Researching As A Writer

I’ve said this before and I’ll say it again but it is absolutely an example of civilizational inadequacy that only deaf people know ASL

“oh we shouldn’t teach children this language, it will only come in handy if they [checks notes] ever have to talk in a situation where it’s noisy or they need to be quiet”

List of 40 character flaws

Stubbornness, Unyielding in one's own views, even when wrong.

Impatience, Difficulty waiting for long-term results.

Self-doubt, Constant uncertainty despite evident abilities.

Quick temper, Excessive reactions to provocations.

Selfishness, Prioritizing one's own needs over others'.

Arrogance, Overestimating one's own abilities.

Trust issues, Difficulty trusting others.

Perfectionism, Setting unreachable high standards.

Fear of change, Avoiding changes.

Haunted by the past, Old mistakes or traumas influencing the present.

Jealousy, Envious of others' successes.

Laziness, Hesitant to exert effort.

Vindictiveness, Strong desire for revenge.

Prejudice, Unfair biases against others.

Shyness, Excessive timidity.

Indecisiveness, Difficulty making decisions.

Vulnerability, Overly sensitive to criticism.

Greed, Strong desire for more (money, power, etc.).

Dishonesty, Tendency to distort the truth.

Recklessness, Ignoring the consequences of one's actions.

Cynicism, Negative attitude and distrust.

Cowardice, Lack of courage in critical moments.

Hotheadedness, Quick, often thoughtless reactions.

Contentiousness, Tendency to provoke conflicts.

Forgetfulness, Difficulty remembering important details.

Kleptomania, Compulsion to steal things.

Hypochondria, Excessive concern about one's health.

Pessimism, Expecting the worst in every situation.

Narcissism, Excessive self-love.

Control freak, Inability to let go or trust others.

Tactlessness, Inability to address sensitive topics sensitively.

Hopelessness, Feeling that nothing will get better.

Dogmatism, Rigidity in one's own beliefs.

Unreliability, Inability to keep promises.

Closed-offness, Difficulty expressing emotions.

Impulsiveness, Acting without thinking.

Wounded pride, Overly sensitive to criticism of oneself.

Isolation, Tendency to withdraw from others.

words to use instead of ______

"Very"

Mild: clearly, decidedly, distinctly, markedly, considerably, notably, largely, recognizably, especially, indubitably Moderate: especially, surprisingly, substantially, uncommonly, chiefly, incredibly, obviously, unmistakably, considerably, awfully, wonderfully, particularly Bold: profusely, unequivocally, strikingly, astonishingly, exceedingly, absolutely, exceptionally, extremely, unquestionably, vastly, incontestably

"A Lot" (time)

Mild: often, oftentimes, sometime Moderate: frequently, usually, various, generally Bold: regularly, recurrent, persistent

"A Lot" (size)

Mild: many, much, several Moderate: numerous, bountiful, considerable Bold: multitude, profuse, vast

"Big"

Mild: sizable, ample, large, considerable, great, above average, important Moderate: ponderous, significant, crucial, vast, copious, magnificent, substantial Bold: enormous, immense, colossal, extensive, endless, paramount, boundless, prodigious, imposing, gigantic, voluminous, limitless, essential

"Small"

Mild: slight, limited, trivial, minor, light, puny, superficial, undersized, dinky, negligible, faint Moderate: scant, petite, inconsiderable, microscopic, dwarf, unsubstantial, minimum, miniature, tiny Bold: insignificant, minute, meager, infinitesimal, ineffectual, undetectable, inconsequential

"Good"

Mild: acceptable, favorable, agreeable, pleasing, satisfactory, satisfying, super, able, relevant, accomplished, efficient, reliable, ample, useful, profitable, adequate, adept Moderate: great, honorable, admirable, commendable, sound, splendid, superb, valuable, wonderful, worthy, clever, proficient, qualified, apt, skillful, thorough, wholesome Bold: excellent, exceptional, gratifying, marvelous, reputable, stupendous, superior, exemplary, virtuous, expert, solid, advantageous, flawless, extensive, perfect

"Bad"

Mild: cheap, dissatisfactory, faculty, off, mean, wrong, unpleasant, unwell, low, grim, sour, regretful Moderate: careless, defective, inferior, imperfect, deficient, rough, ill-suited, inadequate, unsatisfactory, delinquent, sinful, unruly, wicked, rancid, grave, harsh, terrible, downcast Bold: awful, unacceptable, corrupt, dreadful, putrid, erroneous, detrimental, ruinous, vile, villainous, diseased, adverse, evil

writing tip

if you ever find yourself trying to remember a word that’s on the tip of your tongue, you can save time by putting the definition of that word (or a synonym, or an indicator of what it is) in brackets and continuing. you can then fill in the word later during edits. 

~Nyx

This was supposed to be up last night but I crashed... and forgot to press post/publish.

The 100 85% Good Twine SugarCube Guide!

NOTE: This is a currently Pre-Release of the Guide. This means it may contains typos, broken links, and wonky formatting. Edit will be made for improvement/corrections, as well as adding more content.

