think-through-pen · 15 hours ago
Dear Moon and Stars,
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She invited me for a garden stroll,
for she loves flowers and autumn fall.
I could not but be glad
at this chance I had.
Off we went to her garden, vast and moony;
her smile was nought but so bloomy;
and as she plucked an apple for me,
I kissed her hand so gently;
she turned redder than the apple,
my cheeks wore red apparel.
A stirring calmness in her eyes
did more to me than surprise;
I held her hands and said to her:
'Your eyes make my heart astir,
your simple smile takes my breath away
and I cannot but yell all-day
how much I love you till the end of sky,
and share with Moon our what and why.
I love you with all my heartbeat!
You are my bitter and sweet.
I love you, my dearie!'
She hugged me and said softly,
'I love you too, honey!'
Lovely Tags: @most-ment @jordynhaiku @sunlovemoon @rsaveragewriting @yumiraaa @playssilly @a-moonlit-poet @shortstoryprompt @somebodyssongbird @selene-stories @musingofaninsignificantwriter @givethispromptatry @heywriters @vixen1012
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maritorres2606 · 22 hours ago
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2soulscollide · 7 months ago
E.A. Deverell - FREE worksheets (characters, world building, narrator, etc.) and paid courses;
Hiveword - Helps to research any topic to write about (has other resources, too);
BetaBooks - Share your draft with your beta reader (can be more than one), and see where they stopped reading, their comments, etc.;
Charlotte Dillon - Research links;
Writing realistic injuries - The title is pretty self-explanatory: while writing about an injury, take a look at this useful website;
One Stop for Writers - You guys... this website has literally everything we need: a) Description thesaurus collection, b) Character builder, c) Story maps, d) Scene maps & timelines, e) World building surveys, f) Worksheets, f) Tutorials, and much more! Although it has a paid plan ($90/year | $50/6 months | $9/month), you can still get a 2-week FREE trial;
One Stop for Writers Roadmap - It has many tips for you, divided into three different topics: a) How to plan a story, b) How to write a story, c) How to revise a story. The best thing about this? It's FREE!
Story Structure Database - The Story Structure Database is an archive of books and movies, recording all their major plot points;
National Centre for Writing - FREE worksheets and writing courses. Has also paid courses;
Penguin Random House - Has some writing contests and great opportunities;
Crime Reads - Get inspired before writing a crime scene;
The Creative Academy for Writers - "Writers helping writers along every step of the path to publication." It's FREE and has ZOOM writing rooms;
Reedsy - "A trusted place to learn how to successfully publish your book" It has many tips, and tools (generators), contests, prompts lists, etc. FREE;
QueryTracker - Find agents for your books (personally, I've never used this before, but I thought I should feature it here);
Pacemaker - Track your goals (example: Write 50K words - then, everytime you write, you track the number of the words, and it will make a graphic for you with your progress). It's FREE but has a paid plan;
Save the Cat! - The blog of the most known storytelling method. You can find posts, sheets, a software (student discount - 70%), and other things;
I hope this is helpful for you!
(Also, check my blog if you want to!)
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mostlyghostie · 4 months ago
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The fantasy library, which would you check out?
Personally, I would really like to read the third Book of Dust novel.. You can buy a copy of this print right here
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thetypewriterdaily · 11 days ago
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letters-toyourheart · 3 months ago
When Oscar Wilde said ' I'm tired of myself tonight, I should like to be someone else' and when Sylvia Plath said ' I wish I knew what to do with my life, what to do with my heart'
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ameliaellisgreene · a month ago
Writing Exercises for Your Book/WIP
If you're feeling stuck on your WIP or big writing project, try writing about your WIP. Character boards, playlists, and other inspiration activities are great when motivation is low, but it's easy to use them as a way to procrastinate. Your allotted writing time should be spent primarily writing, even if you aren't writing your WIP.
Here are some prompts to try when the motivation to actually draft your novel dries up:
Write a scene for your WIP that will never be added to the manuscript. Maybe it's one or more of your characters living out a normal day. Maybe it's a happy memory your character has that will be alluded to in the draft but never shown. Maybe it explores your secondary characters independent from the plot. These are all great ways to further explore your characters/world/story in a way that won't fatigue you.
