no1sin

[no1sin]

"You tolerate me."

"I love you."

[no1sin]

random thoughts

I have used many kind of social media and not a single one gave me same the feeling that Tumblr did to me. This is where i archived my art and received nice comments from everyone. When i look at my old art, i want to cry. Back then i was so happy while drawing, i had real movitation and enjoying my life. Now all i think is “wtf am i doing with my life?” and i can’t draw like i used to. I’m worry about my future and the pressure of being an adult. I’m so thankful that my old self archived this account for me. 

[no1sin]

‘hero x villain’ prompts

## for a villain who’s whipped for the hero

— scenarios

villain causes a scene just for hero to come by and scold them.

villain shouldn’t even be considered a villain, just a mild inconvenience who wouldn’t stop at anything if hero isn’t the one to chide them.

villain fixing their outfit after doing villainous things, knowing that hero will be coming in a few seconds.

villain making their voice deeper and smoother whenever talking to hero, trying to be suave and mysterious, only to stumble over their words when hero does the same.

— dialogue

“ah, we meet again! what a coincidence, hero.” “you literally denied the other heroes and whined when it wasn’t me. this is not a coincidence, this is babysitting.”

“this is the third time you knocked over this statue of me this week— it’s a wednesday. what do you have to say to yourself?” “it doesn’t do your beautiful face enough justice, can you blame me?” “s-shut up.”

“i’m just saying, i look great under all this hot emo aesthetic.” “oh, i’m so sure.” “you can’t deny me. i wouldn’t deny me. wanna see for yourself?”

“you want me so bad.” “you’re projecting so bad.”

“why are you late?” “i can’t always be on time for hero things.” “>:(“ “come on, i’m sorry. forgive me, please?”

“are you even a villain or a toddler?” “i can be your significant other instead if you just give me a chance.”

“what do you want now!?” “well, maybe a date?”

- mod sushi | masterlist

[no1sin]

brendon urie at the patd meeting deciding to break up the band

[no1sin]

my face burning red after i received a comment on my fic for the first time at 1am 

"What're you smiling at on that phone?"

The comments people leave on my fics that make me giggle like a schoolgirl <3

[no1sin]

Breaking 3 Writing 'Rules':

If you have ADHD or ASC or are some other flavor of neurodivergent, the 'rules' many big name authors post about how they've reached success can actually make you feel REALLY BAD because you can't always do the same thing.

Building a positive relationship with writing can make all the difference in getting you writing more.

'Write every day.' - Don't write every day, write when the mood strikes. But you can trick your brain into work mode by trying different things. Put on your shoes when it's time to write. Light a candle. Put on the same playlist every time. After a while, it'll be like a light-switch. When you light the candle, your brain will find writing easier. Just don't force it. When you try to force writing, you build up frustration and resentment if you don't get anything out. Some days just won't be writing days. That's FINE, lots of authors don't write every day (even if they say they do).

'I write 1000 words every day!' - Well, if you WANT to write and are struggling, a goal of 1000 words seems really far away. So do incremental goals. One sentence. One paragraph. 100 words. Usually by then you're in the flow of things and you can write 1000 words pretty easy. And again, celebrate every single one of those goals so you want to keep doing it. If you have to? One sentence, walk away, come back later, add another, GOOD JOB, two whole sentences!

'Sit down and block out x hours every day just for writing.' - Actually, the best way I've found to write is to tell my brain the deadline or end time is really, really soon - so I write in 20-30 minute chunks, and then walk away or take breaks and come back if I want to later. By setting that arbitrary shorter deadline, my brain can see an end and will work harder and focus more because it knows it's just for a little bit. If 20-30 minutes is too long, start with 15 minute chunks.

[no1sin]

so yesterday i finished my first fanfiction ever and i felt... empty. i was like :”it’s just...it? that’s all? now all i have to do is public it?”. all of those time i write even at late nights just to post it online that easily? please tell me im not the only one thinking like this.

#fanfic #writer #writing problem #writing thoughts #fanfic writer

[no1sin]

i’m so glad i started writing when i was young enough not to care that i was bad otherwise i absolutely would not have persevered long enough to become a good writer

[no1sin]

[no1sin]

How to convey information through dialogue without shoehorning it in

So you have information you want to plant into your story, and you would like to do that through dialogue. Naturally, you'd want to make the dialogue look natural, so that it doesn't scream -> This Piece Of Information <- Will Be Relevant To The Plot Later!!! I never saw any writing advice about this subject, so I thought I’d write up a post about it.

Say, for example, you want to plant the information that Barney is afraid of fridges. Fridges? Jup. That's weird. Jup. Which makes it all the more difficult to bring up in a scene. And what makes it even more difficult, you decided you want this dialogue to take place before the Thing With The Fridge Happens later on, so you're in a pickle. How do you bring up a fear of fridges, when there are no fridges around?

