Good Traits Gone Bad

Symbolism in Writing

Weather Symbolism

Rain: cleansing, sadness, renewal, obstacles

Sunshine: happiness, hope, clarity, energy

Storms: conflict, turmoil, dramatic change

Snow: purity, stillness, coldness, isolation

Fog: confusion, mystery, uncertainty

Wind: change, freedom, unrest, communication

Animal Symbolism

Eagle: freedom, vision, strength, courage

Lion: bravery, power, leadership, pride

Dove: peace, love, innocence, spirituality

Wolf: loyalty, cunning, survival, community

Snake: transformation, danger, temptation, wisdom

Butterfly: transformation, beauty, impermanence

Plant Symbolism

Rose: love, beauty, passion, secrecy

Oak Tree: strength, endurance, wisdom

Willow Tree: sadness, flexibility, resilience

Lotus Flower: purity, enlightenment, rebirth

Ivy: friendship, fidelity, eternity

Cactus: endurance, protection, warmth

Object Symbolism

Mirror: self-reflection, truth, illusion

Key: opportunity, secrets, freedom

Bridge: connection, transition, overcoming obstacles

Candle: hope, spirituality, life, guidance

Clock: time, mortality, urgency

Mask: disguise, deception, concealment

Number Symbolism

One: beginnings, unity, individuality

Two: partnership, balance, duality

Three: creativity, growth, completeness

Four: stability, order, foundation

Five: change, adventure, unpredictability

Seven: mystery, spirituality, luck

Season Symbolism

Spring: renewal, birth, growth, hope

Summer: vitality, abundance, joy, freedom

Autumn: change, maturity, decline, reflection

Winter: death, stillness, introspection, endurance

Light and Darkness Symbolism

Light: knowledge, purity, safety, enlightenment

Darkness: ignorance, evil, mystery, fear

Shadow: the unconscious, secrets, mystery

Twilight: ambiguity, transition, mystery

Element Symbolism

Fire: passion, destruction, energy, transformation

Water: emotion, intuition, life, change

Earth: stability, grounding, fertility, growth

Air: intellect, communication, freedom, change

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

How to Write Strong Dialogue

(from a writer of ten years)

So you’re back in the writing trenches. You’re staring at your computer, or your phone, or your tablet, or your journal, and trying not to lose your mind. Because what comes after the first quotation mark? Nothing feels good.

Don’t worry, friend. I’m your friendly tumblr writing guide and I’m here to help you climb out of the pit of writing despair.

I’ve created a character specifically for this exercise. His name is Amos Alejandro III, but for now we’ll just call him Amos. He’s a thirty-something construction worker with a cat who hates him, and he’s just found out he has to go on a quest across the world to save his mother’s diner.

1.) Consider the Attitude and Characteristics of Your Character

One of the biggest struggles writers face when writing dialogue is keeping characters’ dialogue “in-character”.

You’re probably thinking, “but Sparrow, I’m the creator! None of the dialogue I write can be out of character because they’re my original characters!”

WRONG. (I’m hitting the very loud ‘incorrect’ buzzer in your head right now).

Yes, you created your characters. But you created them with specific characteristics and attitudes. For example, Amos lives alone, doesn’t enjoy talking too much, and isn’t a very scholarly person. So he’s probably not going to say something like “I suggest that we pursue the path of least resistance for this upcoming quest.” He’d most likely say, “I mean, I think the easiest route is pretty self-explanatory.”

Another example is a six-year-old girl saying, “Hi, Mr. Ice Cream Man, do you have chocolate sundaes?” instead of “Hewwo, Ice Cweam Man— Chocowate Sundaes?”

Please don’t put ‘w’s in the middle of your dialogue unless you have a very good and very specific reason. I will cry.

Yes, the girl is young, but she’s not going to talk like that. Most children know how to ask questions correctly, and the ‘w’ sound, while sometimes found in a young child’s speech, does not need to be written out. Children are human.

So, consider the attitude, characteristics, and age of your character when writing dialogue!

2.) Break Up Dialogue Length

If I’m reading a novel and I see an entire page of dialogue without any breaks, I’m sobbing. You’re not a 17th century author with endless punctuation. You’re in the 21st century and people don’t read in the same way they used to.

Break up your dialogue. Use long sentences. Use one word. Use commas, use paragraph breaks. Show a character throwing a chair out a window in between sentences.