Write your own "fan fiction." Instead of just exploring your canon further like you did in the last prompt, throw your canon out the window this time and write your characters or world in a way that contradicts your WIP. Is Character A the hero while Character B is the villain? Write an AU where their roles are swapped. Is Character A in love with Character B? Write a story exploring a relationship with Character C instead. Explore the what-if scenarios of your characters and plot and see where it takes you!
Write at least 500 words describing one of your characters. You can make this purely physical, or you can also use this time to explore his mental/emotional traits, background, etc.
Write at least 500 words describing a setting from your WIP. Whether it's a planet, city, cul-de-sac, house, or even a single room, describe it using all five senses. Tell us details about it that the characters might not even know. Where did that scratch in the wallpaper come from? When was the house built and by whom? What does the cul-de-sac sound like on a nice summer day? What about a late autumn night? Where are all the best places to eat in the city? What does the terrain look like on the planet? What are its "special" places?
Write your entire WIP in under 5,000 words. What would your novel look like as a short story?
Write a coda or bonus scene. Think about a scene that has a lot of impact in your story and write a coda for it. Maybe two characters had an argument and went their separate ways at the end of the scene. Write the immediate aftermath of it. Find a situation that could benefit from more detail and add it.
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perpetual-stories · a year ago
Story Structures for your Next WIP
hello, hello. this post will be mostly for my notes. this is something I need in to be reminded of for my business, but it can also be very useful and beneficial for you guys as well.
everything in life has structure and storytelling is no different, so let’s dive right in :)
First off let’s just review what a story structure is :
a story is the backbone of the story, the skeleton if you will. It hold the entire story together.
the structure in which you choose your story will effectively determine how you create drama and depending on the structure you choose it should help you align your story and sequence it with the conflict, climax, and resolution.
1. Freytag's Pyramid
this first story structure i will be talking about was named after 19th century German novelist and playwright.
it is a five point structure that is based off classical Greek tragedies such as Sophocles, Aeschylus and Euripedes.
Freytag's Pyramid structure consists of:
Introduction: the status quo has been established and an inciting incident occurs.
Rise or rising action: the protagonist will search and try to achieve their goal, heightening the stakes,
Climax: the protagonist can no longer go back, the point of no return if you will.
Return or fall: after the climax of the story, tension builds and the story inevitably heads towards...
Catastrophe: the main character has reached their lowest point and their greatest fears have come into fruition.
this structure is used less and less nowadays in modern storytelling mainly due to readers lack of appetite for tragic narratives.
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2. The Hero's Journey
the hero's journey is a very well known and popular form of storytelling.
it is very popular in modern stories such as Star Wars, and movies in the MCU.
although the hero's journey was inspired by Joseph Campbell's concept, a Disney executive Christopher Vogler has created a simplified version:
The Ordinary World: The hero's everyday routine and life is established.
The Call of Adventure: the inciting incident.
Refusal of the Call: the hero / protagonist is hesitant or reluctant to take on the challenges.
Meeting the Mentor: the hero meets someone who will help them and prepare them for the dangers ahead.
Crossing the First Threshold: first steps out of the comfort zone are taken.
Tests, Allie, Enemies: new challenges occur, and maybe new friends or enemies.
Approach to the Inmost Cave: hero approaches goal.
The Ordeal: the hero faces their biggest challenge.
Reward (Seizing the Sword): the hero manages to get ahold of what they were after.
The Road Back: they realize that their goal was not the final hurdle, but may have actually caused a bigger problem than before.
Resurrection: a final challenge, testing them on everything they've learned.
Return with the Elixir: after succeeding they return to their old life.
the hero's journey can be applied to any genre of fiction.
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3. Three Act Structure:
this structure splits the story into the 'beginning, middle and end' but with in-depth components for each act.
Act 1: Setup:
exposition: the status quo or the ordinary life is established.
inciting incident: an event sets the whole story into motion.
plot point one: the main character decided to take on the challenge head on and she crosses the threshold and the story is now progressing forward.
Act 2: Confrontation:
rising action: the stakes are clearer and the hero has started to become familiar with the new world and begins to encounter enemies, allies and tests.
midpoint: an event that derails the protagonists mission.
plot point two: the hero is tested and fails, and begins to doubt themselves.
Act 3: Resolution:
pre-climax: the hero must chose between acting or failing.
climax: they fights against the antagonist or danger one last time, but will they succeed?
