#there's also that one time travel fix it longform fic i have in the back of my head....

[eurydicees]

ty for the tag @miiracleboys !!

slow burn or love at first sight // fake dating or secret dating // enemies to lovers or best friends to lovers // oh no there’s only one bed or long-distance correspondence // hurt-comfort or amnesia // fantasy au or modern au // mutual pining or domestic bliss // smut or fluff // canon-compliant or fix-it // reincarnation or character death // one-shot or multi-chapter // kid fic or road trip fic // arranged marriage or accidental marriage // high school romance or middle aged romance // time travel or isolated together // neighbors or roommates  // sci-fi au or and magic au // body swap or gender bend // angst or crack // apocalyptic or mundane 

i'm also gonna go way in depth bc i'm just like this. longform answers below the cut :P

slow burn or love at first sight: i just like the pining of it all ngl. i think that love at first sight is too unbelievable for me, like no matter how much i ship a pairing, love at first sight just isn't convincing to me

fake dating or secret dating: idk fake dating kinda just stresses me out for some reason? lying scares me and i'm a coward. it can definitely be done well, but secret dating just hits the sweet spot a little better

enemies to lovers or best friends to lovers: LOVE a good friends to lovers arc. this is something everyone knows about me. something about the blurriness of platonic to romantic lines is just *chef's kiss*

oh no there’s only one bed or long-distance correspondence: tbh i just love a good love letter

hurt-comfort or amnesia: i'm so soft for some good hurt/comfort. there's just something so intimate about trusting a person enough to hurt in front of them and something so gentle about knowing how (or not knowing!) to comfort a person

fantasy au or modern au: idk i just don't vibe with fantasy aus? i'm not a huge fantasy person in general tbh

mutual pining or domestic bliss: oooohhhohhhh it's always the pining for me. there's just something so sweet about that burn. domestic bliss is nice, don't get me wrong, and it's what i need some days, but, oh i just love some painful yearning

smut or fluff: idk fluff just hits, man

canon-compliant or fix-it: i rarely read fix it fics tbh. it's so much more fun to me to fuck around with canon and push the lines of canon than it is to change it completely. i don't really like AUs in general either, so maybe this is kinda like that?

reincarnation or character death: tbh both of these are really hard to get right, so i have trouble reading fics with either of them, but i would have to say character death is better

one-shot or multi-chapter: i have said this before and i will say it again. unless i'm hyperfixating real bad and desperate or the first 5k are the best words i have ever read, i do not have the attention span for anything over 30k.

kid fic or road trip fic: tbh i don't really read much of either of these, but kid fics generally just aren't appealing as a concept. sharing a car for extended periods of time, seeing the sights, breaking down on the highway, etc. etc. etc. on the other hand? that's good shit

arranged marriage or accidental marriage: to be, like, completely transparent, i don't think i've ever read either of these? but in theory accidental marriage is better

high school romance or middle aged romance: ok maybe this is a hot take but i think high school romance is often fun because it's either (a) soulmates fr and (b) doomed by virtue of being teenagers. there's something really bittersweet about the idea of being high school sweethearts and either beating the odds or having a timer counting down to graduation. what's REALLY good shit is dating in high school, breaking up, and then getting back together as adults

time travel or isolated together: time travel plots annoy me

neighbors or roommates: shoutout to all of my roommates for ruining that trope for me (/pos)

sci-fi au or and magic au: again, i much prefer canon compliant to any kind of aus, but if i had to choose, then i'd go sci-fi

body swap or gender bend: i don't read much of either but i'm gonna say body swap bc gender bend just feels ehhh to me. like. just make them trans

angst or crack: crack treated seriously can be fun occasionally, but tbh crack in general is just not my thing. i like it to hurt

apocalyptic or mundane: short and sweet slice of life is where it's at

#tag game #this was fun to make !!!! i love telling people my opinions on everything all of the time

[katierosefun]

author interview tag game

thank you for the tag, @pandora15! <3

Name: caroline

Fandoms: mostly the clone wars, but i also have some marvel stuff, and waaay back in the day, i wrote some doctor who and merlin stuff!