First, I'm going to show you how shoehorning the information in a dialogue would look like.

Don't do this:

Annie and Barney are in a scene that has nothing to do with fridges.

Annie: "By the way," she asked casually, "have I ever asked you what your worst fear is? Since we’re on this quest together, we should know these things about each other."

Barney: "Fridges. They scare the bejeebers out of me."

Annie: "Fridges?" She laughed incredulously. "How come?"

Barney: "Well, one time my brother locked me into a fridge, and I've been afraid ever since."

Annie: “That makes sense, Barney. I’m sorry you had to go through that.”

Try to avoid using things like “by the way” or “suddenly” in this part of the dialogue, because that’s a shoehorn red flag.

Instead, you want the conversation to flow from something inconspicuous to the information you want to plant and then into at least one other topic.

Do this:

Annie and Barney are in a scene that has nothing to do with fridges, for example they are thrown into a snake pit during their quest.

Barney deals with venomous snakes without a second thought.

Annie, in the corner, trying to get a hold of herself: "I can't believe you're not afraid of those snakes."

Barney: "You just got to know how to handle them."

Annie, in awe: "You're fearless."

Barney, laughs: "Trust me, I'm not. You should see me around fridges."

Annie: "Fridges...?"

Barney: "My brother locked me into one when we were little. I almost suffocated. Never trusted them ever since. Nor my brother, obviously."

The conversation continues about his relationship with his brother, making it seem like that's the important bit. You sneaked the information about Barney's fear for fridges into the dialogue about snakes and his brother.

Let’s break that down, shall we?

This conversation has three topics: snakes, fridges, and Barney’s brother. The snakes and Barney’s brother don’t really matter. They could just as well be completely different topics. (I'll show you later.) Their only function is to ease into the conversation about Barney’s fridge fear and ease out of it without drawing the reader’s attention to its importance.

Topic 1: Something present in this scene that has a thing in common with topic 2

Discussing the snakes feels organic and natural, because they are kind of hard to ignore in this scene. Make the first topic something related to what the characters see, feel, experience in that particular scene… Write a piece of dialogue about topic one.

Topic 2: The information you want to plant

Then transition into the topic switch. How? The topic of fridges and the topic of snakes have one thing in common: fear. Specifically, Annie is afraid of snakes and Barney isn’t, but he is afraid of fridges. Bringing this interesting bit into the conversation changes the topic again, because how can you not go into a sentence like this?

Topic 3: Anything related to topic 2 you can latch onto

The topic is changed yet again after the information you planned to plant. Just let this part of the dialogue run its course. It doesn’t matter much what you do with it, as long as you don’t stop the dialogue right after the moment you delivered the line you needed to deliver. The trick is to make the conversation flow to and from your chosen topic.

Let’s look at another example, something more realistic. You still want to convey the fact that Barney is afraid of fridges, but this time, Annie and Barney are not on a quest, they are in a romance novel.

Barney and Annie are looking out over the ocean. She brought a bottle of wine, a light breeze cools their skin, in the distance, a cargo boat slowly glides along the horizon. It seems like a perfect moment.

Barney raises his glass and compliments Annie: “You pick great wine.” (topic 1)

Annie: “Thanks. I did a wine course last year in my local community center, a series in which we learned all about the different kinds of wine and what to pair it with.”

Barney: “Sounds like fun. You should teach me sometime. Did you get to taste everything?”

Annie: “Yeah, of course. That was the main reason I joined. What about you? Which wine do you prefer?”

Barney: “Oh, I’m not a connaisseur. I like anything but white wines.” (change of topic)

Annie: “Why not?”

Barney, embarrassed: “Red wines are usually kept at room temperature, and white wines go in the fridge.”

Annie, after a second: “I can’t see the problem there.”

Barney, embarrassed: “Ah. Well. I don’t like fridges. Like, not at all. My brother once locked me into one, and – well, let’s say it was a hugely traumatic experience.” (boom, there it is: topic 2)

Annie, confused: “But – How do you keep your food fresh?” (change of topic) (doesn't necessarily have to happen so soon after The Line)

Barney, still embarrassed: “I go to the supermarket every other day.” (topic 3)

The conversation continues about going to the supermarket every other day and foods that Barney can't eat because they spoil too fast outside of the fridge. Annie is surprised to hear how many things can be kept at room temperature for a day or two. (topic 3,5)

That's it, folks :)

I hope this was helpful. Don’t hesitate to ask me any questions, and happy writing! This post was inspired by a question from @therska.

Follow me for more writing advice, or check out my other writing tips here. New topics to write advice about are also always appreciated.

Tag list below the cut. If you like to be added to or removed from the list, let me know.

