"Very"

20 Compelling Positive-Negative Trait Pairs

Here are 20 positive and negative trait pairs that can create compelling character dynamics in storytelling:

1. Bravery - Recklessness: A character is courageous in the face of danger but often takes unnecessary risks.

2. Intelligence - Arrogance: A character is exceptionally smart but looks down on others.

3. Compassion - Naivety: A character is deeply caring but easily deceived due to their trusting nature.

4. Determination - Stubbornness: A character is persistent in their goals but unwilling to adapt or compromise.

5. Charisma - Manipulativeness: A character is charming and persuasive but often uses these traits to exploit others.

6. Resourcefulness - Opportunism: A character is adept at finding solutions but is also quick to exploit situations for personal gain.

7. Loyalty - Blind Obedience: A character is fiercely loyal but follows orders without question, even when they're wrong.

8. Optimism - Denial: A character remains hopeful in difficult times but often ignores harsh realities.

9. Humor - Inappropriateness: A character lightens the mood with jokes but often crosses the line with their humor.

10. Generosity - Lack of Boundaries: A character is giving and selfless but often neglects their own needs and well-being.

11. Patience - Passivity: A character is calm and tolerant but sometimes fails to take action when needed.

12. Wisdom - Cynicism: A character has deep understanding and insight but is often pessimistic about the world.

13. Confidence - Overconfidence: A character believes in their abilities but sometimes underestimates challenges.

14. Honesty - Bluntness: A character is truthful and straightforward but often insensitive in their delivery.

15. Self-discipline - Rigidity: A character maintains strong control over their actions but is inflexible and resistant to change.

16. Adventurousness - Impulsiveness: A character loves exploring and trying new things but often acts without thinking.

17. Empathy - Overwhelm: A character deeply understands and feels others' emotions but can become overwhelmed by them.

18. Ambition - Ruthlessness: A character is driven to achieve great things but willing to do anything, even unethical, to succeed.

19. Resilience - Emotional Detachment: A character can endure hardships without breaking but often seems emotionally distant.

20. Strategic - Calculative: A character excels at planning and foresight but can be cold and overly pragmatic in their decisions.

These pairs create complex, multi-dimensional characters that can drive rich, dynamic storytelling.

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

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

You want to call your House rep now and tell them Trump needs to be impeached immediately for defying a Supreme Court order (re: Kilmar Abrego Garcia), which functionally voids our constitution and means no one in America has rights anymore.

I am not exaggerating.

As of now, anybody can be disappeared, no due process, no recourse. Trump is openly disregarding a Supreme Court order and says he’ll send US citizens to El Salvador.

This is not a drill.

Call your House rep and tell them they must impeach. Tell them if they cannot bring themselves to impeach, they must resign. A more open and shut case to impeach is not possible. Trump and his administration are saying openly, in public, that anybody can be kidnapped by ICE, even in error, and disappeared permanently.

Call your senators, too, and tell them to support impeachment (it goes to them once it passes a majority House vote).

Common Cause

Find Your Representative

Find your representatives. Learn how to find and connect with them. Stay informed about their bills, committees, and contributions.

Scene Building: If you don't have anything interesting to say--don't say it.

                The basics of building a scene is this: it should have a reason to exist. However, “reason to exist” is a bit more specific than 'it exists to fulfill a purpose'. A scene in which two characters go to the store to get eggs for a cake technically fulfills this brief—the scene exists for a reason; the characters need eggs for their cake so they go get some.

                The problem here is that a scene in which two characters go to the store and get eggs and then go back home is… boring, or at least actually unnecessary.

                So really, your scene needs to fulfill a practical function (characters reach or fail their goal) and a secondary function—character dynamics or development is explored, background is revealed, arcs are furthered, friendships are formed or tested or broken, etc.

                If two characters are baking a cake but they need eggs and nothing new or interesting happens at the store, the scene can be skipped in a sentence or two:  

“given the unfortunate lack of eggs present in the fridge, John and Hector took a short trip to the corner store, gathering a carton of eggs for too much money before they headed home. 'Time to get cracking on this cake,' Hector said.”

                However, if there is something new or interesting to say at the shop—the clerk is John’s ex, all the town’s stores mysteriously closed at 2pm, Hector takes the walk alone to tell his friend something he’s been too scared to say—that makes it a scene worth your time.

                So really, the basics of building a scene is: if you don’t have anything interesting to say—don’t say it at all. Or otherwise, a scene should always be doing at least two things, goal and character, character and goal.

                What are some other rules for building scenes you’ve heard of?

60 Awesome Search Engines for Serious Writers

Make your margins wider in your writing

Writing what feels like a dozen pages only to figure out after that you haven't even gotten through half a page is a universal experience across all writers.