Where you post: primarily on ao3! i mostly just write on tumblr when i’m accepting prompts from like...ask games or something.

Most Popular Oneshot: real

Most Popular Multichap: to these memories (this fic only recently hit 1k kudos, and my heart?? w h a t)

Favorite Story You’ve Written: def. to these memories because a) longest fic i’ve ever written, and b) oh, the hours i logged into writing this fic, and c) oh, the outlining that went into this fic...i’m very proud of myself for completing the fic, and of course, i credit this to everyone who showed their lovely support for the story. :’)

Fic You Were Nervous to Post: uhhh definitely too far just because it’s...rather personal. i sometimes say that there’ll be a scene or two or just straight up a line or two that’s plucked out of my real life, and i think it’s inevitable for writers of any kind, including fic writers, to isolate their real lives completely from whatever they’re writing, and?? this fic is probably the most personal for me because of that. i remember kinda hem-hawwing about posting it, because i was like whoa, maybe this is a little too personal? but then i steeled myself and was like, “okay, well, would this have lifted my spirits when i needed a story like this??” and then decided to post it.

How you choose your titles: i def. toss and turn between titles! there’s a few fics of mine that are straight-up song lyrics (no surprise there), but to my surprise (as i was looking through my catalogue of fics just now), i realize that a lot of my fics are usually just words or two about what i think might have been extremely important to the story. (or captures the overall tone/theme of the story, anyways.)

Do you outline? for multi-chapter fics and relatively long one-shots with lots of moving parts, i’ll outline. but for shorter one-shots and prompts, i’ll usually just stick with the image that compelled me to write the prompt/one-shot in the first place! (and then kinda write around that.)

Complete: uhhhhh, i’m gonna answer relatively for all my clone wars fics, because in total, i have 74 completed fics. (make that...75, hopefully in a few minutes or hours!) but out of clone wars fics, i have 46 completed fics! (and again, hopefully 47 in a little while.) a part of me is lowkey hoping that i’ll get up to 100 total fics by the end of this year. a part of me highly doubts it, but given how much i was able to write over summer break, i’m...intruiged if i wind up somehow writing another twenty or so fics by the end of this year. (asfsf my wip list is long enough to fill in for another twenty fics. caroline finish all your wips challenge.)

In Progress: okay, so officially, time, wondrous time is in progress and online. but in terms of the works in progress on my laptop...i have...*mutters, counting* fourteen official wips. (ten of them are one-shots, and the other four are longform fics. one of them, i’m hoping to release next week (!!!), and another, i’m hoping to release hopefully around mid-december. uhhh so fingers crossed??)

Coming Soon/Not Yet Started: oops, i guess i kinda already answered that question, but eh, might as well! the one coming out next week (hopefully!! caroline get your shit together challenge!!) is titled most ardently, and it’s an obitine au based off pride & prejudice because i cannot and will not shut up about obitine being the period drama ship out of star wars okay--

and then the other longform fic that is very overdue is called getting lost in a big galaxy, which is a fix-it of sorts taking place after season 5. anakin’s gone missing, and obi-wan winds up going on a galaxy-ride road trip with ahsoka (who, remember, has left the order) to find their idiot. this is honestly my excuse to just write more obi-wan and ahsoka content. hopefully, that’ll be posted in december!! (despite the fact i...originally meant to post it in august oOps.)

and then there’s this other longform fic which...might be coming in early 2021 called red, underlined, which is essentially...uh. everyone’s a stressed out law-school student, and anakin might have accidentally murdered professor palpatine, and now anakin, obi-wan, ahsoka, padme, and rex are all trying to find out what the hell to do with themselves because they’re all in on it. (def. influenced by how to get away with murder except without the criminal justice professor to lead them through the ropes. so more chaos. kind of a dark comedy vibe, if anything else? anakin no is major theme in this one. uh, i mean, maybe anakin was justified in murdering creep palpatine because our gang’s gonna find out what was going on in the background, but either way! lots of “holy shit are we good people are we bad people what are we doing”. lots of questions about morality! ethics! law school student study nights with anakin sprawled out on the floor and obi-wan wearing glasses (which he pushes up the bridge of his nose whenever he’s about to lecture anakin that no, that’s not how that statute works, dumbass) and ahsoka just bringing snacks and rex catching paper airplanes and padme being the one to supply everyone with very neat flashcards. this fic is gonna be an absolute beheamoth, and i’m estimating about 45 chapters? like...130K+ words? help? yeah idk either this really blew up in my head