This SugarCube Guide was create as an alternative to the official documentation, providing a comprehensive and wide look of over the use of Twine, particularly the SugarCube format.

The Guide is compartmentalised in (currently) four categories:

The Basics: or the absolute basics to start with SugarCube

The Basics+: adding interactivity, and creating a fully rounded IF game

Intermediate Use: adding more customisation and complex code

Advanced More (incomplete): the most complex macros and APIs

Each category explains a multitude of aspects of the format, tailored to a specific level of the user.

If something is unclear, you found a mistake, you would like more examples in the guide, or would like a feature covered, let me know!

The Guide currently covers all macros (as of SugarCube v.2.36.1*), most functions and methods, and some API. It touches upon the use of HTML, CSS, JavaScript and jQuery. *In case of format update, this Guide will make relevant edits.

The Guides also provides a list of further resources, for the different coding languages.

When completed, this guide will be available in a downloadable form.

THE GUIDE!

Innovative Relationship Stats in Interactive Fiction

This is the write up I've been most excited to do--this is one of my favorite things in interactive game design--doing cool stuff with stats. I really, *really* wish someone had told me this stuff when I was starting out.

The most ordinary way to handle a relationship stat is to track it with a number that goes up and down according to choices and tests in some predictable fashion.  So, for example, if I do something that Gilberto likes, according to some reasonable option, like “support Gilberto in the argument,” I get:

*set rep_gilberto %+10

And this makes sense to everyone.  I gave Gilberto a gift, I get reputation points with him.  I showed that I’m good at swordfighting, this impresses him, and I get a higher number.

Similarly, if I insult him, if I’m nice to his enemy, if I do something stupid in front of him, I get

*set rep_gilberto %-10

For my first game, this is the only kind of relationship stat I used.  It was the only one I knew!

So the relationships were very simple to track and very simple to test.  If, by the end of the game, Prenzie likes me 72 much, and that’s over the romance tester of >= 65, congratulations, Prenzie and you can have a happy ending together.

You can write a totally fun game never using anything weirder than that.  But I thought it would be fun to share with you some other interesting ways to conceive of relationship stats.

A character who only goes to 0 or 100. That's it. Her relationship stat with you is essentially a boolean true/false. You can do everything for her, but the second you do something she doesn't like, it's down to 0. She loves you or she hates you. This is very character defining. The number tells you everything you need to know about the character.

That same character, who only goes to 0 or 100--except that you can do something over the course of the game to change them, to allow them to have a broader range of relationship numbers. Suddenly there can be shades of relationship. You did something to help them mature, to understand people better.

A hidden relationship number. If you look at the stat screen, whatever you do, nothing will change their number. They neither like you nor dislike you. They are professional, perhaps, and nothing more. However, you can do something to break down their shield or facade, and then, you can see the number moving; or perhaps the number doesn't move at all until that shield is broken.

The above, but in reverse. Something happens to chill someone's heart, and then nothing you do can affect the number. Or perhaps it can only go down, and then you are in a constant battle of attrition where you can only lose affection from someone.

When you reach a certain level of love and trust from someone, the bottom of the scale raises permanently. No matter how much I annoy my true love, the number just bottoms out at 40.

A relationship number that can be tapped as a resource. The bartender at the Noble Gases Club likes me reasonably well. Let's say she likes me 60 out of 100 much. When I need something in an emergency, she can do astonishing things. If I have over 35 relationship with her, she'll help me. Each time I use her, it depletes her by some amount depending on how big a favor it is. So this one is interesting, because now I have to balance whether I want to keep her liking me because I want to pursue this relationship, or whether I just really need her help right now.

A relationship number that can be a catch-all variable for a test. If you have a high relationship with Toppers, the club millionaire, I can throw that in as a variable in a test to see if you can impress someone by talking about high finance on the grounds that you may have had a conversation with Toppers about her money in the past. (*if intellect + toppers >= 50) Then, if you pass the test *because* the Toppers variable made you cross the threshold, you can add flavor text talking about that conversation with her. This is very, very good, because it tells the player that the game has taken into account your having done things to get close to Toppers (and there's a reward for it--you passed the test, sure, but...here's more content, too!)

A degrading relationship stat is incredibly powerful and characterful. This stat declines, scene by scene unless you do something to raise it. This is a "what have you done for me lately" person, and even though it take a little setting up, code-wise, it's really powerful, and your player will feel smart for figuring out that's what's going on. Also, it's stressful. If you want to create that stress, this a great way.

You can, of course, do the opposite--this is how you code your biggest fan. I like you, and I just keep liking you more and more and more and more!...until you do something to halt that, at which point, the growth shuts down, which is a gut punch. The numbers tell such a story here.

Finally, numbers that seem to tell a different story than the narrative. Players are going to look at numbers; they are going to look at the stats. Not everyone, but a lot. And so they are part of the story, they just are. So you can make them part of the push-pull of romance, for example, or rivalry. What does it mean that as my relationship number with Haze goes up, they are more and more standoffish? Does their scale mean something different from other people's, and if I figure out out, will I understand them in some sense? Perhaps there's a tremendous amount of pushback in the 60-75 range, but once you get through that minefield, something changes?