Denouement: loose ends are tied up and the reader discovers the consequences of the climax, and return to ordinary life.
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4. Dan Harmon's Story Circle
it surprised me to know the creator of Rick and Morty had their own variation of Campbell's hero's journey.
the benefit of Harmon's approach is that is focuses on the main character's arc.
it makes sense that he has such a successful structure, after all the show has multiple seasons, five or six seasons? i don't know not a fan of the show.
the character is in their comfort zone: also known as the status quo or ordinary life.
they want something: this is a longing and it can be brought forth by an inciting incident.
the character enters and unfamiliar situation: they must take action and do something new to pursue what they want.
adapt to it: of course there are challenges, there is struggle and begin to succeed.
they get what they want: often a false victory.
a heavy price is paid: a realization of what they wanted isn't what they needed.
back to the good old ways: they return to their familiar situation yet with a new truth.
having changed: was it for the better or worse?
i might actually make a operate post going more in depth about dan harmon's story circle.
5. Fichtean Curve:
the fichtean curve places the main character in a series of obstacles in order to achieve their goal.
this structure encourages writers to write a story packed with tension and mini-crises to keep the reader engaged.
The Rising Action
the story must start with an inciting indecent.
then a series of crisis arise.
there are often four crises.
2. The Climax:
3. Falling Action
this type of story telling structure goes very well with flash-back structured story as well as in theatre.
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6. Save the Cat Beat Sheet:
this is another variation of a three act structure created by screenwriter Blake Snyder, and is praised widely by champion storytellers.
Structure for Save the Cat is as follows: (the numbers in the brackets are for the number of pages required, assuming you're writing a 110 page screenplay)
Opening Image [1]: The first shot of the film. If you’re starting a novel, this would be an opening paragraph or scene that sucks readers into the world of your story.
Set-up [1-10]. Establishing the ‘ordinary world’ of your protagonist. What does he want? What is he missing out on?
Theme Stated [5]. During the setup, hint at what your story is really about — the truth that your protagonist will discover by the end.
Catalyst [12]. The inciting incident!
Debate [12-25]. The hero refuses the call to adventure. He tries to avoid the conflict before they are forced into action.
Break into Two [25]. The protagonist makes an active choice and the journey begins in earnest.
B Story [30]. A subplot kicks in. Often romantic in nature, the protagonist’s subplot should serve to highlight the theme.
The Promise of the Premise [30-55]. Often called the ‘fun and games’ stage, this is usually a highly entertaining section where the writer delivers the goods. If you promised an exciting detective story, we’d see the detective in action. If you promised a goofy story of people falling in love, let’s go on some charmingly awkward dates.
Midpoint [55]. A plot twist occurs that ups the stakes and makes the hero’s goal harder to achieve — or makes them focus on a new, more important goal.
Bad Guys Close In [55-75]. The tension ratchets up. The hero’s obstacles become greater, his plan falls apart, and he is on the back foot.
All is Lost [75]. The hero hits rock bottom. He loses everything he’s gained so far, and things are looking bleak. The hero is overpowered by the villain; a mentor dies; our lovebirds have an argument and break up.
Dark Night of the Soul [75-85-ish]. Having just lost everything, the hero shambles around the city in a minor-key musical montage before discovering some “new information” that reveals exactly what he needs to do if he wants to take another crack at success. (This new information is often delivered through the B-Story)
Break into Three [85]. Armed with this new information, our protagonist decides to try once more!
Finale [85-110]. The hero confronts the antagonist or whatever the source of the primary conflict is. The truth that eluded him at the start of the story (established in step three and accentuated by the B Story) is now clear, allowing him to resolve their story.
Final Image [110]. A final moment or scene that crystallizes how the character has changed. It’s a reflection, in some way, of the opening image.
(all information regarding the save the cat beat sheet was copy and pasted directly from reedsy!)
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7. Seven Point Story Structure:
this structure encourages writers to start with the at the end, with the resolution, and work their way back to the starting point.
this structure is about dramatic changes from beginning to end
The Hook. Draw readers in by explaining the protagonist’s current situation. Their state of being at the beginning of the novel should be in direct contrast to what it will be at the end of the novel.
Plot Point 1. Whether it’s a person, an idea, an inciting incident, or something else — there should be a "Call to Adventure" of sorts that sets the narrative and character development in motion.