and then...this stupid, wonderful, boring, amazing job, which is...office x tcw au. only not? it’s very, very loosely based off the office, but not really. obi-wan moves in as a new manager of a company, and we’ve got anakin being like “lol new guy i’m gonna mess with him”, and ahsoka being the one who’s both like “please don’t mess with our new boss” but also being like “actually, wait, lemme help”, rex being in hr and being like “i don’t get paid enough for this”. (also there’s some parts that are written like actual interviews like you would find in the office, so there’s this one bit where uhhh

Obi-Wan flicks his eyes to the cameras in silent question before turning back to Ahsoka. “Well, if you need to call maintenance, then I hardly think you need my permission—”

“Thanks!” Ahsoka says quickly, and she’s about to disappear from the doorway when Obi-Wan stands up.

“Wait, Ahsoka, what exactly—”

Ahsoka re-appears at the doorway. “Oh, right,” she says. “Um—maybe just stay away from the men’s bathroom for a little bit.” She pauses.

“Actually, just stay away from them for the rest of the day.” She hovers by the door for a minute longer, and then she adds quickly, “And maybe also avoid the breakroom. Everything’s fine!”

And with a perfectly not-fine smile, Ahsoka disappears from the doorway.

Obi-Wan stares at where Ahsoka was just a moment ago, and the he turns to the cameras in disbelief. “Did she just—” Unable to finish his own sentence, Obi-Wan starts out the door. “Ahsoka?”

The camera follows Obi-Wan out of the conference room and into the breakroom. There are only muffled shouts—Anakin’s shouts, and then Rex’s, and then Ahsoka’s frantic “no, sorry, everything’s fine!”, and then Obi-Wan’s loud, “What is going on in here?”

surprise y’all just got a snippet i’m sorry can you tell i’m weirdly into this au?? i need to rewrite some scenes but uh there you go

Prompts: for the most part, yes! i have some stuff in my faq about prompts that i’ll probably turn down (mostly anything that’s...above a certain rating/really, realy heavy themes that i just don’t think i can tackle with justice or with enough education on my end). i can be a little slow with prompts, but i’ll get to all of them in time!

Upcoming Work You’re Most Excited About: uhhhh i have too many that i’m excited about. literally i can write a mini essay on every single one of the fics i’m working on? but uhhh i guess since i already talked about all my major longform fics above (asdfasdfsd didn’t mean to do that, i’m so sorry for everyone who had to scroll past that word-vomit), i guess the one i’m most excited about releasing is the post season 7 obi-wan-and-ahsoka-finally-talk-about-how-they-miss-each-other-also-sorry-for-fighting-with-you-i-know-you-were-just-trying-your-best fic. (not a whole ton of spoilers for this one, but uh. i’m looking at some of these scenes and making frustrated sounds because there’s this one particular instance where i’m like, ahsoka. ahsoka just talk to him just ta lk to him but then lol no talking :)) also maybe some h/c? lowkey sickfic might be involved in this somehow? might have accidentally served as a precursor to to these memories? help? this fic just ballooned. caroline keep your ideas contained challenge!)

No Pressure Tags: @lightasthesun @soplantyourownflowers @ohhellokenobiand anyone else who wants to join!

#tag game #thank you!! #caroline.....control your wips challenge #also i am so sorry this got sO long and SO OUT OF HAND #also....lol caroline stop writing so many longform fic challenge #i really love writing one-shots #i really really love writing one shots #but like also. also there's a part of me that's like 'im gonna hyperfixate on this au sO HARD' #thankfully tho i think those are all the longform wips #there's also that one time travel fix it longform fic i have in the back of my head.... #but lol i still haven't outlined it yet

[zombolouge]

Ah you are too kind!