For example:

“So, you’re telling me the only way to save my Ma’s diner is to travel across five different continents, find the only remaining secret receipt card, and bring it back before she goes out of business? She didn’t have any other copies? Do I have to leave my cat behind?”

vs.

Amos ran a hand over his face. “So, you’re telling me the only way to save my Ma’s diner is to travel across five different continents, find the only remaining secret recipe card, and bring it back before she goes out of business?”

He couldn’t believe his luck. That was sarcastic, of course. This was ironically horrible.

“She didn’t have any other copies?” He leaned forward over the table and frowned. “Do I have to leave my cat behind?”

The second version is easier to digest, and I got to add some fun description of thought and action into the scene! Readers get a taste of Amos’ character in the second scene, whereas in the first scene they only got what felt like a million words of dialogue.

3.) Don’t Overuse Dialogue Tags.

DON’T OVERUSE DIALOGUE TAGS. DON’T. DON’T DON’T DON’T.

If you don’t know what a dialogue tag is, it’s a word after a sentence of dialogue that attributes that dialogue to a specific character.

For example:

“Orange juice and chicken ramen are good,” he said.

‘Said’ functions as the dialogue tag in this sentence.

Dialogue tags are good. You don’t want to completely avoid them. (I used to pride myself on how I could write stories without any dialogue tags. Don’t do that.) Readers need to know who’s speaking. But overusing them, or overusing weird or unique tags, should be avoided.

Examples:

“I’m gonna have to close my diner,” Amos’ mother said.

“Why?” Amos growled. “It’s been in the family forever.”

“I’ve lost the secret recipe card, and I can’t keep the diner open without it!” She cried.

“The Bacon Burger Extreme recipe card?” Amos questioned.

“Yes!” Amos’ mother screamed.

“Well, that’s not good,” Amos complained.

vs.

“I’m gonna have to close my diner,” Amos’ mother said, taking her son’s hand and leading him over to one of the old, grease-stained tabletops with the ripped-fabric booths.

Amos simply stared at her, frozen in place. “Why? It’s been in the family forever.”

“I’ve—” she looked away for a moment, then took in a breath. “I’ve lost the secret recipe card. And I can’t keep the diner open without it.”

“The Bacon Burger Extreme recipe card?”

“Yes!” She still wouldn’t meet his eyes, and her shoulders were shaking. “Yes.”

Amos sat down heavily in the booth. “Well, that’s not good.”

The first scene only gives character names and dialogue tags. There are no actions and no descriptions. The second scene, however, gives these things. They give the reader descriptions of the diner, the characters’ actions, and attitudes. Overusing dialogue tags gets boring fast, so add interest into your writing!

So! When you’re writing, consider the attitude of your character, vary dialogue length, and don’t overuse dialogue tags.

Now climb out of the pit of writing despair. Pick up your pen or computer. And write some good dialogue!

Best,

Sparrow

When To Keep Your Writing Stiff (pt 7)

Part 6

Part 1

Gonna shoutout a specific fanfic, “Salvage” (ATLA) for writing that is even leaner than mine is, and mine has zero fat whatsoever. This was really good. I particularly like how some scenes were only 2 or 3 lines long as an example of what I’m going for here.

When I say “stiff” in the following examples I’m specifically talking about a lot of the same syntax, few similes and metaphors, few ‘said’ synonyms, very little, well, “life” in the prose. And this can be good in a few situations.

1. Your narrator is in shock

Shock doesn’t all look the same, but the kind of shock I mean is the one where the person is really quiet and un-emotive, they’re probably not speaking or reacting much to whatever catastrophe just happened and probably not responding to their name or anything spoken to them. Their body is pretty much going “uhhhhhhhhh factory reset!” when whatever it is, is too much to process.

A asks them a question. Once. Twice. B stares ahead. There’s a brown stain on the wall that looks like a thumb.

So if they’re narrating, they’re probably going to be giving the absolute bare minimum, need-to-know information and won’t be thinking about the best adjectives and adverbs. Especially if you normally write with fluffier prose, a jarring shift like this can really help sell the shock and dissociating of the character, something so traumatizing that it effects how the story is told.

2. Your narrator is depressed

Somewhere between New Moon’s 4 pages of just Months to show Bella did absolutely nothing in a depression rot and normal prose (though it was effective, particularly in the movie when they could draw out the words on the screen for longer and did the whole spin-around-her-depression-chair montage).

January came. It rained a lot.