Pinch Point 1. Things can’t be all sunshine and roses for your protagonist. Something should go wrong here that applies pressure to the main character, forcing them to step up and solve the problem.
Midpoint. A “Turning Point” wherein the main character changes from a passive force to an active force in the story. Whatever the narrative’s main conflict is, the protagonist decides to start meeting it head-on.
Pinch Point 2. The second pinch point involves another blow to the protagonist — things go even more awry than they did during the first pinch point. This might involve the passing of a mentor, the failure of a plan, the reveal of a traitor, etc.
Plot Point 2. After the calamity of Pinch Point 2, the protagonist learns that they’ve actually had the key to solving the conflict the whole time.
Resolution. The story’s primary conflict is resolved — and the character goes through the final bit of development necessary to transform them from who they were at the start of the novel.
(all information regarding the seven point story structure was copy and pasted directly from reedsy!)
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i decided to fit all of them in one post instead of making it a two part post.
i hope you all enjoy this post and feel free to comment or reblog which structure you use the most, or if you have your own you prefer to use! please share with me!
if you find this useful feel free to reblog on instagram and tag me at perpetualstories
Follow my tumblr and instagram for more writing and grammar tips and more!
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michalahampton · 11 months ago
Ah, yeah.
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lunatic-muse · 6 months ago
... there was no one like me and I was unlike anyone else. 'I am alone and they are everyone,' ...
— Fyodor Dostoyevsky, Notes From Underground
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kim-always-writes · 3 months ago
Keeping a writer’s journal
Having a place to store your notes and ideas is very important because no matter how many times you tell yourself you won’t forget something, there’s a very high chance you will. Your brain has to process and recall lots of information every day, many of it won’t be related to writing, this is why it’s only natural to forget things.
A writer’s journal gives you a fun and comfortable space to look back at and add more and more detail to along your writing journey. You should make your notes in a way that suits you, there’s no specific way it has to look. Make it a place you enjoy and something you’d like to do wherever you are – on trains, buses, in café’s, at home or work.
You might use:
A traditional notebook
Lined/plain paper collected and arranged in a file
Your phone, tablet/Ipad, laptop or computer
It doesn’t matter what you use as long as it’s whatever works best for you. If you use something portable and easy to carry around, take it with you wherever you go and jot down things that strike you as interesting, unusual, useful and anything else you may want to come back to later. If what you usually use isn’t portable, write your notes in your phone and copy them into your preferred journal later.
A writer’s journal or writer’s notebook can be used to collect facts, fictions, observations from everyday life and anything else you come up with.
Your notebook can become a testing ground for trying out ideas, phrases, short-stories and scenes, bits of dialogue – all with the freedom and knowledge that if things don’t work out no one sees these trial runs but you; it does not have to be perfect. Overtime you may come to realise your journal can form a kind of personal ‘running-commentary’ to yourself, on your thoughts about your own work.  
Keeping track of useful details:
Taking notes of the details of people’s appearances who you find interesting or recognise as a source of inspiration can become a habit that will help you with describing what your characters look like or coming up with new ideas for characters. You can jot down any interesting or unusual things you see or hear. The same can be done for places – writing down things you notice while you’re at the park, on the train or bus, in a house, a café, a museum, on the beach etc, will all help you write about them in your story.
Your journal might include:
General notes and sensory observations of the world around you
Things you have seen or heard, felt, or read – perhaps a passage of other people’s writing, or phrases that you admire
Words, synonyms and word-derivations that are new or interesting to you
Facts you may want to remember
Lines or phrases that you might use in your work
Images: postcards, pictures, photographs, mood boards that are in some way significant to you, perhaps because they conjure up a scene or story you might write about
Descriptions or sketches of characters and places you might wish to write about
Notes about periods in recent or distant history that you’re interested in
Ideas and plot lines that might be useful in the future, or that you are gathering for particular pieces of work
Anything you write down, even a single line, can be the foundation for a greater story.
Happy Writing!
Instagram: kim.always.writes
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writersshitpost · 10 months ago
Anyone know where I can find the next chapter of my own book?
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the-stars-collided · 7 months ago
Hearts are meant to be broken and mended, broken and mended, broken and mended
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2soulscollide · 7 months ago
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Hello! In this FREE Notion template for writers that I made, you can:
Manage your novels:
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Have an overview of each novel:
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Create your characters:
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Build your world:
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And then you ask...