What I'm about to tell you is one way I've found helps getting through that psychological toll.

One day I was writing my novel (a-luchador-detective-versus-a-lady-vampire sort of affair) when I got a certain idea. I picked up my copy of Authority by Jeff Vandermeer that I had on the desk and decided to make the line length in my work the same as that paperback edition. Margins were widened and line spacing was adjusted, leaving me with a sort of narrow manuscript.

You've no idea how much my productivity went up.

Logically, finishing a line became much faster, which lead to quicker finished pages, which produced a longer-looking manuscript. Of course, this doesn't mean that my writing was immediately faster per se,

but the feeling of being faster placebo-ed me in a way that increased my output.

Now I'm hitting my daily word-count much more consistently and I believe this was partly responsible.

Humans like numbers going up, if we wouldn't both videogames and billionares wouldn't exist. Seeing my page count increase is a reward to my brain which gives me a boost to get to the next page. By decreasing the length between rewards I'm put in a more constant progression loop, no longer feeling the slog of going up a hill and being met with a thousand more.

And at the end, if I want to check my actual progress, the real gauge will forever be the total word count, which we shouldn't obsess over, anyways.

The journey to create a novel or other piece of long-form media will always be more of a marathon than a race, and should be undertaken with the mindset of a marathon. All progress is incremental, and you should not be emotionally punishing yourself for not finishing a quarter of your book in the last week, as if that were somehow possible.

The length of a novel is such that any time-saving and efficiency-increasing life hacks we apply would only be reducing our-time-finish by weeks at the most, so why the rush?

I believe the key to writing faster is to write constantly first.

Can't be fast without stamina. So go ahead; write and make writing easier on you.

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!

Writing Reference: Parts of a Castle

Arrow slits - Defenders could fire arrows out, but attackers could not shoot in through these narrow holes.

Banners - Showed the symbol of the lord and his king.

Battlements - Defenders standing here could bombard attackers while staying sheltered.

Blacksmith - Skilled metalworkers provided armor, weapons, and other equipment.

Curtain wall - Thick stone walls kept the castle’s inhabitants safe from attack.

Drawbridge - This wooden bridge could be raised to cut off access to the gate.

Dungeon - Prisoners could be locked away underground, with no hope of escape.

Entranceway - A single narrow entrance meant attackers could only approach one at a time.

Gardens - Grew vegetables to eat in case of siege.

Gatehouse - The castle entrance was heavily defended. It was often built as a narrow tunnel with wood or iron gates at either end. Holes in the ceiling (murder holes) could be used to pour boiling oil or water on attackers in the tunnel.

Gatehouse towers - Towers on either side of the gatehouse allowed defenders to rain arrows, stones, or boiling water on anyone attacking.

Great hall - The feasting room, where the lord would hold banquets for his knights and guests.

Lord’s chambers - The lord and his family had private rooms in the strongest part of the castle, known as the solar.

Moat - Cut into the rock and often filled by diverting a nearby stream, the moat kept attackers away from the walls.

Postern gate - A side door acted as an emergency exit in case the castle was ever conquered.

Towers - Circular towers allowed defenders to fire arrows in any direction.

During peacetime, a castle was home to the lord, his family and servants, and guards known as men-at-arms. Many castles were like little villages inside, with kitchens, blacksmiths, gardens, stables, and a chapel. If they were attacked, the people inside had everything they needed to survive until help came.

Source ⚜ Writing Notes & References More References: Medieval Period ⚜ Worldbuilding ⚜ Plot ⚜ Character

Scene Transitions

                Transitioning between scenes is something that you’ll have to do a lot. A good scene transition blends seamlessly into the next so we hardly notice it occurring—or it stands out in order to heighten an emotional impact.

                I remember teachers saying, “transitions should blend seamlessly” to me in school without ever explaining how to do that, or what it looks like. The good news is, you’ve probably read so many books and consumed so much media that you’re already subconsciously transitioning your scenes. If you’re struggling, though, here’s what to watch out for:

1. The emotion ends off and begins at the same place.

This isn’t necessarily a hard rule, but it certainly helps maintain a sort of flow to the work, and asks a lot less from your readers than putting them through an emotional rollercoaster. This counts whether it’s transitioning from the same POV or different ones.

                For example, if your character is being chased by the police and the scene cuts off without knowing what happens to them, the next scene needs to begin in this heightened sense of urgency and anxiety.

                However, if your character is being chased by police and dives unnoticed into their hideout, the next scene should begin within this sense of relief. From here, you can take it wherever you want—just maintain a consistency between chapter cuts, POVs, or other time/place skips.