@therska @writingwordsanddrawingpictures @the-words-we-never-said @writingwhithotchocolate @i-rove-rock-n-roll @maskedlady @no-time-like-write-now @timefire25 @black-lakritz-dragon @nzmayart @fandomrandomness-stuff @dangertoozmanykids101 @anaestheticdisaster @storytellingofravens @purpleshadows1989 @mathematicpony @i-don-t-know-words @notquitenovelist @coffeescribles @reffaces @livingthelovelylife @katsglabella @lokitty-is-my-spirit-animal @thefallenbibliophilequote @watchmewritedumb @sting-the-scribe @kais-writing-shit @dameschnee123 @curiosityonmars @oodlittlething

[no1sin]

How to convey information through dialogue without shoehorning it in

So you have information you want to plant into your story, and you would like to do that through dialogue. Naturally, you'd want to make the dialogue look natural, so that it doesn't scream -> This Piece Of Information <- Will Be Relevant To The Plot Later!!! I never saw any writing advice about this subject, so I thought I’d write up a post about it.

Say, for example, you want to plant the information that Barney is afraid of fridges. Fridges? Jup. That's weird. Jup. Which makes it all the more difficult to bring up in a scene. And what makes it even more difficult, you decided you want this dialogue to take place before the Thing With The Fridge Happens later on, so you're in a pickle. How do you bring up a fear of fridges, when there are no fridges around?

First, I'm going to show you how shoehorning the information in a dialogue would look like.

Don't do this:

Annie and Barney are in a scene that has nothing to do with fridges.

Annie: "By the way," she asked casually, "have I ever asked you what your worst fear is? Since we’re on this quest together, we should know these things about each other."

Barney: "Fridges. They scare the bejeebers out of me."

Annie: "Fridges?" She laughed incredulously. "How come?"

Barney: "Well, one time my brother locked me into a fridge, and I've been afraid ever since."

Annie: “That makes sense, Barney. I’m sorry you had to go through that.”

Try to avoid using things like “by the way” or “suddenly” in this part of the dialogue, because that’s a shoehorn red flag.

Instead, you want the conversation to flow from something inconspicuous to the information you want to plant and then into at least one other topic.

Do this:

Annie and Barney are in a scene that has nothing to do with fridges, for example they are thrown into a snake pit during their quest.

Barney deals with venomous snakes without a second thought.

Annie, in the corner, trying to get a hold of herself: "I can't believe you're not afraid of those snakes."

Barney: "You just got to know how to handle them."

Annie, in awe: "You're fearless."

Barney, laughs: "Trust me, I'm not. You should see me around fridges."

Annie: "Fridges...?"

Barney: "My brother locked me into one when we were little. I almost suffocated. Never trusted them ever since. Nor my brother, obviously."

The conversation continues about his relationship with his brother, making it seem like that's the important bit. You sneaked the information about Barney's fear for fridges into the dialogue about snakes and his brother.

Let’s break that down, shall we?

This conversation has three topics: snakes, fridges, and Barney’s brother. The snakes and Barney’s brother don’t really matter. They could just as well be completely different topics. (I'll show you later.) Their only function is to ease into the conversation about Barney’s fridge fear and ease out of it without drawing the reader’s attention to its importance.

Topic 1: Something present in this scene that has a thing in common with topic 2

Discussing the snakes feels organic and natural, because they are kind of hard to ignore in this scene. Make the first topic something related to what the characters see, feel, experience in that particular scene… Write a piece of dialogue about topic one.

Topic 2: The information you want to plant

Then transition into the topic switch. How? The topic of fridges and the topic of snakes have one thing in common: fear. Specifically, Annie is afraid of snakes and Barney isn’t, but he is afraid of fridges. Bringing this interesting bit into the conversation changes the topic again, because how can you not go into a sentence like this?

Topic 3: Anything related to topic 2 you can latch onto

The topic is changed yet again after the information you planned to plant. Just let this part of the dialogue run its course. It doesn’t matter much what you do with it, as long as you don’t stop the dialogue right after the moment you delivered the line you needed to deliver. The trick is to make the conversation flow to and from your chosen topic.

Let’s look at another example, something more realistic. You still want to convey the fact that Barney is afraid of fridges, but this time, Annie and Barney are not on a quest, they are in a romance novel.

Barney and Annie are looking out over the ocean. She brought a bottle of wine, a light breeze cools their skin, in the distance, a cargo boat slowly glides along the horizon. It seems like a perfect moment.

Barney raises his glass and compliments Annie: “You pick great wine.” (topic 1)

Annie: “Thanks. I did a wine course last year in my local community center, a series in which we learned all about the different kinds of wine and what to pair it with.”

Barney: “Sounds like fun. You should teach me sometime. Did you get to taste everything?”

Annie: “Yeah, of course. That was the main reason I joined. What about you? Which wine do you prefer?”