Why should I use Notion?
Well, first of all, it is 100% FREE!
Plus, with my template, you have everything you need to start developing and writing your novel.
Also, Notion is totally customizable, which means that you are free to make the changes you need to adapt the template more to your liking.
TEMPLATE HERE! (Don't worry, this link is safe and will direct you to Notion.) To get the template, just click in "Duplicate":
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I hope this was useful! Please consider checking out my blog and maybe subscribing to my newsletter! <3
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aileywrites · a year ago
Writing Royals Part 2
 The last part was all tips about how to write royal characters, and my apparently controversial opinions on certain things, like corsets......Anyways, I have two more tips I wanted to share about writing royal characters, and some questions I use when I’m about writing the people surrounding the royal family: the royal court!!! Every country with a monarchy or any similar system is gonna have a royal court around them. These people included advisors, favorites, ambassadors, and servants. Getting the dynamic of your royal court perfect often depends on how you write these characters, so here we go!
Homegirl, Where Are Your Guards???
There is nothing that bothers me more than when a royal character is like in the middle of a war or their people are rebelling and they’re like, “ugh, I hate having all these guards around me. I just want to be free!!!!!” Which, okay fine, having a bunch of people follow you around and stand outside while you pee, and generally watching your every move does not sound fun at all, but getting offed doesn’t sound fun either. If your character’s country is in the middle of a war, and even if they aren’t depending on the country, they are going to have guards around them all the time. In Tudor England, guards would sleep in the King’s room even if he had company because people were always trying to assassinate each other. Even if your royal character has magic or powers or something, they still probably need guards. If your characters have been royal all their lives, they probably will know their guards very well and know how to sneak away from them for that oh so coveted night in the town as a commoner. But, even though royalty probably did feel claustrophobic with all those guards surrounding them, especially in the Victorian era right up until the end of World War 1, everyone’s biggest fear was being assassinated. People were getting offed and assassinated left and right, so take that into account when your character oh so desperately wants to leave the palace. 
Above the Law, Cause You Are the Law
I’m pretty sure that has been the motto of like almost every medieval to late Renaissance European monarch. Don’t get me wrong, there have definitely been good, benevolent monarchs who actually care about the needs and requests of their people, but then you get to Henry the 8th, and you’re like....., but that’s how it was back then, and even to an extent now. Royalty and nobility get away with so much shit that would send a normal person to prison, just look at Prince Andrew. Having all of that power and prestige, combined with being in charge of a country and being pretty much exempt from a lot of things can lead your royal or noble characters to have an inaccurate sense of right and wrong. Using Henry the 8th as an example, pretty much half of the things he decided in his life can be summed up with, “it’s okay when Henry does it, but if anyone else does it, then I’m offing them” That can create really good conflict if your royal character is forced to finally face the consequences of some of their actions, despite having gotten away with everything since they were a kid. 
So, now that we’ve got your royal family figured out, it’s time to get into the royal court. Here are some basic questions that I asked myself when I was writing my royal court for my current, wip!
How big is the total court?- And when I mean court, I don’t just mean the nobles, I mean like everyone, the cooks, gardeners, everyone. I know I’m using Tudor England a lot as my example, but y’all know the Tudors and Henry Cavill own my heart. Anyways, Henry the 8th’s official household could have up to 800 people at one time, and anyone of his various Queens could have another 200 people at their disposal. That’s a lot of people.
What factions exist within the court?- In the words of James Madison, factions forming is pretty much inevitable. Inevitably, people are gonna have similar interests and agendas, and those people will often band together to bring down other people who have the opposite agendas as them. Royal factions are some of the best ways to add some intrigue and spicy conflict to your story.
Where does the court meet?- All royal courts center around the Monarch, but where does the monarch live? Does the Monarch move around throughout the year? In my wip, all the Sovereigns live in their own territories during the summer months, but during the winter months, they all live together at Brookshire. The location of your court can play a big role in how power is consolidated in your world. 
Who all is in the court at any given time?- This questions is probably one of the most important questions when you’re building your royal court. The people close to the monarch who protect them, love them, or spy on them. These people, in some scenarios, might have more control over the country than the monarch themselves. They might scheme to control the monarch, marry them, or kill them. 
