Sometimes You Need Dialogue Tags And Don't Want To Use The Same Four

some people think writers are so eloquent and good with words, but the reality is that we can sit there with our fingers on the keyboard going, “what’s the word for non-sunlight lighting? Like, fake lighting?” and for ten minutes, all our brain will supply is “unofficial”, and we know that’s not the right word, but it’s the only word we can come up with…until finally it’s like our face got smashed into a brick wall and we remember the word we want is “artificial”.

TWINE REF - Cycle Link With Descriptions

In Twine Sugarcube.

Cycle Link: Part 1 Part 2

We already know how to show basic cycling links on Twine Sugarcube, but if we what if we want to show a cycling link along with descriptions that changes in real-time, according to the player’s choices, but we don’t want the descriptions to be stored in the choice variable?

I gotchu: Class Object Variables

We can do this by using class object variables when we make the list of options. Let’s say we want to show weapon options along with a description.

Sword: A mid-range weapon

Dagger: A close-range weapon

Bow & Arrow: A long-range weapon

Then for the list of options, we can write:

<<set _listofweapons to {        "Sword. A mid-range weapon”: “Sword”,         "Dagger. A close-range weapon": “Dagger”,        " Bow & Arrow. A long-range weapon": “Bow & Arrow” }>>

And to create the cycling link, as usual:

<span id=“cyclink”><<cycle “$weaponofchoice” autoselect >><<optionsfrom _listofweapons>><</cycle>></span>. 

Sugarcube will shows the index of the class object variable to the players, so the one written on the left side. It’ll automatically save the actual content of the class object (right-side) as player’s choice in the variable $weaponofchoice. 

And that’s it! 

We’ve come full circle back to class object variables guys lol. At this rate, I’ll just go ahead and make a class object variable cult, but I can’t help it ok.. It’s just way too convenient, and we can do so much with it. 

If you have any questions, or if you want to make something on twine but can’t seem to figure it out, feel free to send in an ask!

Slight note about the system of food.

'cause adding it to the large doc might crash my computer?

I've realized that though historical fiction minds this more when set in pre-industrial times, that often fantasy set in agricultural societies doesn't seem to do this, though it should.

So I'll give you an example...

Almost everything in Korean food is centered and bred for two things: Kimchi and soy sauce.

But what you don't realize in your industrialized state how freaking long it takes to make these things and how much planning is involved and how much you have to mind the seasons in order to make it correctly.

Kimchi:

Baekchu (or other vegetables) that's often harvested in fall.

The salt, which was traditionally sea salt was harvested in the spring and summer months.

Garlic is a spring to mid summer crop.

The sweet rice that goes into winter kimchi takes a ton of work to make and can take from Spring to fall.

The fish sauce that goes into Kimchi that helps preserve it for over a year, takes and ENTIRE YEAR to make. Yes, a year. You really, really have to plan on that. And what do you do if the fishing is poor for that year?

Spring onions are faster to grow, but you still have to time it for the fall kimchi making.

The fish are seasonal. For example, Yellow Corvina is taken in Korea in the spring. Shrimp in the summer (June), and anchovies in early spring to fall.

Your timing has to be impeccable and you need an entire year to plan this one dish.

Meanwhile, you, industrialized person, take for granted that you can get fish sauce any time you like and can pour it over kimchi.

In fantasy this could add flavor to your fantasy make up, if your character can only get this dish once a year. It can add political unrest (What do you mean the salt harvest was poor and we're left with the shitty metallic salt), because your characters in an agricultural society will be subject to weather changes, which you get when reading historical fiction and so on. Three seasons of poor harvest, daaaamnn... the people might overthrow their government. There might be new religions that pop up, there might be uprisings because the King and Queen are eating feasts every day while the peasants are eating things that are empty calories.

What I'm saying is that you can't be too entrenched into industrial mindset if you're not writing an industrial setting.

That orange is seasonal and only comes about in a connected system that has winter and a warmer climate.

