.

Or maybe, if some did exist, Kudo destroyed them. I can see him doing that, to protect themselves from AFO or anyone else having the chance to track their personal histories down.

It makes them ghosts. Exactly what would be best for not only their own survival, but anyone affiliated with them. Like family. It makes them untraceable, and invisible to bodies of old authority.

[Reason 2]

The three were a part of the Resistance. They could've kept information about themselves under lock and key, to protect themselves.

Like how Kudo is referred to as Leader, and never by his real name. Even in the void, up to the very end, Bruce still says "Leader" to address him.

I actually HC them as using codenames in the Resistance, exactly to protect themselves from each other, and outsiders. This makes Yoichi an anomaly among them, for going by his real name. Meanwhile,

Leader, Boss = their leader

Bruce = a reference to his Quirk

Codenames about their Meta Abilities, or roles in their cause, to better remember whose nickname belonged to who.

Outsiders won't know the Resistance members' real names. The Resistance can't betray each other by selling each other out for personal information as easily, if no one knows each other's actual names.

At the same time, this alienates them from who they are, and their humanity. They have to make tough choices that would classify them as monsters. And they're locking themselves under a false name.

They're protecting themselves from everything and everyone, including themselves. At least the person committing all these atrocities is [CODENAME], not me.

[Reason 3]

Bruce, when he was supposed to pass previous information to Shinomori, couldn't.

Maybe he didn't have enough time to tell Shinomori the whole story.

Or maybe he did, and passed on the previous holders' histories, but Shinomori didn't pass those on himself.

Or maybe reminiscing Yoichi and Leader as actual people just broke him, and he could only stick to the bare minimum of the history of this Factor.

Notably, the OFA story is known as "All For One's younger brother was sickly and frail, but he had a strong sense of justice."

We never, ever hear Yoichi's name in the spoken history of OFA. All Might couldn't even get their names. And since AFO hides himself so easily, and birth records just don't exist for him as an undocumented birth, Yoichi legally doesn't exist even as a birth.

Bruce is the first one to find the existence of Yoichi's "unformed dud". The Factor that let him pass on his current Quirk to others. How could the information of that dud be passed on, if not from Bruce?

Somewhere, the information breaks during Bruce or Shinomori's turn with OFA.

Bruce never passed on their names. Or maybe Shinomori didn't. But their names weren't necessary to pass on anymore. All Might only managed to dredge what he could, starting from the time society started trying to stand on its feet. Exactly because that's as far as the records went.

[Reason 2] could add credence to why the first Three's names were never passed on. Bruce could've kept quiet about Yoichi and Leader's personal details, not just to help himself stay together, but to protect anything they might've left behind.

[shadowtraveled]

this is a largely meaningless observation but, based on the fleki uniform demonstration comic, mithrun seems to wear the default style of the canary uniform, probably because he has no desire to personalize it or preference for how to do so, etc. when he does seem to pick his own clothes, though, they don’t look super in-line with what we’re shown of elven clothing styles in his region: high collars look like they’re fairly popular with elves in general, but out of uniform he tends to be a lot more covered up than everyone else—long sleeves, long pants, boots rather than sandals, and he dresses that way both prior to getting eaten and after the events of the series. anyway it’s kind of cute that after everything that happened to him, someone cared enough to remember what his clothing preferences used to be.