wenclexa4ever

[wenclexa4ever]

And surprise 3. Me: I am both.

There are two types of writers:

1. 'It's fiction, it doesn't need to make sense!'

2. 'I didn't account for the rotation of the planet and how that affects the constalations while my characters stargazed at different times of year, I have failed as a writer, and this entire thing is trash'

[wenclexa4ever]

Things I’ve noticed are essential in plotting and would probably have saved me a lot of time if I had considered it earlier

The START of your story - how fucked up flawed is your premise/character at the start? what do they have to change? why are they HERE?

The END of your story - How do you want your main character/theme/universe to change after your story? Does it get better or worse? THIS SETS UP THE TONE DRASTICALLY.

What you want to happen IN BETWEEN - the MEAT of it. What made you start writing this WIP in the first place. Don't be ashamed to indulge, it's where the BRAIN JUICE comes from. You want a deep dive into worldbuilding and complex systems? Then your start and end should be rooted in some fundamental, unique rule of your universe (what made you obsess over it?). Want to write unabashed ship content? Make sure your start and end are so compelling you'll never run out of smut scenarios to shove in between scenes (what relationship dynamics made you ship it in the first place?).

The ANTE - the GRAVITY of your story. How high are the stakes? Writing a blurb or interaction? start with a small day-in-the-life so you can focus on shorter timelines and hourly minutiae that can easily get overlooked in more complicated epics. Or you can go ham on it and plot out your whole universe's timeline from conception to demise. Remember: the larger the scale, the less attached your story may get. How quickly time flies in your story typically correlates with the ante (not a hard rule, ofc, but most epics span years of time within a few pages, while a romance novel usually charts out the events of a few months over a whole manuscript.)

Everything else follows….?

[wenclexa4ever]

sometimes you need dialogue tags and don't want to use the same four

[wenclexa4ever]

This is like so cute….

[wenclexa4ever]

I have watched the entire series at least once, and… this did actually happen.

[wenclexa4ever]

When your Character...

Gets into: A Fight ⚜ ...Another Fight ⚜ ...Yet Another Fight

Hates Someone ⚜ Kisses Someone ⚜ Falls in Love

Calls Someone they Love ⚜ Dies / Cheats Death ⚜ Drowns

is...

A Ballerina ⚜ A Child ⚜ Interacting with a Child ⚜ A Cheerleader

A Cowboy ⚜ A Genius ⚜ A Lawyer ⚜ A Pirate ⚜ A Spy

A Wheelchair User ⚜ A Zombie ⚜ Beautiful ⚜ Dangerous ⚜ Drunk

Funny ⚜ In a Coma ⚜ In a Secret Society ⚜ Injured ⚜ Shy

needs...

A Magical Item ⚜ An Aphrodisiac ⚜ A Fictional Poison

A Coping Strategy ⚜ A Drink ⚜ A Medicinal Herb ⚜ A Mentor

Money ⚜ A Persuasion Tactic ⚜ A Quirk ⚜ To be Killed Off

To Become Likable ⚜ To Clean a Wound ⚜ To Self-Reflect

To Find the Right Word, but Can't ⚜ To Say No ⚜ To Swear

loves...

Astronomy ⚜ Baking ⚜ Cooking ⚜ Cocktails ⚜ Food ⚜ Oils

Dancing ⚜ Fashion ⚜ Gems ⚜ Herbal Remedies ⚜ Honey

Mushrooms ⚜ Mythology ⚜ Numbers ⚜ Perfumes

Roses ⚜ Sweets ⚜ To Argue ⚜ To Insult ⚜ To Kiss

To Make False Claims ⚜ Wine ⚜ Wine-Tasting ⚜ Yoga

has/experiences...

Allergies ⚜ Amnesia ⚜ Bereavement ⚜ Bites & Stings

Bruises ⚜ Caffeine ⚜ CO Poisoning ⚜ Color Blindness

Facial Hair ⚜ Fainting ⚜ Fevers ⚜ Food Allergies

Food Poisoning ⚜ Fractures ⚜ Frostbite ⚜ Hypothermia

Injuries ⚜ Jet Lag ⚜ Kidnapping ⚜ Manipulation ⚜ Mutism

Pain ⚜ Paranoia ⚜ Poisoning ⚜ More Pain & Violence

Scars ⚜ Trauma ⚜ Viruses ⚜ Wounds

[these are just quick references. more research may be needed to write your story...]

