wearewildwithwonder

[wearewildwithwonder]

Hey! Do you have any tips for people who've reached a block in their writing? I've been trying to plan out a plot for my book, but I've reached a point where I can't think of anything else

What to Do If You Get Stuck While Outlining Your Plot

Hi! Thanks for writing. Getting blocked can happen at all stages: Before writing, during writing, during outlining, in the idea stage, etc. But since you specifically said you’re reaching a block in your plot planning, I’ll address that :)

#1 Make sure your character’s motivation & conflict are “big” enough

If your character doesn’t have a book-length problem, you can get stuck trying to fill in empty space in the plot. In order to find more events to flesh out your story, you may need to make adjustments. Is their desire strong enough to fuel a book? Is the conflict big enough? Is their problem difficult to solve? If not, how can you make their problem harder? Or take longer to resolve?

You might need a combination of a fiercer desire, a bigger problem, more problems, more obstacles, and/ or a more stubborn antagonist to reveal potential scenes and events. For help with your character’s motivation and conflict, check out the PDF “Creating Character Arcs” in my Free Resource Library.

#2 Plot your story backwards

This can help you make sure you have a strong enough ending and open up new possibilities you might not have noticed while plotting forward. I have a post about it here.

#3 Use the but/therefore method

The but/therefore method is a great way to fill holes. It tests the cause-effect connections between your plot and character and almost always reveals gaps that need to be addressed with new or stronger scenes. Use this template for each scene or chapter:

Main character wants ______, but _______, therefore ______.

What comes after “wants” is the motivation for that chapter or scene. After “but” goes the conflict or obstacle. After “therefore” is the result or action the character takes, which leads into the next goal, and so on, and so on.

Chapter-by-chapter it might look something like this:

Chapter 1: Julian wants to ask Matt to the dance, but he’s scared of being rejected, therefore he slips a cryptic note into Matt’s locker.

Chapter 2: Matt doesn’t see the note. Now Julian wants to get into his locker and retrieve it, but the principal sees him trying to jimmy open the lock, therefore Julian is given detention for a week.

You can also do this scene-by-scene. My suggestion would be to start with the chapter outline, see what it reveals, then move into the scenes if you still feel stuck.

#4 Ask questions

Classic un-sticking questions start with “what if” or “why”? Asking questions can unlock new story directions you might not have noticed were there before.

What if the main character’s ex-boyfriend came back to town? What if they didn’t achieve that small goal back in chapter 4? What if they were hiding something? etc.

Why are they avoiding their sister? Why is it so difficult for them to apologize? Why haven’t they quit their job if they hate it so much? etc.

#5 Consider creating a subplot (or two or three)

A book-length story usually needs a few side stories to flesh out the main one. Look for areas of your story that could be expanded, characters that might take the story down a related tangent, and conflicts that seem small but could be bigger with some digging.

#6 Take a break

Sometimes, you just need to give it a rest. Walk away from your outline for at least a week. When you come back, you may see things you didn’t see before and be able to breathe new life into it. In the meantime, let your mind wander. It’s amazing what creative solutions writers can come up with when they aren’t “trying.”

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The Literary Architect is a writing advice blog run by me, Bucket Siler. For more writing help, check out my Free Resource Library, peruse my post guide, or hire me to edit your novel or short story. xoxo

[wearewildwithwonder]

This is fucking magical, man. Art by Bruno Szan.

[wearewildwithwonder]

lady knight [wip intro]

in a world where magic is dying and great empires crumble, there exists a city where new lives can be made: the port city of riselle.

alexandria tasse, daughter to nothing but an old boat, dreams to escape the merchant’s city. the ancient wonders and untold stories beckon - but when an injured girl tangles in dria’s fishing net, the wars outside the city boundaries begin to feel closer than ever.

huian song wants to be forgotten. she is a thief, a murderer, and a liar; perhaps she is even a traitor, depending on who she asks. riselle is the perfect place to become someone else, except her past has followed her across the turbulent oceans.

gold is searching for a legend. with nothing to show for his years spent away from home, he turns to riselle as his last resort. it is the city where such legends go to die, after all. but the city has other plans for him: lost legends are not the only things waiting to be found.

status: second draft

book one of six

Keep reading

[wearewildwithwonder]

“I feel like I need to speak out, because if no one speaks out, if no one says, this is me, this is what I believe in, and this is why I’m different, and this is why that’s okay, then what’s the point? What’s the point of living in this beautiful, great melting pot where everyone can dare be anything they want to be?”