(cont) Maybe it's because I'm only at the beginning and I take things reeeally slowly, but still, it'd be nice to be able to fix this. One huge question though: how do you write from a child's perspective? For example, in the story I'm writing, Link is 10 in the first few chapters. I'm having trouble with conveying his thoughts across, since they either sound too mature or too childish. I keep saying 'his mother' whenever she does appear, and after a while it gets repetitive - but I don't think I'd use her name since Link wouldn't call her that. So how to go about writing from a third person child perspective? Thank you so much for your tips!

Ah, yes! I went through this same thing when I started writing again myself. I wrote a LOT when I was younger, then stopped for about 9 years before I came back to it. (I started writing again in 2014, seriously about a month later). Then it was like picking up a rusty bike and trying to make the wheels go. There are several things I wrote that will never see the light of day because they were terrible. But that’s all part of the process! So don’t feel bad if it all feels like a disaster at first, because it gets better. In the beginning, your main concern is to just try and write as much as possible, and to finish things. Once you get that down, you can start making things better through editing and more critical thinking. ^_^

Okay, so I can certainly share what helps when I write longer fics, though this process doesn’t always work for others. When I wrote Tearing Down the Heavens, it started as a mish-mash of scenes that I had half-written that I was stringing together. I think by like chapter ten I had already gotten overwhelmed trying to do that, and I opened a word doc and just made a list of the “important plot moments”. Over time this grew into a true, blue outline. 

I don’t think I could write such longform fic without the use of an outline. Some writers can, and some writers even find that an outline completely ruins their creativity, but for me it’s a necessity. Sometimes my outline is incredibly detailed, including lines of dialogue or descriptions or notes about backstory and themes. Other times it’s not more than a line or two about a scene. For instance, the first chapter of A Hundred Years in the Making has a very detailed outline, where I wrote out almost all the dialogue between the King and Vallus. I ended up changing it as I wrote the scene around it, to make it flow better, but the base was there. In contrast, my notes for the portion where Link is traveling to the castle were vague (I actually only put “Write shit about Link’s feelings while he’s on the horse”, which is not particularly helpful notes to myself, but there you have it). I also don’t tend to flesh out the outline all at once. For instance, I may know that I want a certain thing to happen, but I don’t know how I want it to play out or any other details. So I’ll make a note in the outline that says something like “Character tries to leave, gets caught by other character” or something. Then, as the earlier chapters get written, I may add more context, so I could end up with something like this (I’ll use some of the older outlines for Facing Down the Void for this example):

“Autumn wakes up in a panic, convinced something is wrong. 

- Solas is trying to leave, she races through the cold night air to find him and confronts him. He is hurt, miserable to be back around her and torn about what he must do, so he is cold to her. His attitude breaks through her calm, and she starts to cry as she yells at him, demanding to know why he’s leaving again. She doesn’t understand, he doesn’t want her to, but the sound of her voice breaks his heart. He turns and makes his confession, kissing her even though he knows its the worst thing that he could do. She is stunned, and finally lets him go as she processes thing.”

That eventually turned into a pretty complex scene that I wrote very early on and edited several times before it was published.

The reason why I find outlines necessary is that I have trouble writing something if I don’t know where it’s going. I need to have at least a general idea of what I’m building to, or it takes me about 8 times longer to write a chapter. It helps me do proper foreshadowing, and it helps me understand character motivations and growth arcs better. For instance, in As Bright as the Stars, I knew that Saeyoung was going to lie to try and hurt Nicky from the get-go. I had been setting that betrayal up from the start of chapter one. If that moment had been a surprise, however, if I hadn’t planned it, then it wouldn’t have the proper groundwork laid before it. Twists and turns in the plot are what make a story gripping, BUT, they can’t come from nowhere. Your reader should look at surprises and say “I did not see that coming, but I should have”, not feel like it came completely out of left field. You should be able to point to your previous chapters and say “see, there is the proof that this could happen”. Otherwise the shock is cheap, and people tend to lose interest. 