For your convenience, here is a list of people that might be at a royal court at any given time sourced from: https://ryanlanz.com
The monarch(s) – Regardless of what titles you give them, this person or duo is the center of a royal court; she defines the rest of the court. If the monarch consists of two people they are most likely either married or siblings, sometimes both depending on the culture and age.
The monarch’s family – people related to the monarch by blood, adoption or marriage fall into this category, and these people might or might not have their own titles and additional positions, though not necessarily always officially. Consider how younger royal siblings might be sent places to be married off, and be expected to function as ambassadors without the pay, or the many hats that a dowager queen might wear in her “retirement.”
Ambassadors – these men and women come from other kingdoms but they’re vital to functioning on a wider scale. They communicate their lady’s desires, intents and goals, as well as bring her insider news from the courts where they are appointed. When things are going well, they command a lot of respect and power, but if their two countries are on the outs, their lives are almost certainly in danger. Keep in mind too that ambassadors are likely to have their own households, and there might be a junior ambassador in play as well.
Nobles – At any given time, a royal court is bound to be packed with the country’s gentry, there to doing things such as discuss business, introduce a child for courting, serve the crown for their appointed time or because they are so active in politics because they make their home wherever the Queen does. Unlike ambassadors who are primarily going to be focused on inter-country negotiations, noblemen and women will have their own agendas to further their families, and while you’d like to think that they’re all loyal to the crown and their country, sometimes their own ambitions might get in the way.
Court Fool/Jester – We like to think of the court fool as someone who is, genuinely, a fool, but that’s often not the case. The Fool is a useful tool for the monarch because he distracts the court, and more often than not acts as a spy, passing along tidbits of overheard information or sightings–after all, who pays attention to the simpletons?
Courtiers – Courtiers are different from nobles in that they are people whose talents or ambition have brought them to court seeking the next rung on their ladder, rather than people whose daily business has brought them to the Queen’s presence. They are here to make a name for themselves, and can almost always be counted on to act in their own best interests, unless motivated by an exceptional force. These types are often at court on their own dime.
Resident military commanders – Military commanders are not likely to be regular fixtures at court, as they’re needed with their forces. But the highest ranking among them are going to be in nearly constant contact with the monarch (or the monarch’s representative, as is sometimes the case) and that will often necessitate being physically present at court.
Guests – Whether from outside of the country, rich or poor, landed or not, the royal court is ALWAYS going to have guests, and a well-established court is going to have provisions for housing and caring for a large number of them. A person’s station and/or possible value to the crown might determine wherein a castle they are housed and how they are treated, but if you write in a few guests consider that their perspective could be useful in defining the court as a whole.
Semi-permanent guests – These guests are people who don’t necessarily belong at court, and while their stay might be lengthy, it is well established that it will not be permanent. Examples of these kinds of people might be businessmen appointed to oversee some long term prospects, or the children of foreign nobles who have been sent to another country to be educated.
The monarch’s favorites – These could be really good characters for you to develop in depth. They’re essentially wild cards, and as they are favorites of the Queen, they have the potential to be outlandish or scandalous, hated or misunderstood, but the love and blind eye from the Queen keeps them nearby… tethered.
Royal lords and ladies – It will be rare for any ruler to find themselves alone; their personal attendants live to see to their needs and are never going to be far from hand. These politically powerful positions are likely to be jostled over a great deal, especially if the monarch is young, and might overlap somewhat with the royal favorites. Sometimes these people are lifelong companions and sometimes they are placed strategically close to the monarch for certain goals but regardless of how they came to be there, they are likely to share in the fine things, wealth, power and danger that surrounds a royal.
Sponsored artists – Sponsored artists could easily be labeled courtiers, except that it wasn’t usually their idea to come to court, and they’re not there for their own ambition. If the wealthy of your world are at all inclined to supporting the arts – drawing, painting, writing, performance, design, etc – they’re likely going to want to show off their investments, so in this regard these artists are usually nothing more than accessories. Though being a court is always a good way to increase one’s sales.
Guards – Any court is likely to have several levels of protective personnel, all the way from those hired by the royal household to keep the general peace and take care of grunt work  to personal, more elite bodyguards. This is another varied group that can include any number of peoples, skill level, objectives and professional capacity, but everybody who’s anybody is going to have one or two. Eunuchs might also fall into this category–those maimed men who have been conscripted in guarding typically women whose virtue is deemed vitally important.