2. Finish what you start

Unless you’re intentionally keeping the audience in the dark about something (which would require at least some acknowledgement that there are answers, they just aren’t being revealed), you should finish what one scene starts.

Say your previous chapter ends off with the character finally reaching the end of the line for the super scary haunted house attraction. The next should probably begin with them getting to enter the house. If it begins the next day, we’ll be so caught up in the missing time and the obvious lack of answers surrounding the haunted house it’ll take us completely out of the scene and make a notable cut.

                An example of a story that does this notable cut really well is ‘A Face Like Glass’ by Frances Hardinge, in which nearing the end, Hardinge inserts a page that playfully acknowledges the complete jump in time and space without revealing anything to the readers about why it’s there, leaving them to discover later on what occurred in that space.

                I wish I could quote it exactly but I don’t have the book with me. If anyone does, please reblog this with the page! You’ll know the one I’m talking about.

3. Keep it the same

Don’t switch to a new POV in the middle of the story when you’ve never seen it before unless intentionally making a point. Do transition your scenes however you’d like, but maintain consistency throughout the story. That way, if you ever need to make a point, you can break all the rules you’ve followed to really hammer home the impact.

                Good luck!

The Neurodivergent Writer’s Guide to Fun and Productivity

(Even when life beats you down)

Look, I’m a mom, I have ADHD, I’m a spoonie. To say that I don’t have heaps of energy to spare and I struggle with consistency is an understatement. For years, I tried to write consistently, but I couldn’t manage to keep up with habits I built and deadlines I set.

So fuck neurodivergent guides on building habits, fuck “eat the frog first”, fuck “it’s all in the grind”, and fuck “you just need time management”—here is how I manage to write often and a lot.

Focus on having fun, not on the outcome

This was the groundwork I had to lay before I could even start my streak. At an online writing conference, someone said: “If you push yourself and meet your goals, and you publish your book, but you haven’t enjoyed the process… What’s the point?” and hoo boy, that question hit me like a truck.

I was so caught up in the narrative of “You’ve got to show up for what’s important” and “Push through if you really want to get it done”. For a few years, I used to read all these productivity books about grinding your way to success, and along the way I started using the same language as they did. And I notice a lot of you do so, too.

But your brain doesn’t like to grind. No-one’s brain does, and especially no neurodivergent brain. If having to write gives you stress or if you put pressure on yourself for not writing (enough), your brain’s going to say: “Huh. Writing gives us stress, we’re going to try to avoid it in the future.”

So before I could even try to write regularly, I needed to teach my brain once again that writing is fun. I switched from countable goals like words or time to non-countable goals like “fun” and “flow”.

Rewire my brain: writing is fun and I’m good at it

I used everything I knew about neuroscience, psychology, and social sciences. These are some of the things I did before and during a writing session. Usually not all at once, and after a while I didn’t need these strategies anymore, although I sometimes go back to them when necessary.

I journalled all the negative thoughts I had around writing and try to reason them away, using arguments I knew in my heart were true. (The last part is the crux.) Imagine being supportive to a writer friend with crippling insecurities, only the friend is you.

Not setting any goals didn’t work for me—I still nurtured unwanted expectations. So I did set goals, but made them non-countable, like “have fun”, “get in the flow”, or “write”. Did I write? Yes. Success! Your brain doesn’t actually care about how high the goal is, it cares about meeting whatever goal you set.

I didn’t even track how many words I wrote. Not relevant.

I set an alarm for a short time (like 10 minutes) and forbade myself to exceed that time. The idea was that if I write until I run out of mojo, my brain learns that writing drains the mojo. If I write for 10 minutes and have fun, my brain learns that writing is fun and wants to do it again.

Reinforce the fact that writing makes you happy by rewarding your brain immediately afterwards. You know what works best for you: a walk, a golden sticker, chocolate, cuddle your dog, whatever makes you happy.

I conditioned myself to associate writing with specific stimuli: that album, that smell, that tea, that place. Any stimulus can work, so pick one you like. I consciously chose several stimuli so I could switch them up, and the conditioning stays active as long as I don’t muddle it with other associations.

Use a ritual to signal to your brain that Writing Time is about to begin to get into the zone easier and faster. I guess this is a kind of conditioning as well? Meditation, music, lighting a candle… Pick your stimulus and stick with it.

Specifically for rewiring my brain, I started a new WIP that had no emotional connotations attached to it, nor any pressure to get finished or, heaven forbid, meet quality norms. I don’t think these techniques above would have worked as well if I had applied them on writing my novel.

It wasn’t until I could confidently say I enjoyed writing again, that I could start building up a consistent habit. No more pushing myself.