Outline will help you map out events, get foreshadowing in place (important for pretty much all types of stories, including things like slow burns), and understand the characters better. Because when you outline, you are forced to think “what would this character do in this situation”, which then makes you think about the character and think about how they react to things and how they think. Although your story is still going to throw you curve balls, and you shouldn’t be afraid to change an outline when needed. In As Bright as the Stars, I didn’t realize that Vanderwood was going to be such a huge part of it at first until I wrote her first chapter and realized “oh shit I have feelings about this character that need to be told”. I then paused writing the story and worked on my outline to expand it to include this new revelation. So things will still happen that weren’t planned, but at least you have good starting points to handle them better. 

I’ll be honest, though, part of my process is pretty much nonstop consideration. If I am not actively writing, I am usually thinking about writing, or thinking about characters, or word choice, or themes. I’ve written entire scenes in my head on my morning commute and then hurriedly outlined them once I arrived at work. I’ve spent actual hours thinking about something a character did and trying to figure out WHY they did it, to understand that character. So don’t feel bad if a good chunk of your “writing time” is just sitting around and thinking about it, because you have to work those things out at some point before the words will start to come. 

Flow!! Okay, so one of the best things for flow is reading it out loud. You will, in fact, feel like a moron reading your own work out loud to yourself, especially at first. But hearing the words spoken into your ears will trigger different processes in your brain than just reading them. This can often highlight points where there are problems, or where the word order doesn’t work. This goes double for actual dialogue, which should be read out loud until you feel like you have become the characters. If a scene feels weird, it’s usually because your making a character say or do something that doesn’t feel like something they should say or do, which will throw everything off. 

Another thing that I find helpful for both flow in general and dialogue is to map out a scene in very specific, very bland details. (ESPECIALLY FOR ACTION OR SMUT, THIS MAKES THOSE SCENES SO MUCH EASIER). So I would open up my outline, or an empty doc, and write something like this:

“Character A (Jeffrey) opens the door. 

Sees Character B (Heather) arranging matches. 

Jeffrey: Oh, I’m sorry. I wasn’t aware...(pauses, curious) What are you doing?

Heather glares. “I’m arranging matches.”

Jeffrey: “Oh.” (pause) “Why?”

Heather (upset): Because it’s what Sebastian would have wanted!”

Jeffrey closes the door slowly.”

I can then look at that outline and turn it into a scene because I have enough notes to go off of, and I know what’s supposed to be happening at any given time, so it lets me focus more on the descriptions rather than the ideas. I wrote up a quick example scene based on that outline (it is rushed, so forgive me if it isn’t a masterpiece XD)

“Jeffrey placed his hand on the cold door handle, already feeling the weight of the other room bearing down on his shoulders before he had even turned the brass. The house was quiet, and the room was quiet, but he was certain that there was unhappiness beyond the threshold. Still, it was a door, and what purpose would doors have were they not meant to be opened? He twisted his palm, pulling the knob along with it, and pushed the wooden boards forward to reveal the room beyond. 

He was surprised to see Heather within, standing in front of a table with one hand on her half-cocked hips. She didn’t look up as he blinked at her, taking in the silent scene with all the dignity that he could muster in such a situation. The house was silent, so he had presumed that it was empty. His error had been the source of his ominous premonitions, knowing that the room had held misery without knowing why. Heather’s presence had that effect on them all lately. 

He cleared his throat, wishing that he could be a thousand miles away from this position at precisely this moment. “Oh, I’m sorry. I wasn’t aware...” his words trailed off, flat and lame in the deadened air as she shifted, moving just enough so that he could see the stack of matches on the table before her. She lifted one in her long fingers, the tip of the match the same ruby color that was smeared across her fingernails. She held it aloft, inspecting it for something, judging its character like a redheaded soldier that had been stripped and homogenized before being shipped off to war. She then took it and placed it atop a second stack of matches, piled in a tower that shuddered with the weight of the new addition. “What are you doing?”