They’ll probably either narrate very thinly, or listlessly. They might focus on a random detail and start going on a long ramble about that one detail that isn’t at all important, but it’s either all they can think about or all that can move them to feel anything in this moment, like:

On the bedside table, that coffee mug still sat there in a thin sheet of dust. What had been liquid now long since dry and gluey. It still sits there, collecting cat fur.

This might be the best place for sentences that all sound and flow exactly the same, but use it sparingly.

3. Your narrator is having a panic attack or trapped in a traumatic situation

Different from shock in that while they are physically capable of moving and interacting, they can’t let themselves describe what they’re seeing and feeling in grand detail. Maybe they’re moving through the horrific aftermath of a battle and all they can describe is the mud under their feet and how it squelches. Or they simply say that “there’s bodies everywhere” because looking too long or too hard at who those bodies belonged to is too much.

4. You’re writing something that has incredibly fast pacing

This post was inspired by a fic I just wrote that spanned about 5 months in about 18k words. Narrative was skipping days ahead between paragraphs at some point as my character was processing the end of an abusive relationship. It sped up and slowed down where necessary, but compared to its sequel that I also just finished (22k words across 7 days), I’d covered a whole month in about 2 sentences in the first one.

See nearly any part of Salvage (or my fics if you feel like it)

What happened in that month didn’t matter, only what was before and what’s different now and how this character realizes how their life is slowly changing, some things they never noticed that are suddenly right in their face or things that quietly slipped away.

—

TLDR; sometimes the lack of emotion and sensory details and frenetic, dynamic syntax is the point, that can sell the reader on the narrator’s mental state far better than picking the juiciest adverbs. If it’s so impactful to them that the physical telling of the story is changed, you’ve done your job.

3 More Character Types the World Needs More Of

Or at least, I do.

1. The denied redeemed villain

I need this. So badly right now. So, so, so many “redemption arcs” are half-assed and carry undertones of guilt by the heroes, gaslighting them into thinking the villain “wasn’t all that bad” right before they make some big heroic sacrifice, as if that’s ever enough to make up for the damage that was done.

But you know what I never see? A villain who’s done some awful shit, wakes up to reality, tries to apologize and… is denied. No, it’s not enough to be sorry. No, you’re not absolved of your crimes just because you cry really hard on your knees. Yes, you have to work for it. Yes, even if you work for it for the rest of your whole life, those you hurt are not obligated to forgive you.

Example that sadly did not happen in canon: Enji Todoroki

2. The liar revealed who loses

This fucker lies and cheats his way into his lover’s arms (and liars revealed are always men, because their love interests are always women put in the place of “but he tried really hard and you need to forgive him uwu” unless it’s gay). Similar to above, no, you do not get rewarded just for feeling sorry.

This character builds an entire relationship (and it’s specifically romance that I take such an issue with) on a lie. They are not who they say they are, specifically, they lie about their identity because they know their lover would not let this happen if they knew the truth.

It’s one thing to lie about something inconsequential, or to lie about something unrelated, but to lie deliberately to present yourself as the perfect suitor—and these are never little white lies, these are usually entirely false identities, or secrets so damning that risking the truth could mean arrest or even death—just. Why?

Yeah, okay, you never thought you’d get this far. Cool. You don’t have to tell her the truth, but you have to leave before you trick her into sleeping with you.

It’s just. So squicky. And the lesson always is that he deserves love, that he makes up for it with everything else, that he’s just got a winning personality. She always forgives him, even if they fight about it, it’s so, so predictable.

Examples that did not lose: Aladdin, Evan Hansen

3. The paragon who loses faith

I don’t know that we need a whole bunch of these characters, but so many paragons are painted as heroes with unshakable loyalty to their causes and I’d love to see a devolution of character where they just can’t keep smiling and pretending it’s alright. That there is a limit to how much shit they can take.

They don’t have to go full villain, but maybe they just stop caring, maybe they get cynical, maybe they just don’t show up for work the next day, maybe they’re not there when they’re needed the most.

There’s a few stories I can think of where the masses realize they’ve screwed up and show the hero that their faith has been rewarded (Nolan Bats being one of them) but I mean really a hero who just cannot take it anymore, throws in the towel, and walks away knowing it’s the hardest thing they’ve ever had to do.

Example: (kind of) Captain America

—

Sorry this list is kind of a bummer. It’s a bummer kind of week.

There's such a thing as too much showing

While “show, don’t tell” is great advice, it’s easy to go overboard. Not everything needs lots of description, so it's important to get the balance right.