Servants – Another highly varied group, but no less vital to the functioning of a royal castle and court. Servants might hold roles such as cooks, head cooks, librarians, messengers, laundresses, seamstresses, housekeeping, tasters, children’s nurses, ushers, grooms, heralds, and gardeners. If you world isn’t very progressive, some of these roles might also be filled with slaves or bonded servants.
Harem members – This again will depend largely on your story itself, but if the King or Queen is going to be flitting from bed to bed, there’s likely to be a group of bedmates hanging around for royal pleasure. Whether or not this group is well respected or received (or even publically visible) is up to you.
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thetypewriterdaily · 5 months ago
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letters-toyourheart · 2 months ago
'Look at me' is one of the most fundamental desires of the human heart.
- Bertrand Russell, What Desires Are Politically Important?
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baremysoul · 3 months ago
Now I desire to write the best poetry of my life on my deathbed, leave it incomplete so someone after a millennial later, whose soul is intertwined with me completes it.
Sohini, Baremysoul
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perpetual-stories · a year ago
22 Essential Literary Devices and How to Use Them In Your Writing
hello, happy Monday. Hope you’re all having a wonderful day!
I will skip the pre-info and dive right into it.
What Is a Literary Device?
is a tool used by writers to hint at larger themes, ideas, and meaning in a story or piece of writing
The List of Literary Devices:
Allegory. Allegory is a literary device used to express large, complex ideas in an approachable manner. Allegory allows writers to create some distance between themselves and the issues they are discussing, especially when those issues are strong critiques of political or societal realities.
Allusion. An allusion is a popular literary device used to develop characters, frame storylines, and help create associations to well-known works. Allusions can reference anything from Victorian fairy tales and popular culture to the Bible and the Bard. Take the popular expression “Bah humbug”—an allusion that references Charles Dickens’ novella A Christmas Carol. The phrase, which is often used to express dissatisfaction, is associated with the tale’s curmudgeonly character, Ebenezer Scrooge.
Anachronism. Imagine reading a story about a caveman who microwaves his dinner, or watching a film adaptation of a Jane Austen novel in which the characters text each other instead of writing letters. These circumstances are examples of anachronisms, or an error in chronology—the kind that makes audiences raise their eyebrows or do a double-take. Sometimes anachronisms are true blunders; other times, they’re used intentionally to add humor or to comment on a specific time period in history.
Cliffhanger. It’s a familiar feeling: You’re on minute 59 of an hour-long television episode, and the protagonist is about to face the villain—and then episode cuts to black. Known as a cliffhanger, this plot device marks the end of a section of a narrative with the express purpose of keeping audiences engaged in the story.
Dramatic Irony. Remember the first time you read or watched Romeo and Juliet? The tragic ending of this iconic story exemplifies dramatic irony: The audience knows that the lovers are each alive, but neither of the lovers knows that the other is still alive. Each drinks their poison without knowing what the audience knows. Dramatic irony is used to great effect in literature, film, and television.
Extended Metaphor. Extended metaphors build evocative images into a piece of writing and make prose more emotionally resonant. Examples of extended metaphor can be found across all forms of poetry and prose. Learning to use extended metaphors in your own work will help you engage your readers and improve your writing.
Foreshadowing. At its core, storytelling has one ambition: to capture and sustain your reader’s attention and keep them reading your story. Foreshadowing, or slyly indicating a future event, is one technique a writer can use to create and build suspense.
Humor. Humor brings people together and has the power to transform how we think about the world. Of course, not everyone is adept at being funny—particularly in their writing. Making people laugh takes some skill and finesse, and, because so much relies on instinct, is harder to teach than other techniques. However, all writers can benefit from learning more about how humor functions in writing.
Imagery. If you’ve practiced or studied creative writing, chances are you’ve encountered the expression “paint a picture with words.” In poetry and literature, this is known as imagery: the use of figurative language to evoke a sensory experience in the reader. When a poet uses descriptive language well, they play to the reader’s senses, providing them with sights, tastes, smells, sounds, internal and external feelings, and even deep emotion. The sensory details in imagery bring works to life.