I lowered my definition for success

When I say that nowadays I write every day, that’s literally it. I don’t set out to write 1,000 or 500 or 10 words every day (tried it, failed to keep up with it every time)—the only marker for success when it comes to my streak is to write at least one word, even on the days when my brain goes “naaahhh”. On those days, it suffices to send myself a text with a few keywords or a snippet. It’s not “success on a technicality (derogatory)”, because most of those snippets and ideas get used in actual stories later. And if they don’t, they don’t. It’s still writing. No writing is ever wasted.

A side note on high expectations, imposter syndrome, and perfectionism

Obviously, “Setting a ridiculously low goal” isn’t something I invented. I actually got it from those productivity books, only I never got it to work. I used to tell myself: “It’s okay if I don’t write for an hour, because my goal is to write for 20 minutes and if I happen to keep going for, say, an hour, that’s a bonus.” Right? So I set the goal for 20 minutes, wrote for 35 minutes, and instead of feeling like I exceeded my goal, I felt disappointed because apparently I was still hoping for the bonus scenario to happen. I didn’t know how to set a goal so low and believe it.

I think the trick to making it work this time lies more in the groundwork of training my brain to enjoy writing again than in the fact that my daily goal is ridiculously low. I believe I’m a writer, because I prove it to myself every day. Every success I hit reinforces the idea that I’m a writer. It’s an extra ward against imposter syndrome.

Knowing that I can still come up with a few lines of dialogue on the Really Bad Days—days when I struggle to brush my teeth, the day when I had a panic attack in the supermarket, or the day my kid got hit by a car—teaches me that I can write on the mere Bad-ish Days.

The more I do it, the more I do it

The irony is that setting a ridiculously low goal almost immediately led to writing more and more often. The most difficult step is to start a new habit. After just a few weeks, I noticed that I needed less time and energy to get into the zone. I no longer needed all the strategies I listed above.

Another perk I noticed, was an increased writing speed. After just a few months of writing every day, my average speed went from 600 words per hour to 1,500 wph, regularly exceeding 2,000 wph without any loss of quality.

Talking about quality: I could see myself becoming a better writer with every passing month. Writing better dialogue, interiority, chemistry, humour, descriptions, whatever: they all improved noticeably, and I wasn’t a bad writer to begin with.

The increased speed means I get more done with the same amount of energy spent. I used to write around 2,000-5,000 words per month, some months none at all. Nowadays I effortlessly write 30,000 words per month. I didn’t set out to write more, it’s just a nice perk.

Look, I’m not saying you should write every day if it doesn’t work for you. My point is: the more often you write, the easier it will be.

No pressure

Yes, I’m still working on my novel, but I’m not racing through it. I produce two or three chapters per month, and the rest of my time goes to short stories my brain keeps projecting on the inside of my eyelids when I’m trying to sleep. I might as well write them down, right?

These short stories started out as self-indulgence, and even now that I take them more seriously, they are still just for me. I don’t intend to ever publish them, no-one will ever read them, they can suck if they suck. The unintended consequence was that my short stories are some of my best writing, because there’s no pressure, it’s pure fun.

Does it make sense to spend, say, 90% of my output on stories no-one else will ever read? Wouldn’t it be better to spend all that creative energy and time on my novel? Well, yes. If you find the magic trick, let me know, because I haven’t found it yet. The short stories don’t cannibalize on the novel, because they require different mindsets. If I stopped writing the short stories, I wouldn’t produce more chapters. (I tried. Maybe in the future? Fingers crossed.)

Don’t wait for inspiration to hit

There’s a quote by Picasso: “Inspiration hits, but it has to find you working.” I strongly agree. Writing is not some mystical, muse-y gift, it’s a skill and inspiration does exist, but usually it’s brought on by doing the work. So just get started and inspiration will come to you.

Accountability and community

Having social factors in your toolbox is invaluable. I have an offline writing friend I take long walks with, I host a monthly writing club on Discord, and I have another group on Discord that holds me accountable every day. They all motivate me in different ways and it’s such a nice thing to share my successes with people who truly understand how hard it can be.

The productivity books taught me that if you want to make a big change in your life or attitude, surrounding yourself with people who already embody your ideal or your goal huuuugely helps. The fact that I have these productive people around me who also prioritize writing, makes it easier for me to stick to my own priorities.

Your toolbox

The idea is to have several techniques at your disposal to help you stay consistent. Don’t put all your eggs in one basket by focussing on just one technique. Keep all of them close, and if one stops working or doesn’t inspire you today, pivot and pick another one.

After a while, most “tools” run in the background once they are established. Things like surrounding myself with my writing friends, keeping up with my daily streak, and listening to the album I conditioned myself with don’t require any energy, and they still remain hugely beneficial.

Do you have any other techniques? I’d love to hear about them!

I hope this was useful. Happy writing!