She narrowed her eyes into a sullen glare as she looked at him, clicking her tongue before offering the obvious. “I’m arranging matches.”

“Oh.” he nodded, a compulsory action, as though this made perfect sense. He should have left it, should have mumbled some apology and retreated from the room, but his damnable sense of curiosity burned too brightly in the back of his throat to clamp down on the question before it came tumbling out. “Why?”

She rounded on him, her hands clamping into furious fists that stuck to her sides, the matches in the tower tumbling across the table in careless disarray. “Because it’s what Sebastian would have wanted!” Her voice wavered between madness and grief, and he winced at the force of it, seeing the tears that he had unleashed. It was too much, too great a burden to bear in this moment, on this day. He felt sorry for her, sorry enough to furrow his brow in a voiceless apology that would do less to disturb the fraught air than words would. He felt sorry, but not sorry enough to reach an olive branch across the divide between them. Instead he backed out of the room, shutting the door with the slow deliberation of someone who knows he could have been a better person if he had just left it open. Her cries of frustration followed him out, and he knew that he was a terrible man.”

I think I spent about ten minutes on that little scene, and that was mostly because I had the blueprint of that outline to go off of. I knew what the characters were doing, and I had notes about when it was important for them to feel a certain way, so it was easy to create a bunch of flowery prose around it (well, not EASY, but certainly easier than if I had just tried to plop it out onto the page from nothing). Now, I usually write out all my dialogue in this manner before writing the full scene, ESPECIALLY important dialogue or dialogue involving more than 2 characters. Just write it out like a script, with the name of the character followed by what they said, and that’s it. Maybe a note or two of what they did or how they said it, but only if it’s really important. What this does is let you focus on what they’re saying and if it fits their character, without getting bogged down in irrelevant descriptions or worrying if you’ve used the word “said” too many times. It also makes it easier to read out loud to yourself to check how it sounds. The dialogue should always be able to flow and sound good on its own, with the rest of the text removed. If it doesn’t, then there’s a disconnect in the way they are speaking that will interrupt the flow of the whole scene. 

Okay, now on to your more specific question. Writing children! 

So one important thing to remember is that children are not stupid, nor do they think in baby talk (or talk that way). They also don’t tend to think of themselves as juvenile, because in their minds they already know enough to be basically an adult. This is especially true for a 10 year old, who usually wants to be out in the world experiencing things on their own, unless they’ve experienced something in their past that would dictate otherwise. They think they know everything, and that parents are just being dumb when they restrict them or make them follow rules. 

One thing about writing children is that they tend to be a bit more literal than adults. You won’t get a kid saying a lot of cutesy babytalk, but you will get them being point blank enough that it can be adorable or comical. It is also important, when writing a POV from a child’s perspective, that they will be lacking certain knowledge or ways of expressing things, but they won’t know that. So, for instance, if I were to write the scene of Link from Ocarina of time seeing Ganon taking off with Princess Zelda (just before she throws the Ocarina), I might try something like:

“He saw the horse thundering across the bridge, massive and domineering. He couldn’t quite see who was riding it, but he felt a sickening feeling in his stomach all the same. Anyone who rode a horse that mean couldn’t have been a good person. 

His fear was confirmed when the rider yanked the reins of the beast, causing it to rear up above Link’s head. He felt like an ant, hapless and waiting to be crushed under the foot of something dark and nameless. The horse returned to all fours, flaring its nostrils, and Link could see that man - Ganondorf - was astride the saddle, Zelda clutched in his metal-clad arms. The Gerudo smirked, and it made the feeling in Link’s stomach coil and writhe like a snake. A furious snake that was trying to flee from the scene, trying to force the person around it to move away, but Link stayed rooted to the spot, his feet as still as tree trunks. He could have gone his whole life without seeing something so evil as Ganondorf smiling, the glint in his eyes like poe-fire. It made him feel small and insignificant, a spec of dust in a whirlpool. It made him feel sick, and if he had been able to move he might have turned and wretched into the grass beneath his boots.