— Sandhya Menon, When Dimple Met Rishi

[wearewildwithwonder]

“They loved who they loved. They broke how they broke. And the way it happened depended less on what was under their lovers’ clothes and more on what was wrapped inside their spirits.”

— Anna-Marie McLemore, Wild Beauty

[wearewildwithwonder]

WIP INTRO: As the Tiger Calls the Dawn

GENRE: fantasy SETTING: A Joseon dynasty-inspired fantasy kingdom populated by shamans, spirits, ancient gods, and monsters. AGE RANGE: YA (14+) for fantasy violence.

SYNOPSIS:

In a time where spiritualism is outlawed and shamans are reduced to turning tricks on the streets, a clanless girl with a killing touch is hired by a grim reaper to assassinate a god older than time itself. KOREAN MYTHOLOGY X OCEAN’S 8 X SIX OF CROWS

CHARACTERS:

SONYEO: 17 | clanless | gift of death 

In a land where family history is everything, Sonyeo is a girl with no name, no past, and a touch that kills. All she wants is to leave the crowded streets of the Old City and move to a rocky island in the Great Dark Sea where she’ll never be able to harm anyone again. When a reaper offers her just that in exchange for the death of the Nameless God of the Mountain, she accepts without hesitation. Unfortunately, infiltrating the Mountain of Dawn will take more than a mere girl with a sword. 

EUN-JAE: 16 | clan im | gift of foresight

Eun-jae wants money. Lots of it. And she’s going to get it, too—even if that means running scams in the streets of the Starless City for four more years, living out of hovels and fighting for scraps. When the reaper offers Eun-jae enough coin to feed her and her clan for six generations to come, she accepts his proposition without a second thought—only to discover that the very god they’re trying to kill is the guardian spirit of her childhood home.

MIN-SEO: 18 | clan chung | giftless

Min-seo is curious, and curiosity is a dangerous thing in the courts of the Starless City. When her scholarly pursuits bring her too close to a secret that the king would kill to protect, she flees—only to find herself caught up in a grand quest to murder a god. At this point, why not? It will make for an excellent hymn, at least. If she doesn’t get murdered in the process.

LIN HAE-JIN: 19 | clanless | giftless

Hae-jin is doing a job. Nothing more, nothing less. As a ‘barbarian’ pirate, there isn’t much that Hae-jin won’t do while on her quest to become the most feared raider on the southern seas, and helping someone murder a god seems like as good a start as any. In a group full of secrets, however, hers might very well be the darkest…

JEONGMIN: 17 | ♂ | clan shin | giftless

The crown prince of the Starless City is restless. As the seventh son in a long line of power-hungry brothers, he yearns to claim the throne as his own and wear the mantle of king. So when the king sends his eldest brother to hunt down a thief, he follows. 

tag list: (please let me know if you’d like to be added or removed!) @elonanwrites @abookishfay @kly-writes @oddlyspecificquestion @blackpantherinside @naehei @deviwrites @sleepy-and-anxious @little-pisces-dreaming @ashesconstellation

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Everyone: we want more LGBT+ characters in our stories !

Rick Riordan: okay here have a gay Italian sad boy

Everyone: I mean, it’s all right but-…

Rick Riordan: I understand. Want a bisexual main character, who happens to be a god?

Everyone: oh that’s actually nice…but! How about girls-

Rick Riordan: you’re totally right. Here have a pair of lesbian hunters

Everyone: …um this is actually pretty nice…how about-

Rick Riordan: a pansexual main character?

Everyone: yea-

Rick Riordan: with a gender fluid love interest? Say no more! Anything else?