Barney: “Oh, I’m not a connaisseur. I like anything but white wines.” (change of topic)

Annie: “Why not?”

Barney, embarrassed: “Red wines are usually kept at room temperature, and white wines go in the fridge.”

Annie, after a second: “I can’t see the problem there.”

Barney, embarrassed: “Ah. Well. I don’t like fridges. Like, not at all. My brother once locked me into one, and – well, let’s say it was a hugely traumatic experience.” (boom, there it is: topic 2)

Annie, confused: “But – How do you keep your food fresh?” (change of topic) (doesn't necessarily have to happen so soon after The Line)

Barney, still embarrassed: “I go to the supermarket every other day.” (topic 3)

The conversation continues about going to the supermarket every other day and foods that Barney can't eat because they spoil too fast outside of the fridge. Annie is surprised to hear how many things can be kept at room temperature for a day or two. (topic 3,5)

That's it, folks :)

I hope this was helpful. Don’t hesitate to ask me any questions, and happy writing! This post was inspired by a question from @therska.

Follow me for more writing advice, or check out my other writing tips here. New topics to write advice about are also always appreciated.

Tag list below the cut. If you like to be added to or removed from the list, let me know.

@therska @writingwordsanddrawingpictures @the-words-we-never-said @writingwhithotchocolate @i-rove-rock-n-roll @maskedlady @no-time-like-write-now @timefire25 @black-lakritz-dragon @nzmayart @fandomrandomness-stuff @dangertoozmanykids101 @anaestheticdisaster @storytellingofravens @purpleshadows1989 @mathematicpony @i-don-t-know-words @notquitenovelist @coffeescribles @reffaces @livingthelovelylife @katsglabella @lokitty-is-my-spirit-animal @thefallenbibliophilequote @watchmewritedumb @sting-the-scribe @kais-writing-shit @dameschnee123 @curiosityonmars @oodlittlething

[no1sin]

Stage Direction in Narration

“He walked into the room.” <> “She sat on the bench.” <> “They left the car.”

We all use stage direction. It’s unavoidable; readers need to know where our characters are in the space we’ve created for them. And sometimes a simple statement of movement is needed. But most of the time, it can be improved upon.

🙟🙝

If it wasn’t clear from the above examples, “stage direction” is when a character’s movement is narrated like one might write in a play or film script: straightforward and unembellished statements indicating a character’s direction.

This is great for scripts, where concise and clear instructions are preferable when a director and actor needs to follow them.

Not so great in a novel, where the author’s goal is to keep a reader’s interest and immersion. Let’s take a look at how you might improve these sentences by adding intent, context, or grounding description.

Keep reading

[no1sin]

Shouting this at all the tumblr porn bots that have been following me

[no1sin]

[no1sin]

Writing Tips

Punctuating Dialogue

✧

➸ “This is a sentence.”

➸ “This is a sentence with a dialogue tag at the end,” she said.

➸ “This,” he said, “is a sentence split by a dialogue tag.”

➸ “This is a sentence,” she said. “This is a new sentence. New sentences are capitalized.”

➸ “This is a sentence followed by an action.” He stood. “They are separate sentences because he did not speak by standing.”

➸ She said, “Use a comma to introduce dialogue. The quote is capitalized when the dialogue tag is at the beginning.”

➸ “Use a comma when a dialogue tag follows a quote,” he said.

“Unless there is a question mark?” she asked.

“Or an exclamation point!” he answered. “The dialogue tag still remains uncapitalized because it’s not truly the end of the sentence.”

➸ “Periods and commas should be inside closing quotations.”

➸ “Hey!” she shouted, “Sometimes exclamation points are inside quotations.”

However, if it’s not dialogue exclamation points can also be “outside”!

➸ “Does this apply to question marks too?” he asked.

If it’s not dialogue, can question marks be “outside”? (Yes, they can.)

➸ “This applies to dashes too. Inside quotations dashes typically express—“

“Interruption” — but there are situations dashes may be outside.

➸ “You’ll notice that exclamation marks, question marks, and dashes do not have a comma after them. Ellipses don’t have a comma after them either…” she said.

➸ “My teacher said, ‘Use single quotation marks when quoting within dialogue.’”

➸ “Use paragraph breaks to indicate a new speaker,” he said.

“The readers will know it’s someone else speaking.”

➸ “If it’s the same speaker but different paragraph, keep the closing quotation off.

“This shows it’s the same character continuing to speak.”

[no1sin]

If you're stuck in the first draft of your novel, these three words will set you free:

Fix it later.

Right now, all you need to do is get the story on paper. You'll have time to make it perfect. You'll have plenty of chances to fix everything. For now, just write. 🤞💚

[no1sin]

every writing tip article and their mother: dont ever use adverbs ever!

me, shoveling more adverbs onto the page because i do what i want: just you fucking try and stop me