Latest Posts by sun-rush - Page 4
YIPPEE
how to become commander of friend group
how to establish political control of friendgroup
friend group organisational structure google
@themazerunnernerd have i completed this yet
how to become commander of friend group
how to establish political control of friendgroup
friend group organisational structure google
i really believe that discussing the character with someone who shares ur interpretation is the closest u can get to modern day philosophy. we are like plato and aristotle but talking about a fictional guys trauma
LET THEM BE VICTORIOUS
You want to know why Inigo Montoya remains such an iconic and beloved character even 35 years after the Princess Bride came out?
It's because he's one of the few characters in fiction who has a story where he has dedicated his life to revenge, his whole motivation is about getting revenge....and he gets it! and then he isn't empty or despairing! he doesn't regret it! he's totally satisfied!
because so many stories about revenge or rage are about characters "seeing the futility of their actions" or learning "their desire for revenge has only made them the monsters they hated" FUCK THAT.
Inigo Montoya kills the man who kills his father, is allowed to live in the narrative after and be happy about it and it is so satisfying. it's fantastic. it's iconic.
let more characters rage against the world, bring it down with bloodied hands, and let them be FUCKING RIGHT about it. Let them celebrate their success with sharp grins, and let them live happy, full lives where they always remain proud/fulfilled for what they've done
Writing Tips; Dialogue
Does your dialogue fall flat, or feel thin and strange? Does it feel like your characters are talking like robots? Do your conversations sound repetitive and monotone? We’ve all been there. It’s a very common occurrence amongst writers. Here are some of my favorite ways to avoid the monotone robot characters and add life and movement into your dialogue!
In this post, we’re going to have an example sentence that changes as I talk about different additions. Here it is in its naked, base form: “I know it’s real I saw it,” Nico said.
Now, let’s hop into making it lively, shall we?
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1) PUNCTUATION
Commas and punctuation are your best friends! Use them. Use the crap out of them. Many people will say commas can’t go here and they can’t go there, but I say, in dialogue, it doesn’t matter. If you want your character to pause but you don’t want to use an ellipsis because it feels too long, use a comma. Put them wherever you want. Wherever your character pauses. If your character is rambling or talking really fast, take them out. It’s your dialogue. Use any and all punctuation to bedazzle up your lines. There is never too many or too little of anything if you want it that way, folks.
Keep in mind, punctuation can change the whole feeling of your sentence and the way your readers imagine your character talking. For example, your punctuation should differ between an excited and a sad line.
Here is the example sentence, punctuated in two different ways. “I know it’s real, I saw it!” Nico said. “I know it’s real… I saw it,” Nico said.
Can you see how just the change in punctuation changes the way you imagine him saying it? Really hone in on how your character is speaking and punctuate it to show that. (Keep in mind that this is your story and your character. You don’t have to obey punctuation rules and writing stereotypes, your story obeys you.) Put whatever punctuation you want there. Use thirty commas in your sentence. Use an ellipsis after every word. If it makes your character sound how you want them to sound, go for it, friends!
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2) ITALICS
Some people hate reading over-italicized works, but that’s their own preference. Italics is a great way to add interest, movement, and a characters natural inflection into your dialogue. (I freaking love italics.) Italics helps readers understand what the character is focused on, and how they’re speaking. Again, people will say not to use it too much or only to use it so many times in a paragraph… but the key here is still to write it how you like it. Italics can make your sentences sound more human and more authentic.
Here is our pair of examples, now with punctuation and italics. “I know it’s real, I saw it!” Nico said. “I know it’s real… I saw it,” Nico said.
Take a minute and read through the example dialogue, imagining each word italicized one by one. Pay attention to the meaning and context it gives it. (For example, if the ‘I’ at the beginning is in italics — I know it’s real — that could imply that he’s talking to someone who doesn’t know or believe whatever he’s talking about is real.)
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3) DIALOGUE TAGS
Tags. Tags, tags, tags! Tags are so important! Tags are brilliant for clarifying and identifying exactly how your character is speaking and how they intend for the statement to come across. If you ignore every other tip in this post, don’t ignore the tag! There are so many different words you could use instead of said that give life and context to your lines. Muttered, mumbled, yelled, shouted, exclaimed, whined, groaned, whispered, and a ton ton ton more. Use these to your advantage, like an outline for your dialogue. The tag is undoubtedly the easiest way to make your lines come across the way you want them to.
Here’s the examples with different tags! “I know it’s real, I saw it!” Nico defended. “I know it’s real… I saw it,” Nico mumbled.
Don’t be afraid to move your tag around, either! Sometimes, in order to make your conversations less repetitive, moving your tags are nice. You can put them at the beginning, middle, or end! (Middle tags are my favorite, I use them a whole, whole lot…)
Here’s the example sentence with a tag at the beginning and middle. Nico growled: “I know it’s real, I saw it!” “I know it’s real…” Nico muttered. “I saw it.”
Don’t forget, tags don’t always have to be how they’re speaking. It can also be what they’re doing or how they’re acting, which can be just as telling as other tags. (I use action tags sooooooo much. Action tags in the middle of dialogue is my jam.)
The example sentences with action tags: Nico crossed his arms, huffing deeply. “I know it’s real, I saw it!” “I know it’s real…” Nico averted his gaze, staring down at his shoes instead. “I saw it.”
Or, you can mix them both! An action tag plus how they’re speaking for maximum impact and description.
Here’s the example sentence with both! Nico rolled his eyes, hissing: “I know it’s real, I saw it!” “I know it’s real…” Nico uttered, poorly stifling a shudder. “I saw it.”
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4) DESCRIPTION
Describing the way your character looks, moves, speaks, etc etc before and after the line can further help your readers know how they feel about what they’re saying. This is especially important if the character is not the main character and doesn’t have internal dialogue. Body language can explain things voices can’t or won’t. You can explore putting these descriptions before the line, after the line, in the tag, or after the tag. Whatever you prefer!
Here’s the sentence with descriptive sentences with it. I did one before the line & tag and one in the middle! He was practically fuming, his eyebrows knitted so closely together they looked like a single strip of hair. His eyes were flicking between his friends like he was trying to determine if they were joking, blue irises blurred with a rage-fueled haze. Nico finally rolled his eyes, hissing: “I know it’s real, I saw it!” “I know it’s real…” Nico uttered, poorly stifling a shudder. His eyes never left the floor, and he looked smaller, younger as he spoke. His breaths weren’t exactly even, but they weren’t too quick, either. “I saw it.”
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Look at those two very different scenarios we got out of the same base line! This is the power you hold, folks, the power to un-bland your dialogue and make it into something intense and memorable for your readers! The power to make it portray exactly what you want it to portray! No more worrying how your readers took that line, because you set in stone how it was presented.
Remember, making a paragraph like that for every line might get tiring or repetitive to read. Sometimes tags alone are good enough in fast-paced or long conversations, and sometimes, if the dialogue makes it clear who is speaking, the line can suffice by itself!
If you have any writing tip requests, drop them in my inbox!
The Secret History by Donna Tartt
A Little Life by Hanya Yanagihara
this is what telling people to read house of leaves is like
do you ever see a person and you are overcome with incredible fondness? and you just think "oh." but not in a romantic or sexual way you are just filled with warmth and it makes you happy, it just does. and you think "i'm so happy you exist. i'm happy you are somewhere out there in the world, doing your thing". it's love but also not entirely
like people are lovely and i feel it in my entire chest like a burning candle that smells like roses and a sunny day