Everyone:

[wearewildwithwonder]

writing tip: on ending a scene

General tip: you can probably end your scene or chapter a line or two earlier than you think you can. 

I do this a lot myself, and I see a lot of other writers do this, where we try to put a nice, neat cap on the end of the scene or chapter. We over-explain the end of the scene. But most of the time, that is not necessary and it dulls down the emotional impact of the end or transition.

Don’t be afraid to end a scene or chapter on rising action, or on dialogue. Don’t feel like you have to hold a reader’s hand and walk them through every little piece of movement or feeling. 

Think you might be doing this in your own writing? Don’t worry. It’s a super easy editing fix. To check, go to the end of a chapter. Delete the last line or two. How does it read? Better? Cool! You fixed it! 

Here’s an example, from a draft of one of my wip’s. This is the ending of a chapter, complete with the weak final line:

Amira glanced at him and then back at Davenport, although Davenport didn’t take his eyes off Will. A hint of hesitation in her voice, she explained, “This is not a definite plan. We couldn’t let you go in alone.” “Oh, that’s not a problem,” Davenport said as he stared at Will. The slight smile on his mouth lifted into something cruel, something with teeth and bite. Will flushed, his breath quickening, but did not break eye contact. “I’ll bring a date.” Will nodded. But he had an undeniable sense in the back of his mind that this was going to wreck him.

That last bit is super unnecessary, right? Zoomed in way too close, too self-aware, too hand-holding. I was trying to end this scene on a little bit of a cliff hanger, but I punctured that tension because instead of just letting the character/reader hang from that cliff for a second, I shoved an air mattress under them. So I cut those last two sentences. And now it reads:

Amira glanced at him and then back at Davenport, although Davenport didn’t take his eyes off Will. A hint of hesitation in her voice, she explained, “This is not a definite plan. We couldn’t let you go in alone.” “Oh, that’s not a problem,” Davenport said as he stared at Will. The slight smile on his mouth lifted into something cruel, something with teeth and bite. Will flushed, his breath quickening, but did not break eye contact. “I’ll bring a date.”

Oooooh, okay! Yaaas. Fun. Good. Wanna keep reading now. Now, it actually does end on a little, mini emotional cliff hanger that makes you want to turn the page. 

See what I mean? 

Anyway, maybe think about adding this trick to your editing and revision regimen. Happy writing! 

[wearewildwithwonder]

Resources For Crime, Mystery, And Thriller Writers

General Resources

The 5 C’s of Writing A Great Thriller Novel

Thriller vs. Mystery

Writing A Thrilling Action Scene

Paul Finch: How To Write A Thriller

ThrillerWriters.org

International Thriller Writers

MysteryCozy.com

MysteryNet

Mystery Writers Forum

Old Fashioned Detective/Police Slang

Sisters in Crime

CopNet

The Police Officer’s Internet Directory

National Archive of Criminal Justice Data

Criminal Law Section of the Law Journal Extra

The Anatomy of a Murder

Crime & Clues

Crime Scene Forensics

General Forensics

Burglary Investigations

Dissociative Disorders

A Study In Physical Injuries

Government Resources

FBI’s Guide and Q&A For Authors

FBI website

CIA’s website

Drug Enforcement Administration

US Food & Drug Administration

United States Sentencing Commission

Federal Bureau of Prisons

U.S. Bureau of Alcohol, Tobacco and Firearms

The National Security Agency

United States Secret Service

National Rifle Association (NRA)

Serial Killers & Murder

Serial Killer Wikipedia page

Death and Dementia

Serialhomicide.com

Homicide Detective Checklist

Violent Crime Scene Analysis

Gang Activity & Hate Crimes

CSS Organized Crime Menu

HateWatch

The Austin Police Department’s Gang Suppression Unit

Gangwar.com

LA Gangs

Street Soldiers

Justice Department Computer Crime Initiative

National Security Institute’s Security Resource Net

Sex Crimes & Abuse

PedoWatch

The Facts about Rape page

Rape, Abuse and Incest National Network (RAINN)

Criminals - The Sexual Sadist

Writing Domestic Abuse

Domestic Violence & Abuse

Terrorism

Terrorism Research Center

Counter-Terrorism Page

The International Policy Institute for Counter-Terrorism

NSI: Counter Terrorism

Equipment, Weapons, and Poison

Disaster Center

GunHoo

The Police Marksman

Firearms Tutorial

Snipercountry.com

Characters

How To Play The Stalker

How to portray a character high on cocaine.