Choose what you describe in detail by how relevant it is to your story or its setting. If it's important, immerse your readers. If it's just flavour, sometimes it's ok to just tell your readers the information. You don’t want to overwhelm readers with too much unnecessary detail. The trick is to be intentional with your choices.

Let's talk about character development.

Creating multidimensional characters make them more relatable to your readers. They add richness and complexity to the narrative, enhancing its overall depth and resonance.

So. How?

Complex motivations: Characters should have motivations that go beyond simple desires or goals. Delve deep into their past experiences, fears, and desires to understand what truly drives them. Keep them consistent yet nuanced for realistic character growth and change throughout the story.

Flaws and vulnerabilities: Avoid creating characters who are too perfect or flawless. Imperfections make characters relatable and interesting. Give them vulnerabilities, weaknesses, and struggles to overcome. This adds depth to their personalities and creates opportunities for character development.

Internal conflict: Explore the internal conflicts within your characters. This could be moral dilemmas, inner turmoil, or conflicting emotions. Internal struggles can be just as compelling, if not more so, than external conflicts, and they add layers to your characters' development. (See my previous post about this!)

Consistent behaviour: Make sure to keep your characters' actions, reactions, and decisions consistent with their established personalities, backgrounds, and motivations. Inconsistencies can break the reader's immersion and credibility in the story. And the fandom will hunt you down mercilessly.

Unique voice: Each character should have a distinct voice and mannerisms that reflect their personality, background, and worldview. Pay attention to the way they speak, their vocabulary, and their gestures. This will really help to bring your characters to life.

Dynamic relationships: Develop dynamic relationships between your characters. Interactions with other characters should reveal new facets of their personalities and contribute to their growth or downfalls. Explore different types of relationships (friendships, romances, rivalries, family dynamics, etc.) to add depth to your characters' experiences.

Arc of change: Consider how your characters evolve over the course of the story. What lessons do they learn? How do their experiences shape them? Every significant event should impact your characters in some way, leading to growth, transformation, or regression.

Happy writing ❤

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Writing Advice: How To Add Forshadowing

Forshadowing is an excellent writing tool in your writing arsenal that allows you to look incredibly smart while simultaneously slapping your audience in the face with the realization that the answer was in front of them this whole time!

For @melda0m3, I'm going to be giving you some broad strokes about to add forshadowing into your stories

I'm going to hope you understand what forshadowing is but if you don't then: Forshadowing is a suggestion but not outright prediction of future reveals and events

A) Work Backwards

A lot of people say to add forshadowing after the chapter/book is written but before you post it since then you can go back and organically add in those small details that make you seem like a genious without accidentally pulling the curtain too far back.

I recommend a combination of both. Write from the belly of a character, if you will. Let them naturally guide their proclivities and then try to paper them over.

For example, Character A is trying to pretent that they were born into wealth but they weren't. Their natural tendency is to side with the underdog. To tip the waiter a normal amount. To do average not-rich shit. Having Character A accidentally be a normal person and then disguise this as a mistake or an expression of empathy/intelligence/stupidity what have you can serve as forshadowing.

By putting forshadowing in at a later point or as an organic development that you run past like it's just background information allows you to steer your audience away from the true purpose of that information.

B) It's Just A Little Off

This mostly applies to situations where a character is trying to pretend to be something they aren't.

A neglectful mother grabs her child just a bit too hard to be normal.

A previously cowardly character is suddenly taking the lead

A seemingly innocuous woman knows her way around the house a bit too well

A previously good person starts suggesting things that have a tendency of backfiring on the rest of the cast

It's pretty simple and I could just go on and on about different types of characters revealing that they aren't the person they are pretending to be and that they might just know more than they are letting on.

These forshadow clues might be:

An unexplained phobia that seems silly at first until the tragic backstory behind it is revealed

A beautiful piece of jewlery sitting on a petty thief

Hypocritical behavior

A random moment that seems out of character

Resources for Writing Injuries

Patreon || Ko-Fi || Masterlist || Work In Progress

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Head Injuries

General Information | More

Hematoma

Hemorrhage

Concussion

Edema

Skull Fracture

Diffuse Axonal Injury

Neck

General Information

Neck sprain

Herniated Disk

Pinched Nerve

Cervical Fracture

Broken Neck

Chest (Thoracic)

General Information

Aortic disruption

Blunt cardiac injury

Cardiac tamponade

Flail chest

Hemothorax

Pneumothorax (traumatic pneumothorax, open pneumothorax, and tension pneumothorax)

Pulmonary contusion

Broken Ribs

Broken Collarbone

Keep reading

How to make your writing sound less stiff part 2

Part 1

Again, just suggestions that shouldn’t have to compromise your author voice, as I sit here doing my own edits for a WIP.