Writing Resources PDFs

[wenclexa4ever]

Writing a Fictional Monster

From Count Dracula to Ramsay Bolton, some of the most memorable characters in literature are monsters. Use these examples and tips to generate great monster ideas for your own writing.

Characteristics of a Monster

The word ‘monster’ stirs up various ideas of traits and psychological aspects of creepy creatures people fear, but there are a number of ways monsters can be portrayed:

Physical characteristics. Monsters can be massive and powerful, like King Kong or Mothra. It can have slimy body parts, rows of sharp teeth, tentacles, a coat of thick armor, or be a completely small and unassuming sort of thing. The physical characteristics of your monster aren’t just for effect, either. Your monster character design should make sense with the background you’ve provided. For example, if it has wings, it should use them to fly. Monsters aren’t decorative—they're reflections of peoples’ deepest rooted fears.

Psychological traits. Some believe that the true monsters are the ones that lurk inside our own minds. Monsters can scare us when they play into phobias, like Pennywise from Stephen King’s It (1986), who appeared as a vicious clown but also took the form of the main characters’ greatest fears. Monsters can also be symbolic or emotional manifestations. Sometimes monsters don’t need to interact with the characters at all—the characters build the fear around the idea of the monster themselves—which can amplify the terror that readers and viewers feel along with them.

Its targets. Does it feed on children? Is it attracted to despair? Does it get violent at the scent of blood? What triggers your monster? When does it appear, and why? Knowing what motivates your monster is the key to figuring out why it behaves the way it does and creates a sense of understanding for your audience.

Its weaknesses. Is there anything that can vanquish your monster? Is it able to be defeated? Does it hate daylight? Giving your monster its own rules and limits can help establish a believable creature. However, lacking a weakness can also be part of your monster’s horror as well.

How to Write a Monster

If you’re looking for how to make a monster of your own, there are a few guidelines you can follow to make your new monster feel like a real monster:

Provide a little background. Your monster may not exist in the real world, but it still needs some logical follow-through. Where did it come from? Why does it look the way it does? Is it man-made like Dr. Frankenstein’s monster in Mary Shelley's Frankenstein (1823)? Or is it a natural creature like Beowulf’s Grendel? You don’t have to answer every question about your monster in your writing (sometimes the unknown is just as scary), however, the audience should know a little background information to envision a full enough picture.

Leave space for the imagination. Even though you want the audience to get a complete picture of your monstrosity, a person’s own imagination can always be scarier than anything someone else could create, like the Jabberwock from Lewis Carroll’s nonsense poem The Jabberwocky (1871). Leaving room for your reader to fill in the gaps may result in them imagining their own worst personal fears in conjunction with whatever horrors you’ve already laid out.

Give it a name. Personifying a monster draws it a little closer into real-life, and giving something a name makes it feel more tangible. Sometimes the fear of a name lies in its ambiguity, like John Carpenter’s ‘The Thing,’ or it can be a name that feels scary and powerful, like Tomoyuki Tanaka’s ‘Godzilla.’ Or sometimes, it’s the existing name of a horrific mythological villain like ‘Typhon.’

Make it hard to kill. Sometimes a monster is relentless and needs to be physically fought, and sometimes there’s a secret or trick to killing it that is unknown until later on in the story. Monsters that cannot be defeated easily create big moments of tension and anticipation for readers and viewers alike. The harder to kill, the scarier they become.

Examples: Monsters in Literature

Monsters can be science fiction creations with gaping maws and poisonous fangs, but they can also be like human beings as well, like a rogue android or possessed parent.

Count Dracula: Infamous vampire from Bram Stoker’s Dracula (1897).

Balrogs: Menacing monsters of fire and shadow in J.R.R. Tolkien’s Lord of the Rings series (1937).

Mr. Hyde: Evil alter-ego of the character Dr. Jekyll, from Robert Louis Stevenson’s Strange Case of Dr. Jekyll and Mr. Hyde (1886).

The Giant Squid: The monster from the depths in Jules Verne’s classic, Twenty-Thousand Leagues Under the Sea (1872).

Jack Torrance: The alcoholic father from Stephen King’s The Shining (1977).

Source ⚜ Notes & References ⚜ Writing Resources PDFs

[wenclexa4ever]

Heya @quiven! Yes this is a tricky thing to write about.