Writing a character who is high on amphetamines.

How to play a mentally ill/insane character.

How to play a victim of rape.

Writing a character with Dissociative Identity Disorder.

Writing a character with schizophrenia.

Writing a character with Nymphomania.

How to write a character with HPD.

Tips on writing a drug addict.

Playing a character under the influence of marijuana.

Playing a character with an eating disorder.

How to portray a character with bipolar disorder.

How to play a serial killer.

How to write a character with an OCD.

How to write characters with PTSD.

Playing the manipulative character.

Portraying a character with borderline personality disorder.

Playing a character with Orthorexia Nervosa.

Playing the bullies.

Portraying the drug dealer.

Playing a rebellious character.

How to portray a sociopath.

Playing a character under the influence of drugs.

Playing a character who struggles with Bulimia.

Portraying sexually/emotionally abused characters.

Portraying characters who have secrets.

Portraying a recovering alcoholic.

Portraying a sex addict.

How to play someone creepy.

Playing a character who is faking a disorder.

Playing a prisoner.

How to play a sexual assault victim.

Writing a compulsive gambler.

Portraying a character with amnesia.

[wearewildwithwonder]

Something I found that makes a scene easier and longer:

Writing the dialogue first.

I never used to do this, but one night it was really late and I was half asleep but I wanted to get some work done. So I decided to just fill in the dialogue I wanted for the scene.

I found myself with close to 1000 words of dialogue. (I obviously tagged who said what, how it was said, etc.)

When I came back to the document, I just filled in the action, the background, descriptions and plot.

I ended up with between 3000-4000 words in one sitting.

Maybe this won’t work for everyone, hell maybe someone else has already pointed this out, but I just wanted to share this writing tip.

[wearewildwithwonder]

small writing exercises

make up an origin and meaning of a name

write a family history going back centuries

pick a character and make them ramble about their favorite thing

make up a fable, pretend it’s as famous as the Grimm fairytales. how does this fable affect the world and what would people reference from it? (i love this one because it can be as crazy and silly as you want)

make a commercial for something that really shouldn’t be sold at all. try to convince people to buy it.

ACRONYMS. but, like, try to have it make sense

make a poem about your story/something in your story

rewrite a classic but put your own twist on it

make up a detailed recipe

make a monologue with a plot twist or punchline in the end

create a ridiculously detailed timeline for a character

childhood memory (real one or make it up!)

improv rap lyrics

the story behind an inside joke

make up a mythical creature

pretend to be a commentary youtuber and pick a topic

the what if? pick a story and create an alternate ending to it

pick one scenario and several characters. how different are the reactions based on their personalities?

[wearewildwithwonder]

Female Characters to Avoid in your Writing:  An Illustrated Guide.

1.  The Bella Swan (i.e. the blank sheet of paper)

Who she is:

In Twilight, I found Bella to have very few qualities indicative of a strong character.  She’s shown to have very little personality, in the books or onscreen, and is only made “interesting” (a relative term here) via the inclusion of her sparkly, domineering boyfriend.  It feeds into the harmful mentality of adolescent girls that you need a significant other in order to find fulfillment, particularly if he’s significantly older and likes to watch you sleep.

Her one redeeming quality is that Kristen Stewart is hot.

Examples:

Bella is welcomed to school by a friendly, extroverted girl and given a place to sit amongst her and her friends.  Despite this girl’s kindness, Bella shrugs her off as a stereotypical shallow cheerleader, and spends her time staring wistfully at the guy across the cafeteria from them.  Once Edward becomes her official boyfriend, she immediately loses interest in her new friends as her life shifts its orbit to revolve completely around him. 