Irony. Irony is an oft-misunderstood literary device that hinges on opposites: what things are on the surface, and what they end up actually being. Many learn about dramatic irony through works of theater like Shakespeare’s Romeo and Juliet or Sophocles’s Oedipus Rex. When deployed with skill, irony is a powerful tool that adds depth and substance to a piece of writing.
Metaphor, Simile, and Analogy. Metaphors, similes, and analogies are three techniques used in speech and writing to make comparisons. Each is used in a different way, and differentiating between the three can get a little tricky: For example, a simile is actually a subcategory of metaphor, which means all similes are metaphors, but not all metaphors are similes. Knowing the similarities and differences between metaphor, simile, and analogy can help you identify which is best to use in any scenario and help make your writing stronger.
Motif. A motif is a repeated element that has symbolic significance to a story. Sometimes a motif is a recurring image. Sometimes it’s a repeated word or phrase or topic. A motif can be a recurrent situation or action. It can be a sound or a smell or a temperature or a color. The defining aspect is that a motif repeats, and through this repetition, a motif helps to illuminate the central ideas, themes, and deeper meaning of the story in which it appears.
Motif vs. Symbol. Both motifs and symbols are used across artistic mediums: Painters, sculptors, playwrights, and musicians all use motifs and symbols in their respective art forms. And while they are similar literary terms, “motif” and “symbol” are not synonyms.
Oxymoron. An oxymoron is a figure of speech: a creative approach to language that plays with meaning and the use of words in a non-literal sense. This literary device combines words with contradictory definitions to coin a new word or phrase (think of the idiom “act naturally”—how can you be your natural self if you’re acting?). The incongruity of the resulting statement allows writers to play with language and meaning.
Paradox. “This sentence is a lie.” This self-referential statement is an example of a paradox—a contradiction that questions logic. In literature, paradoxes can elicit humor, illustrate themes, and provoke readers to think critically.
Personification. In writing, figurative language—using words to convey a different meaning outside the literal one—helps writers express themselves in more creative ways. One popular type of figurative language is personification: assigning human attributes to a non-human entity or inanimate object in an effort to express a point or idea in a more colorful, imaginative way.
Satire. Satire is so prevalent in pop culture that most of us are already very familiar with it, even if we don’t always realize it. Satire is an often-humorous way of poking fun at the powers that be. Sometimes, it is created with the goal to drive social change. Satire can be part of any work of culture, art, or entertainment—it has a long history, and it is as relevant today as it was in ancient Rome.
Situational Irony. Irony: it’s clear as mud. Theorists quibble about the margins of what constitutes irony, but situational irony is all around us—from humorous news headlines to the shock twists in a book or TV show. This type of irony is all about the gap between our expectations and reality, and it can make a memorable and powerful impression when we encounter it.
Suspense. No matter what type of story you’re telling, suspense is a valuable tool for keeping a reader’s attention and interest. Building suspense involves withholding information and raising key questions that pique readers’ curiosity. Character development plays a big role in generating suspense; for example, if a character’s desire is not fulfilled by the end of the book, the story will not feel complete for the reader.
Symbolism. An object, concept, or word does not have to be limited to a single meaning. When you see red roses growing in a garden, what comes to mind? Perhaps you think literally about the rose—about its petals, stem, and thorns, or even about its stamen and pistil as a botanist might. But perhaps your mind goes elsewhere and starts thinking about topics like romance, courtship, and Valentine’s Day. Why would you do this? The reason, of course, is that over the course of many generations, a rose’s symbolic meaning has evolved to include amorous concepts.
Verisimilitude. Verisimilitude (pronounced ve-ri-si-mi-li-tude) is a theoretical concept that determines the semblance of truth in an assertion or hypothesis. It is also an essential tenet of fiction writing. Verisimilitude helps to encourage a reader’s willing suspension of disbelief. When using verisimilitude in writing, the goal is to be credible and convincing.
Vignette. A writer’s job is to engage readers through words. Vignettes—poetic slices-of-life—are a literary device that brings us deeper into a story. Vignettes step away from the action momentarily to zoom in for a closer examination of a particular character, concept, or place. Writers use vignettes to shed light on something that wouldn’t be visible in the story’s main plot.
I’ll make a post going into each of them individually in more detail later on!
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pragyawrites · 4 months ago
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"Find what you love and let it kill you brutally."
~ Charles Bukowski
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