1. Crutch words

Specifically when you have your narrator taking an action instead of just… writing that action. Examples:

Character wonders/imagines/thinks/realizes

Character sees/smells/feels

Now not all of these need to be cut. There’s a difference between:

Elias stops. He realizes they’re going in the wrong direction.

And

Elias takes far too long to realize that it’s not horribly dark wherever they are

Crutch words are words that don’t add anything to the sentence and the sentence can carry on with the exact same meaning even if you delete it. Thus:

Elias stops. They’re going in the wrong direction.

I need a word in the second example, whether it’s realizes, understands, or notices, unless I rework the entire sentence. The “realization” is implied by the hard cut to the next sentence in the first example.

2. Creating your own “author voice”

Unless the tone of the scene demands otherwise, my writing style is very conversational. I have a lot of sentence fragments to reflect my characters’ scatterbrained thoughts. I let them be sarcastic and sassy within the narration. I leave in instances of “just” (another crutch word) when I think it helps the sentence. Example:

…but it’s just another cave to Elias.

Deleting the “just” wouldn’t hit as hard or read as dismissive and resigned.

I may be writing in 3rd person limited, but I still let the personalities of my characters flavor everything from the syntax to metaphor choices. It’s up to you how you want to write your “voice”.

I’ll let dialogue cut off narration, like:

Not that he wouldn’t. However, “You can’t expect me to believe that.”

Sure it’s ~grammatically incorrect~ but you get more leeway in fiction. This isn’t an essay written in MLA or APA format. It’s okay to break a few rules, they’re more like guidelines anyway.

3. Metaphor, allegory, and simile

There is a time and a place to abandon this and shoot straight because oftentimes you might not realize you’re using these at all. It’s the difference between:

Blinding sunlight reflects off the window sill

And

Sunlight bounces like high-beams off the window sill

It’s up to you and what best fits the scene.

Sometimes there’s more power in not being poetic, just bluntly explicit. Situations like describing a character’s battle wounds (whatever kind of battle they might be from, whether it be war or abuse) don’t need flowery prose and if your manuscript is metaphor-heavy, suddenly dropping them in a serious situation will help with the mood and tonal shift, even if your readers can’t quite pick up on why immediately.

Whatever the case is, pick a metaphor that fits the narrator. If my narrator is comparing a shade of red to something, pick a comparison that makes sense.

Red like the clouds at sunset might make sense for a character that would appreciate sunsets. It’s romantic but not sensual, it’s warm and comforting.

Red like lipstick stains on a wine glass hints at a very different image and tone.

Metaphor can also either water down the impact of something, or make it so much worse so pay attention to what you want your reader to feel when they read it. Are you trying to shield them from the horror or dig it in deep?

4. Paragraph formatting

Nothing sticks out on a page quite like a line of narrative all by itself. Abusing this tactic will lessen its effect so save single sentence paragraphs for lines you want to hammer your audiences with. Lines like romantic revelations, or shocking twists, or characters giving up, giving in. Or just a badass line that deserves a whole paragraph to itself.

I do it all the time just like this.

Your writing style might not feature a bunch of chunky paragraphs to emphasize smaller lines of text (or if you’re writing a fic on A03, the size of the screen makes many paragraphs one line), but if yours does, slapping a zinger between two beefy paragraphs helps with immersion.

5. Polysyndeton and Asyndeton

Not gibberish! These, like single-sentence paragraphs, mix up the usual flow of the narrative that are lists of concepts with or without conjunctions.

Asyndeton: We came. We saw. We conquered. It was cold, grey, lifeless.

Polysyndeton: And the birds are out and the sun is shining and it might rain later but right now I am going to enjoy the blue sky and the puffy white clouds like cotton balls. They stand and they clap and they sing.

Both are for emphasis. Asyndeton tends to be "colder" and more blunt, because the sentence is blunt. Polysyntedon tends to be more exciting, overwhelming.

We came and we saw and we conquered.

The original is rather grim. This version is almost uplifting, like it's celebrating as opposed to taunting, depending on how you look at it.

—

All of these are highly situational, but if you’re stuck, maybe try some out and see what happens.

*italicized quotes are from ENNS, the rest I made up on the spot save for the Veni Vidi Vici.