How to avoid her:

Female characters are allowed to have lives outside of their significant others.  They’re allowed to have friends, quirks, hobbies, and interests.  Give them some. 

The best fictional relationships are based off of characters who compliment each other, not one character who revolves around the other.  Make sure your female character’s life does not centralize around her significant other.

Strong female characters don’t look down on other girls, even if they are outgoing cheerleaders.  Being pasty and introverted doesn’t make you a better person, y’all – if it did, I’d be a decorated hero by now.

Give them aspirations besides getting an obsessive, much-older boyfriend.  In fact, don’t give them an obsessive, much-older boyfriend at all – if you do want them to have a significant other, give them one who cares about their interests and accepts that they have lives and goals outside of them.

2.  The Molly Hooper (i.e. the starry-eyed punching bag)

Who she is:

 Like most things about BBC’s Sherlock, Molly was an amazing concept that went progressively downhill.  I used to love her quiet tenacity and emotional intelligence, and was sure that with her strong basis as a character, she would overcome her infatuation with the titular Sherlock and find self-fulfillment.  Nope!

Examples: 

She remained stubbornly infatuated over the course of five years with an ambiguously gay man who, en large, treated her badly, leading to her public humiliation with zero pertinence to the plot or resolution.  Moreover, her infatuation with Sherlock quickly usurped almost all of her other characteristics, leading her to an increasingly immature characterization that was difficult to relate to.

How to avoid her:

By all means, please write female characters who are quiet, kind, and unassuming (a female character does not, contrary to popular belief, need to be rambunctious, callous, or violent to be “strong”) but remember than none of these traits need to make the character a pushover.  Let them stand their ground.

Similarly, attraction to men (or anyone, for that matter) does not invalidate a female character’s strength.  Just be sure she values herself more than their attention.

As I said earlier, don’t be afraid to make characters who are gentle and soft-spoken, but be wary of making them “childlike,” or giving them an infantile, vapid characterization.

My best advice for writing gentle, soft-spoken, unassuming women would actually to look to male characters in the media fitting this description; since male characters are rarely infantilized as much as women are by popular media, you’ll get a much better idea of what a well-rounded character looks like. 

3.  The Irene Adler (i.e. the defanged badass)  

Who she is: 

Yup.  Another one of the BBC Sherlock women, among whom only Mrs. Hudson seemed to come through with her dignity and characterization intact.  In the books, Irene and Sherlock have absolutely zero romantic connotations, only bonded via Sherlock’s irritation and respect with her substantial intelligence.  In the show, it’s a different story entirely. 

Examples:  

Irene is a badass character who’s turned into a teary-eyed Damsel in Distress via her uncontrollable love for the show’s male lead.  It doesn’t help matters that she’s a self-proclaimed lesbian who falls in love with a man, which, unless you’re a queer woman yourself and writing about a character realizing she’s bi/pansexual, I would recommend against doing under any circumstances.  She ends up being defeated and subsequently rescued by Sherlock – a far cry from her defeat of him in the books. 

How to avoid her:

If you’re writing a badass female character, allow her to actually be badass, and allow her to actually show it throughout your work as opposed to just hearing other characters say it.  

That said, “badass” does not equal emotionally callous.  It doesn’t bother me that Moffat showed Irene having feelings for someone else, what bothers me is how he went about it. 

When writing a character who’s shown to be attracted to more than one gender, just say she’s bisexual.  Pansexual.  Whatever, just don’t call her straight/gay depending on the situation she’s in.  Jesus.

4.  The Becky (i.e. the comedic rapist) 

Who she is: 

Most people who know me can vouch for my love of Supernatural, but it definitely has its problems.  It’s not as diverse as it could be, its treatment of women is subpar, and there are recurring themes of sexual violence – perhaps most frequently, surprisingly enough, against its male leads.  Whether it involves being subjected to non-consensual groping by sultry demons or rape by deception, it’s rarely ever addressed afterwards, often played out as a sexy fantasy, and commonly used for comedic fodder.  Possibly the most quintessential example of this is Becky.