Maybe there are key foods for your climate that are highly treasured or sought after. Mandarins once were. Cacao. Think a bit about those things and how it might interact with the larger world. When does your plant mature and when can it be harvested? is it different from different climates? There's wars that have been fought over food. (Tea, famously, at least a few times).

A staple crop failing is going to have devastating consequences.

And yet, often in fantasy, I often see people going, ya know what I can eat in the dead of winter, strawberries. Do we have greenhouses? No. Did we have freezers? No. But you know what my character is eating? A strawberry. Yeah, think about that. Strawberries don't preserve well. So plan out the timing of your dishes a bit (to the climate and subsistence system) and it can give a bit of background worldbuilding to your dishes and food.

I do have to say that the small mentions from Rings of Power on what's in season or not and why kinda made me feel like the world and the traveling was more "real" with the Harfoot. There's small references to fall v. spring crops.

Expanding a thought from a conversation this morning:

In general, I think "Is X out-of-character?" is not a terribly useful question for a writer. It shuts down possibility, and interesting directions you could take a character.

A better question, I believe, is "What would it take for Character to do X?" What extremity would she find herself in, where X starts to look like a good idea? What loyalties or fears leave him with X as his only option? THAT'S where a potentially interesting story lies.

In practice, I find that you can often justify much more from a character than you initially dreamed you could: some of my best stories come from "What might drive Character to do [thing he would never do]?" As long as you make it clear to the reader what the hell pushed your character to this point, you've got the seed of a compelling story on your hands.

So... I found this and now it keeps coming to mind. You hear about "life-changing writing advice" all the time and usually its really not—but honestly this is it man.

I'm going to try it.

Seen a couple posts on the dashboard lately about writing with ADHD. So, for the ADHD and neurodivergent folks who like writing but struggle sometimes… check out StimuWrite.

You can set it to make little sounds as you type (or leave them off), and emojis pop up in the corner. You can change the background, dark and light themes, set your word goal, and it gives you a percentage and total word count at the bottom. Though it’s more meant for getting a draft written up, so it doesn’t have spell check or anything like that. You’re meant to just copy and past what you write here into Google Docs or Word or Scrivener or whatever else you use and go from there. Honestly love it when I’m struggling to get words down, though. And apparently there’s an update now for StimuWrite 2?👀

Anyways, give it a try if it looks like it may help. It’s currently name-your-own-price.

10 Non-Lethal Injuries to Add Pain to Your Writing

While lethal injuries often take center stage, non-lethal injuries can create lasting effects on characters, shaping their journeys in unique ways. If you need a simple way to make your characters feel pain during a scene, here are some ideas: 

Sprained Ankle

A common injury that can severely limit mobility, forcing characters to adapt their plans and experience frustration as they navigate their environment.

Rib Contusion

A painful bruise on the ribs can make breathing difficult and create tension, especially during action scenes, where every breath becomes a reminder of vulnerability.

Concussion

This brain injury can lead to confusion, dizziness, and mood swings, affecting a character’s judgment and creating a sense of unpredictability in their actions.

Fractured Finger

A broken finger can complicate tasks that require fine motor skills, causing frustration and emphasizing a character’s dependence on their hands.

Road Rash

The raw, painful skin resulting from a fall can symbolize struggle and endurance, highlighting a character's resilience in the face of physical hardship.

Shoulder Dislocation

This injury can be excruciating and often leads to an inability to use one arm, forcing characters to confront their limitations while adding urgency to their situation.

Deep Laceration

A cut that requires stitches can evoke visceral imagery and tension, especially if the character has to navigate their surroundings while in pain.

Burns

Whether from fire, chemicals, or hot surfaces, burns can cause intense suffering and lingering trauma, serving as a physical reminder of a character’s past mistakes or battles.

Pulled Muscle

This can create ongoing pain and restrict movement, providing an opportunity for characters to experience frustration or the need to lean on others for support.