(for me personally, the hardest things to write are the simplest, mundane, everyday occurrences) Depending on the context this is how you could write silence,

1. A minute passed. Then five. No reply from the other side.

So quiet it was almost unnatural—as if the universe had swallowed every last sound, leaving only a void of unspoken secrets. At this point she wasn't sure what she was waiting for anyways. An apology? A confession? A whisper of hope? All the while, she could hear the tic-tic-tic of the clock, the distant laughter of children playing outside, the hum of traffic. Yet the sound she most longed to hear was.....

(I imagined the woman holding a corded landline phone here, old times, maybe she's a school teacher)

2. The air grew thick with the things unsaid. As if they were both afraid. Afraid of what they might bring into existence by naming that delicate, unspoken longing that hovered between them.

3. His silence was a bruise. Purple. Tender. And she kept pressing it to check if it still hurt.

4. They didn't speak. They didn't have to. Spending years in each others' company, they could read even the slightest shifts in expression. How a twitch of an eyebrow meant annoyance, how ....

5. He froze mid-sentence, words caught in his throat, choking him.

6. The phone rang, unanswered. One ring, two ring, three—by the fourth—even the quiet had grown teeth.

7. He’d always hummed while he worked. A habit she'd always found annoying. But now she missed it.

9. She’d always hated quiet. It gave her thoughts too much room to scream.

10. .....Each breath felt like swallowing glass, sharp with the truth they’d rather bleed out than speak.

Silence isn’t passive. It’s a loaded moment — a held breath, a coiled spring, a grenade with the pin pulled. Give it purpose. Is it awkward? Heavy? Comfortable? Threatening?

The context matters. The context guides the imagery.

(this was a comment on my post: The power of Silence in Dialogue)

[wenclexa4ever]

Make them fall in love.

The villain gives their customary “join me and we can be great” speech. The hero accepts.

[wenclexa4ever]

11? Rookie numbers.

[wenclexa4ever]

You’re welcome! And thank you for being there for me as well. Also, fanfic is amazing! Thank you Ao3 and fanfic writers for being there for us all.

fanfiction truly being the savior for everyones sanity

[wenclexa4ever]

👆❤️😭

Side Note To Fan Fic Authors

Here’s the thing.

I read a lot of scripts.  A lot.  From professionals to aspiring writers to complete newbies.  Features and pilots.  Specs and treatments.

And 8 times out of 10 the fan fic that I’ve read over the last, oh, 15 years is leagues better than this stuff.  It’s more inspired.  It’s more compelling.  It’s genre bending and creative and heartfelt.  It’s well-paced and intense and funny and sexy and meaningful.  It’s smart and thoughtful and good.  It’s novel-quality.  Better than, sometimes.

Rare is the script I don’t want to put down, but how often have we stayed up until 3am to get to the last chapter of a 100k fic? And it’s not even a fan fic author’s day job.  This is what they do on the side.  In their spare time.  For free.

So my point is, fan fic authors, you’re good.  You’re good writers and great storytellers.  I know it doesn’t always feel like it, especially if you’re one of the authors who’s not a BNF and doesn’t get the notes/hits that a few do.  And  because some people still view fic as “not real writing.” You guys know the shit that gets made into movies.  You’re better than that.  So be better than that.  If writing is what you think want to do, then just know you’re already doing it.   You’ve already started.

And you’re more talented than you might think.

[wenclexa4ever]

Thx for the resources though.

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)

[wenclexa4ever]

Ya’ know, I don’t take drugs, I don’t smoke pot, and I don’t drink alcohol. But, sometimes I say stupid crap like this, thinking it’s deep. When really, it’s not, it’s just nonsense. But saying it, makes me sound like I do at least one of those things. What was I even thinking about?

*I say in a seductive voice* If to err is human, then honey, I’m the most human-y human you’ve ever seen.

[wenclexa4ever]

Accurate representation of the Addams family. It’s now canon, it shall be so.

Pugsley, whisper-yelling: Shut up! Be quiet, we’re gonna get caught!

Enid: I’m trying!

Wednesday:

Pugsley: Try harder——

Morticia, holding a lantern: Children it is 2 in the morning, why on earth are—

Pugsley and Enid freeze with their arms full of various snacks, while Wednesday freezes mid-sip of water.

Wednesday:

Pugsley:

Enid:

Morticia:

Gomez, emerging from the pantry, arms also full of snacks: I got the—

Gomez:😶

[wenclexa4ever]

*I say in a seductive voice* If to err is human, then honey, I’m the most human-y human you’ve ever seen.

[wenclexa4ever]

girl help i’m having creation ideas above my skill level