Examples: 

Becky abducts Sam, ties him to the bed, and kisses him against his will.  She then drugs him, albeit with a love potion, and vocally planned to have sex with him under its influence. 

Take a moment to imagine how hellaciously creepy would be if the genders were reversed.

How to avoid her:

Male rape isn’t funny, my dudes.  If your punchline revolves around a man being subjected to sexual violence at the hands of a woman, you need to re-evaluate yourself.

Educate yourself on statistics for male sexual assault:  approximately thirty-eight percent of sexual violence survivors are male, for example, and approximately one in sixteen male college students has reported to have experienced sexual assault. 

Moreover, be aware that forty-six percent of all instances of male rape have a female perpetrator.

Read more here in this amazing article:  http://www.slate.com/articles/double_x/doublex/2014/04/male_rape_in_america_a_new_study_reveals_that_men_are_sexually_assaulted.html

In other words, treat themes of sexual assault against men as seriously as you would treat themes of sexual assault against women.       

5.  The Movie Hermione (i.e. the flawless superhuman) 

Who she is: 

Okay, in and of herself, Movie Hermione is amazing:  she’s beautiful, intelligent, and heroic, as well as possibly the most useful character of the franchise.  She only bothers me in context of the fact that she takes away everything I loved most about Book Hermoine, and everything I loved about Book Ron, too.   

Examples: 

Book Hermione was beautiful, but not conventionally:  she had big, poofy curls, big teeth, and didn’t put a lot of effort into maintaining her appearance.  Movie Hermione looks effortlessly flawless, all the time.  Book Hermione was intelligent, but also loud, abrasive, and unintentionally annoying when talking about her interests.  She was also allowed to have flaws, such as struggling to keep up with academia, and being terrified of failure.  

Movie Hermione also took all of Ron’s redeeming qualities, and everything that made him compliment her as a couple:  his street smarts used to compliment her academic intelligence, for example, staying calm while she panicked in the Philosopher’s Stone when they were being overcome with vines.  He also stood up for her in the books against Snape, as opposed to the jerkish “he’s right, you know.”     

How to avoid her:

Allow your female characters to have flaws, as much so as any well-rounded male character.  Just be sure to counterbalance them with a suitable amount of redeeming qualities.  This will make your female character well-rounded, dynamic, and easy to get invested in.

There’s no reason for your female characters to always look perfect.  Sure, they can be stunningly gorgeous (particularly if their appearance is important to them), but it’s physical imperfections that make characters fun to imagine:  Harry’s scar and wild hair, for example.  Female characters are no different. 

If you’re writing a female character to have an eventual love interest, allow their personalities to compliment one another.  Allow the love interest to have qualities that the female character is lacking, so that they can compliment one another and have better chemistry. 

Basically, write your female characters as people. 

Check out my list of male characters to avoid here:   https://thecaffeinebookwarrior.tumblr.com/post/161184030785/male-protagonists-to-avoid-in-your-writing-an.

[wearewildwithwonder]

Writing Masterpost

Character Help

MBTI Personality Test

MBTI Personality Descriptions

123 Character Flaws

Character Trait Cheat Sheet

List of Personality Traits

Character Virtues And Vices

Underused Personalities

7 Rules For Picking Names

Character Names

Character Name Resources

Surnames Masterpost

Types of Voice

Showing Character Emotion

Writing Characters Of Colour

More On Writing Characters Of Colour

All Characters Talk The Same

Character Description

100 Character Development Questions

Character Development Questionnaire

30 Day Character Development Meme

Character Development Check List

Character Development Through Hobbies

List Of Character Secrets - Part 1 - Part 2

Mysterious Characters

Flat Characters

European Characters

Creating Believable Characters

Writing A Drunk Character

Writing Manipulative Characters

Writing Witty Characters

Writing Natural Born Leaders

Writing Rebellious Characters

Writing Indifferent Distance Characters

Writing Bitchy Characters

Writing Popular Characters

Writing Child Characters

Writing Villains

Villain Archetypes

Avoiding LGBTQ Stereotypes

Writing Homosexuals as a Heterosexual

Writing Males as a Female

Writing Convincing Male Characters

Writing Characters Of The Opposite Sex

Revealing A Characters Gender

The Roles Of Characters

Creating Fictional Characters From Scratch

Creating A Strong, Weak Character

Writing Characters Using Conflict And Backstory

Switching Up A ‘Too-Perfect’ Character

Help I Have A Mary-Sue!