Tendonitis

Inflammation of a tendon can cause chronic pain and limit a character's ability to perform tasks they usually take for granted, highlighting their struggle to adapt and overcome.

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Researching as a Writer

Start Broad

begin with a list of more general topics and get specific as you go.

for example, research for a historical fantasy novel might follow a chain that looks like this:

life in the 1700s -> life in 1700s france -> 1700s french etiquette and lifestyle depending on class -> 1720s french fashion for middle and upper-middle class women.

starting with a general understanding of the topic you want to cover and narrowing down to specifics will make it easier to build on your knowledge as you go.

Think Critically

consider the source. if it doesn’t cite primary sources (for example, letters and photographs from a specific era and location), what sources does it cite? follow those sources if possible.

is the information reliable? is it provided by an educational institution or an expert on the subject?

who is the author? do they present any bias? what do they have to gain by promoting a specific mindset or conclusion? has any of their research been debunked?

Anecdotes

in general, anecdotal evidence is not sufficient for academic writing. luckily for you, this is a fiction writing page, and anecdotal evidence is usually fine!

work with a combination of scholarly sources and personal experience. if you’re trying to depict a specific health condition, you might consult medical sources about the technical details of the condition, as well as seeking firsthand accounts from people who have that condition.

remember that people are not monolithic! there are often forums online where people are more than happy to discuss their experiences; cross-consult these for common elements.

Lists

keep track of your sources!! if you ever need to consult something later on, it will be way easier to open a list of resources than go digging through your search history.

additionally, if you come across lists of sources compiled by other people, save those!! you are probably not the first person to research the specific topic you’re looking into, and there are entire websites dedicated to gathering research!

wordsnstuffblog.com/research has compilations of sources for everything from writing injuries to global period pieces by century.

Resources

if you can, check out your school or public library’s websites! they will often compile scholarly resources to access for free.

look for open access or open source sites like project gutenberg that archive and digitize historical documents and other works. scienceopen and the directory of open access journals are more of these. search using keywords!

keep an eye out for websites made specifically for educational purposes (those with .edu at the end of their addresses).

when building a fictional nation:

(these are the things I think some writers tend to forget about but are not just important, but also kind of fun)

—remember there are more types of government leaders than presidents and monarchs (multiple leaders, religious leaders, Athenian democracies, etc)

—the education system and who is or isn’t allowed to learn and what are they allowed to learn

—essential jobs (garbage collectors, firefighters, medical professionals, or any fictional ones you come up with) and is their work process any different from our world’s version of them?

—which animals are protected by the government and why? (Are they endangered? Are they beloved by the people? Is there any time where hunting those animals is legal?)

—Is there a separation between church and state? (No it doesn’t mean just Christianity, it’s asking if the religion run the country, or do both co-exist without interference?)

—Any fictional laws that are used in just that setting alone and NOT our world? (Magic is banned, no flying after dark, all aliens need a passport before entering a planet)

—Is the election process any different compared to how they are done where you are from?

—higher education and what that means in the setting

I know that some writing advisors tell people that they need to ask EVERY. SINGLE. QUESTION. about their fictional setting/country, but I think plenty of people would disagree. Write what’s important to your plot and to the characters, but sometimes adding in fun little extra details about everyday life can make it feel more alive.

whatever you do, PLEASE don’t dump all of your setting’s past, present and future in one big ten-page rant because it will shatter the mood so quickly you have no idea.

Signs of Attraction

Mirroring your movements unconsciously.

Frequent light touches on your arm or back during conversation.

Persistent eye contact, with pupils dilated when looking at you.

Quick glances at your lips while talking.

Frequent, almost nervous laughter in response to your jokes.

Finding excuses to start or extend conversations.

Revealing personal details in hopes of creating a deeper connection.

Sudden interest in your hobbies or activities.

Adjusting clothing or hair when they notice you looking.

Offering compliments not just about your appearance, but your qualities or achievements.

Standing closer to you than to others in a group.

Making plans for future meetings without a specific reason.