Ganondorf dug his heels into the horse’s ribs, and then everything happened in a flash. The horse surged forward, straight towards where Link was standing, and he had to leap out of the way to avoid being trampled. He felt something big and heavy bump into him as he was in the air, and the breath disappeared out of his lungs with a short wheeze. He hit the ground, and he thought he heard someone yell his name as he blinked, trying to clear the daze. Everything felt fuzzy, like reality had become a vague humming sound in his ears and nothing more. The sound of hoof beats turned from thunder to drums, and then faded slowly as the horse galloped away. Link tried to breathe, unable to keep himself from trembling as he did so.

Zelda had been right. That man was a terrible man.”

So, in this little snippet, I tried to keep things more simplistic than I normally would have. I avoid phrases that are overly flowery, and get to the point a bit quicker. I also avoid saying “Link was terrified”, because a 10 year old might not have the experience to know what terror feels like. They also may not want to ADMIT they are scared, especially not in the moment when adrenaline is high. Instead, I went for describing what he feels, so that the reader gets the idea. Additionally, when he gets hit, I made it more vague. If Link were an adult, I would have changed “He felt something big and heavy bump into him as he was in the air, and the breath disappeared out of his lungs with a short wheeze. He hit the ground, and he thought he heard someone yell his name as he blinked, trying to clear the daze. Everything felt fuzzy, like reality had become a vague humming sound in his ears and nothing more.“ to “He felt a blunt object slam into his side, just below his ribs, driving the breath out out of his lungs on impact. Shock rolled through him as his dodge carried him into the ground, the princess yelling his name as the horse retreated. He was dazed from the blow, and as he floundered on the ground he tried to shake away the humming buzz that was affecting the clarity of the world around him.” The difference here is that Link would have known he was hit by something, and where, and he would have had the words and understanding to know that he was in shock from the blow, and been able to take better effort to try and restore himself. 

Okay, so on to your final question, about what Link calls his mother...you’ll want to avoid using all forms of the name, because that would sound weird. If you feel like he would call her “mother”, than you should stick to that. If you feel like it’s getting repetitive, you can try changing up sentence structure to add variety, but be careful you don’t do it too much. Depending on the scene, you may not need to continue listing her, and just revert to “she”. 

For example: 

“Link’s mother smiled, as warm as the sun above them. “Come, sit with me.” she pat the grass beside her, and he ambled up the hill to join her. She was still smiling, and he tried not to look sullen. He must have failed, because she folded her hands in her lap, giving him a knowing look. “You’ve been bickering with your father again, haven’t you?”

“No.” he sounded like a spoiled brat even to himself, and rolled his eyes as he gave into her ability to know everything he was thinking before he had to say a word. “He’s just...he’s so...”

“Stubborn?” She quirked her eyebrow skyward, and he laughed and nodded, feeling the anger in his chest dissipate as she brushed his hair off of his brow. “He can certainly be...firm. You know that he means well, don’t you?”

So, in that, I only had to mention “mother” once, but you still knew exactly who I was talking about (I think, at least lol). There are also other ways to indicate things, but you definitely want to avoid things like switching from “mom” to “mommy” to “mother”. In this instance, “Mother” is the stand-in for her name, so you would treat it as such. You ALSO wouldn’t switch to her actual name if you’re in Link’s POV, because he wouldn’t think of her that way.

Oh boy, I rambled for waaaaay too long. Hopefully this helped??? Haha, I am very sorry that this is so terribly verbose, I got carried away. 

If you have follow-up questions, feel free to let me know. And if anybody else has different questions, you can also feel free to let me know. ^_^ And of course, this is not a hard-and-fast rulebook. These are just the things that work for ME, which may not be helpful to anyone else. Everyone’s process is different, so don’t feel too frustrated if you try this stuff out and it is utterly useless XD

Thank you so much for thinking of me, and I hope that at least some of this is usable to help you get your story written!!!!

#zom gets asked #writing advice #I rambled I'm very sorry #anon friends #Anonymous