Dialogue

Dialogue Tips

Realistic Dialogue

Flirty Dialogue

On Dialogue

General Help

Alternatives To Said

Avoiding Unfortunate Implications

Begin A Novel

Finishing Your Novel

Creating Conflict

Show Not Tell

Words For Emotions Based On Severity

Getting Out Of The Comfort Zone

A Guide To Writing Sci-Fi

Naming The Story

The Right Point Of View

Essential Story Ingredients

Writing Fantasy Masterpost

Five Rules For Thrillers

Pacing Action Scenes

Writing Races

Using Gender Neutral Pronouns

Dos and Don’t of Writing

General Writing Tips

Plotting

Outlining Your Novel

Creating A Compelling Plot

The Snowflake Method

Beginning and End, But No Middle!

Prompts and Ideas

Prompt Generator Lists

Creative Writing Prompts

Story Starting Sentences

Story Spinner

Story Kitchen

Writing Prompt Generator

Quick Story Generator

Dramatic Scenes

Plot Bank

Masterpost of Writing Execrises

Research

Survival Skills Masterpost

Mental Illness

Limits Of The Human Body

Stages of Decomposition

Body Language Cheat Sheet

Importance Of Body Language

Non Verbal Communication

Depression

Obsessive Compulsive Disorder

Post-Traumatic Stress Disorder

Anxiety

Schizophrenia

Borderline Personality Disorder

Degrees of Emotion

List Of Phobias - Part 1 (A - L) - Part 2 (M -  Z)

Psychology In Writing

Psychology Of Colour

Mob Mentality

How Street Gangs Work

Street Gang Dynamics

How To Pick A Lock

Death Scenes

Realistic Death Scenes

Fighting and Self Defence

Fighting Scenes

Problems With Fighting Scenes

Every Type of Fight Scene

Fantasy Battle Scenes

Body Language Of Flirting

Flirting 101

Kissing

Sex Scenes

Ballet Terms

Torture Guide (Trigger Warning)

Sibling Abuse (Trigger Warning)

Dream Sequences

Kleptomania

Psychiatric Hospital

Understanding issues, -isms and privilege

Revision

Cliché Finder

Reading What You’ve Wrote So Far

Synonyms For Common Words

Urban Legends On Grammar

Common Grammar Mistakes

Revising A Novel 

Setting

Average Weather Settings

Apocalypses

World Building 101

Bringing Settings To Life

Creating A Believable World

Mapping A Fictional World

Mapping Your World

Religion in Setting

Sounds to listen to whilst writing

Coffitivity

August Ambience

Rainy Mood

Forest Mood

SimplyNoise

SoundDrown

iSerenity

Nature Sound Player

myNoise

Tools

Tip Of Your Tounge

Write Or Die

Online Brainstorm

Family Tree Maker

Stay Focused

This took me a good few hours and a lot of effort to make and even though it was mainly for myself anyone can feel free to use it, for the note it is still under construction and I am undergoing fixes. So If anyone actually does use this other than myself and notices a broken link or something not quite right, could you please inform me about it? Thank you.

[wearewildwithwonder]

song: Colors of the Wind [xx]

artist: Judy Kuhn

songwriters: Alan Menken / Stephen Laurence Schwartz

© Walt Disney Music Company

created by: editor jess on: adobe spark [xx]

[wearewildwithwonder]

[wearewildwithwonder]

me: i’m going to write today!!

also me:

[wearewildwithwonder]

some fucking resources for all ur writing fuckin needs

* body language masterlist

* a translator that doesn’t eat ass like google translate does

* a reverse dictionary for when ur brain freezes

* 550 words to say instead of fuckin said

* 638 character traits for when ur brain freezes again

* some more body language help

(hope this helps some ppl)