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Writing Tips

Punctuating Dialogue

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➸ “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.”

Writing Snippet #2

Ivory kept silent, a hair’s breadth away, but for Esther it must have been miles. Miles of restraints and secrets and those insufferable loyalties, the roles Ivory upheld, honor bound. She had seen her unleashed, the wild, selfish recklessness, trembling hands, and quiet, sweet whispers in the late hours all wound up tight now.

all RIGHT:

Why You're Writing Medieval (and Medieval-Coded) Women Wrong: A RANT

(Or, For the Love of God, People, Stop Pretending Victorian Style Gender Roles Applied to All of History)

This is a problem I see alllll over the place - I'll be reading a medieval-coded book and the women will be told they aren't allowed to fight or learn or work, that they are only supposed to get married, keep house and have babies, &c &c.

If I point this out ppl will be like "yes but there was misogyny back then! women were treated terribly!" and OK. Stop right there.

By & large, what we as a culture think of as misogyny & patriarchy is the expression prevalent in Victorian times - not medieval. (And NO, this is not me blaming Victorians for their theme park version of "medieval history". This is me blaming 21st century people for being ignorant & refusing to do their homework).

Yes, there was misogyny in medieval times, but 1) in many ways it was actually markedly less severe than Victorian misogyny, tyvm - and 2) it was of a quite different type. (Disclaimer: I am speaking specifically of Frankish, Western European medieval women rather than those in other parts of the world. This applies to a lesser extent in Byzantium and I am still learning about women in the medieval Islamic world.)

So, here are the 2 vital things to remember about women when writing medieval or medieval-coded societies

FIRST. Where in Victorian times the primary axes of prejudice were gender and race - so that a male labourer had more rights than a female of the higher classes, and a middle class white man would be treated with more respect than an African or Indian dignitary - In medieval times, the primary axis of prejudice was, overwhelmingly, class. Thus, Frankish crusader knights arguably felt more solidarity with their Muslim opponents of knightly status, than they did their own peasants. Faith and age were also medieval axes of prejudice - children and young people were exploited ruthlessly, sent into war or marriage at 15 (boys) or 12 (girls). Gender was less important.

What this meant was that a medieval woman could expect - indeed demand - to be treated more or less the same way the men of her class were. Where no ancient legal obstacle existed, such as Salic law, a king's daughter could and did expect to rule, even after marriage.

Women of the knightly class could & did arm & fight - something that required a MASSIVE outlay of money, which was obviously at their discretion & disposal. See: Sichelgaita, Isabel de Conches, the unnamed women fighting in armour as knights during the Third Crusade, as recorded by Muslim chroniclers.

Tolkien's Eowyn is a great example of this medieval attitude to class trumping race: complaining that she's being told not to fight, she stresses her class: "I am of the house of Eorl & not a serving woman". She claims her rights, not as a woman, but as a member of the warrior class and the ruling family. Similarly in Renaissance Venice a doge protested the practice which saw 80% of noble women locked into convents for life: if these had been men they would have been "born to command & govern the world". Their class ought to have exempted them from discrimination on the basis of sex.

So, tip #1 for writing medieval women: remember that their class always outweighed their gender. They might be subordinate to the men within their own class, but not to those below.

SECOND. Whereas Victorians saw women's highest calling as marriage & children - the "angel in the house" ennobling & improving their men on a spiritual but rarely practical level - Medievals by contrast prized virginity/celibacy above marriage, seeing it as a way for women to transcend their sex. Often as nuns, saints, mystics; sometimes as warriors, queens, & ladies; always as businesswomen & merchants, women could & did forge their own paths in life

When Elizabeth I claimed to have "the heart & stomach of a king" & adopted the persona of the virgin queen, this was the norm she appealed to. Women could do things; they just had to prove they were Not Like Other Girls. By Elizabeth's time things were already changing: it was the Reformation that switched the ideal to marriage, & the Enlightenment that divorced femininity from reason, aggression & public life.

For more on this topic, read Katherine Hager's article "Endowed With Manly Courage: Medieval Perceptions of Women in Combat" on women who transcended gender to occupy a liminal space as warrior/virgin/saint.

So, tip #2: remember that for medieval women, wife and mother wasn't the ideal, virgin saint was the ideal. By proving yourself "not like other girls" you could gain significant autonomy & freedom.

Finally a bonus tip: if writing about medieval women, be sure to read writing on women's issues from the time so as to understand the terms in which these women spoke about & defended their ambitions. Start with Christine de Pisan.

I learned all this doing the reading for WATCHERS OF OUTREMER, my series of historical fantasy novels set in the medieval crusader states, which were dominated by strong medieval women! Book 5, THE HOUSE OF MOURNING (forthcoming 2023) will focus, to a greater extent than any other novel I've ever yet read or written, on the experience of women during the crusades - as warriors, captives, and political leaders. I can't wait to share it with you all!