More musings on game design and other Jolly Good stuff here (I just wrote up a thing on "hidden relationship stats and their use")--I'm on a relationship stats kick today, I suppose:

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The Noble Gases, est. DCIVMCD

🔥 The beacons are lit; the library calls for aid

The Trump administration has issued an executive order aimed at dismantling the Institute of Museum and Library Services - the ONLY federal agency for America's libraries.

Using just 0.003% of the federal budget, the IMLS funds services at libraries across the country; services like Braille and talking books for the visually impaired, high-speed internet access, and early literacy programs.

Libraries are known for doing more with less, but even we can't work with nothing.

How You Can Help:

🔥 Call your congressperson!

Use the app of your choice or look 'em up here: https://www.congress.gov/members/find-your-member

Pro tip: If your phone anxiety is high, call at night and leave a voicemail. You can even write yourself a script in advance and read it off. Heck, read them this post if you want to.

Phones a total no-go? The American Library Association has a form for you: https://oneclickpolitics.global.ssl.fastly.net/messages/edit?promo_id=23577

🔥Tell your friends!

Tell strangers, for that matter. People in line at the check out, your elderly neighbor, the mail carrier - no one is safe from your library advocacy. Libraries are for everyone and we need all the help we can get.

...Wait, why do we need this IMLS thing again?

The ALA says it best in their official statement and lists some ways libraries across the country use IMLS funding:

But if you want a really specific answer, here at LCPL we use IMLS funding to provide our amazing interlibrary loan service. If we can't purchase an item you request (out of print books, for example) this service lets us borrow it from another library and check it out to you.

IMLS also funds the statewide Indiana Digital Library and Evergreen Indiana, which gives patrons of smaller Indiana libraries access to collections just as large and varied as the big libraries' collections.

As usual, cutting this funding will hurt rural communities the most - but every library user will feel it one way or another. Let's let Congress know that's unacceptable.

Please, spread this for those who might need it right now

U.S. suicide hotline: call or text 988 (available 24 hours)

U.S. trans lifeline: (877) 565-8860 (when you call, you’ll speak to a trans/nonbinary peer operator. full anonymity and confidentiality)

Substance Abuse and Mental Health Services Administration (SAMHSA) National Helpline: 1-800-662-HELP (4357) – provides 24/7 confidential support and referrals for individuals and families facing mental health and substance use disorders, including panic attacks and anxiety.

LGBT National Help Center: (888) 843-4564

Trevor Project: Call (866) 488-7386, text START to 678-678, or chat online.

Take care of yourself and each other. Please stay safe ♡

Reasons For A Character To Hug Another ლ(・ヮ・ლ)

A: Because they haven’t seen them in a long time. 

B: Because they’re touched starved and need the affection desperately. They sink into their arms like they’re a soft pillow after an exhausting day.

C: Because it seemed unlikely that they would ever see them again. 

D: Because they’re tired and are using the other person as a makeshift bed. 

E: Because they’re cold and are drawn toward their friends warm body like a moth toward a flame. 

F: Because they haven’t confessed their feelings so kissing isn’t yet an option. 

More Undercut

Keep reading

What is an Unreliable Narrator? And How to Write One.

An unreliable narrator is a storytelling technique where the narrator's credibility or truthfulness is questionable. The narrator either intentionally or unintentionally provides a distorted or biased account of the events, characters, or situations in the story. This narrative approach can add complexity, suspense, and intrigue to your writing. Here's how you can create an unreliable narrator:

1. Establish a motive: Determine why the narrator is unreliable. It could be due to personal bias, mental instability, deception, or a hidden agenda. Develop their backstory, motivations, and beliefs to understand why they might present a skewed version of events.

2. Use subjective language: Incorporate language and descriptions that reflect the narrator's personal viewpoint and biases. Their opinions, emotions, and interpretations should color their narration, influencing how readers perceive the story.

3. Include contradictions and inconsistencies: Allow the narrator to make contradictory statements or present conflicting information. This creates doubt and keeps the readers engaged as they try to unravel the truth.

4. Reveal information selectively: The unreliable narrator might withhold or reveal information strategically, manipulating the readers' understanding of the story. This can create suspense and surprise as readers discover hidden truths.

5. Showcase unreliable perceptions: Explore how the narrator's perceptions and interpretations of events differ from reality. They may misinterpret actions, misremember details, or even hallucinate. These discrepancies add depth to the character and raise doubts about their reliability.

6. Use other characters as contrasting sources: Introduce other characters who present alternative perspectives or contradict the narrator's version of events. This contrast allows readers to question the reliability of the narrator and form their own interpretations.

7. Employ narrative techniques: Experiment with techniques like foreshadowing, symbolism, or unreliable memory to emphasize the narrator's unreliability. These devices can help blur the line between truth and fiction, leaving readers intrigued and uncertain.

8. Provide hints and clues: Drop subtle hints or clues throughout the story that suggest the narrator's unreliability. This allows readers to piece together the truth gradually and encourages them to engage actively with the narrative.