It's "See how well you can follow instructions" time ya lil fuckers!!

Here's a poll, you can't press any of the options, that's the only rule, no voting. Reblogs, likes, and comments are totally allowed, you just can't vote

You all have one week, let's see how this goes

@maryland-no-rabies Tagging cause I need people to see this

Have fun !!

since the old version of this post was flagged for 'adult content'...

reblog this post if your account is a trans safe space or owned by a trans person!

along with that, reblog if your account is a trans non-binary spectrum safe space or owned by someone on the trans enby spectrum!

4 Years of Hope

Hi there! We're 4 Years of Hope, aiming to bring you a mission of creativity, community and a little light in the darkness throughout whatever the next 4 years brings you. We know things are looking to be hard for a lot of folks right now, and we want to help a little in our own small, creative ways.

What will we be doing?

Each year, we'll be publishing an eZine featuring writing and art from around the globe in this wonderful writing community we've forged, aiming to help folks out there appreciate the joy of creativity. Each project will have a different theme specifically relating to hope. There will also be voluntary donations towards a charity supporting causes close to our heart in these difficult times.

Who are we?

We're run by a small team of community artists, just hoping to make a little bit of a difference.

Via is an author, theatre maker and workshop leader who supports folks to be the most creative version of themselves. They aim to inspire, empower and enfranchise through their work, and love to explore challenging and educational themes. They love cats, and if they could be any kitchen implement they would be a spatula.

Alex is a Canadian artist, musician, and YA author. When they’re not at the keyboard, you can find them hosting tabletop game night, working on illustrations, or at their other keyboard composing music. Their life’s work is to connect with queer youth who feel as lost and hopeless as they once did and provide a little bit of hope for the future, be that through writing, music, or comedy.

Em is a poet, parent, and artist specializing in sculptures. She loves to see what beauty comes from creativity and community and has a non-trivial obsession with turtles.

What's next?

We're still getting things set up on our end, but please keep an eye out over the next few weeks for announcements about our first Zine theme, and our first charity!

Dreamlike Laughter

Reality kisses his sleepless nights, until he dreams of her again.

“Really wish you weren’t here anymore, love,” Milas tells Zimi, sitting by the window of his apartment. When he squints outside, the moonlight gleams too sharply off of the blades of grass. 

He needs to tell her tonight. Right here in the dreamscape she made for them to meet across the mountains and rivers between. 

She barks out a short laugh, but her shoulders hunch. She begins, “I don’t know who I can trust enough to practice this type of spell. I truly didn’t know I was bothering, hones—”

‘I miss sneaking mom’s pastries to you and spending all night awake because you got a new board game and you’re a horrible, horrible cheater and.’ Words. Words tangle in his mouth, so he blurts out, ‘And, I miss all the ands.’

Quick as a wildfire, she grasps his face with both her hands. He never feels them, but he can see her dark eyes looking into his sandy ones. In these moments, he thinks her a phantom. That the sentinels who swore their loyalty to her killed her before she could cross the city’s borders. With their history, the years stretching like scars on knobby knees and dolls, he could create something real enough to fool him. 

Something creaks, like twigs snapping under a wheel. It takes Milas back to the evening before, his hand digging into Elijah’s wheelchair, light stubble not smooth skin, and soft hair brown not black under his hands. When he pulls away abruptly, she puts her hands up in surrender. 

The view outside the window fades into fog, but so do the corners of his room. He needs to tell her. 

‘I’m sorry, Kazimiera’ he chokes out. ‘I don’t deserve you.’ He slips onto his knees. Promises broken in a heartbeat, heartbeats jackrabbitting with Elijah’s laugh and the way he calls him endearments in something called French, and Milas was such a fool for the litany of mon chou, trésor, amour. 

After a pause she says, ‘You kissed someone? ’

He shakes his head vehemently, ‘I didn’t, but I wanted to. I almost did.’

The world stills, or maybe it’s too loud in his head: exile, treason, Elijah. The fog obscures his vision until he can’t see anything past the table. 

She grins up at him as if he’s the stupidest person on the planet, and asks, ‘And selfishly hoard your heart all to myself? I couldn’t fit it in the biggest rooms of the palace.’

All air rushes out of his lungs in a sharp exhale, dizzy with relief until he is gasping in short breaths—her forgiveness cooling the splinters under his skin. 

When she leans forward to speak in his ear to tell her about him, he is back at the couch with a flickering lamp’s terrible wiring. 

He is still talking about him when the fogs submerges him fully.

When he opens his eyes, Elijah’s laughter down the hallway is made of dreams. 

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

If you're in the US military or National Guard, and are given an illegal or unconstitutional order, the GI Rights hotline (1-877-447-4487) is there to help give you the support you need to do the right thing by refusing it. It would be good to think about this now before it becomes a live issue for you and it would be smart of you to memorize that number.