Hullo I am also fuzzy and good. How do you write such good explicit/pornographic stuff? Sincerely, a gal who’s written two explicit things and they’re both ehhhh…

ooh, okay, some thoughts from a scrappy, untrained writer (also thank you for saying that!)

MOST IMPORTANT ADVICE: call a dick a dick (or related words). they’re not interesting enough to warrant all the metaphors.

Other Stuff: 

  • let people talk during sex!!!
    • cute romantic swoony talk
    • filthy, filthy dirty talk
    • tense, uncomfortable talk
    • laughing and giggling (more of this pls) 
  • when you can’t figure out how to write a sex position, just google image it and describe whatever porn you see. somewhere in my history, you’ll find many variations on “gay sex on washing machine / in shower / against wall.”
  • i also have a tendency to just straight up describe what’s happening instead of making it pretty? like [x] goes into [y] in [z] way = sex. i think for me it’s the same as the dick thing–we all know what’s happening so it’s not necessary to cloak it in mystery unless you’re just into that. 
  • (i’m also not talented enough to write anything more than the math equation version of sex lol so take everything with a grain of salt!!) 
  • fading to black is great! sometimes, i’m in the middle of a scene and i’m, like, “ugghhh, i think the cuddling afterward is more important than the rest of the sex and writing orgasms is weird” and i just fucking skip it. 
  • writing orgasms is weird 
  • i have no help for that 

dynamicsymmetry:

Tips for aspiring pro writers who may not already know this stuff

(Inspired by an ask I just got.)

  • You’re going to get rejected. A lot. It’s okay that it hurts. It never really stops hurting. Give yourself some time to sulk. Then send it back out there. I have not infrequently gotten multiple rejections on stories that I did end up selling, both short and long.
  • Don’t self-reject. Start by aiming high: Submit to the best markets, the most well-regarded agents. The worst thing they can say is no.
  • Rejections are not personal. I routinely get rejections from editors who are friends of mine. Which feels kinda awkward. Nevertheless. It’s not about you, it’s about the story. And editors who reject your story don’t think less of you as a writer. They’ll say yes if they want the story. And if they say “I want to see more from you”, they mean it. If they say “this isn’t quite right for us”, they also almost always mean it.
  • You should always get paid for your work. Money flows to the writer (in fact not enough does but that’s a whole other conversation). You should never pay to submit or publish. You should never pay to take on an agent. Sometimes working for free might be okay if it’s charity or something, but almost without exception you should get paid. Working for “exposure” or copies of a thing is bullshit. Don’t do it.
  • You need an editor. No one is so good that they can’t be helped by an editor. That said:
  • Know when to walk away when it’s not working out. From editors, from agents, from publishers. I’ve done that. It’s hard but sometimes it’s necessary.
  • You don’t necessarily need an agent but god it does help. There’s a lot of talk these days, partially spurred by the rise of self-publishing, about how agents are no longer necessary. And many authors do get by without them. But in my opinion, having one is advisable. Many publishers don’t even take submissions that aren’t from agents. Agents help guide you through contracts. Agents help hook you up. Many good agents are also mentors. Generally I think you should try to get one.
  • Read the contracts. Read them carefully. If you’re new to the business, maybe ask a more experienced friend to help you look them over. Most places won’t outright try to screw you but reading the contracts will often save you a lot of pain later.
  • Read. The. Submission. Guidelines. Read them again. Read them again. Adhere to them as holy scripture. You will get auto-rejected in most cases if you don’t follow them, and there is no quicker way to get on an editor’s shit list than to flagrantly disregard the guidelines, and editors talk to each other. Mistakes get made, I’ve made a couple and often people are understanding, but read the damn guidelines.
  • It’s not all about who you know, but that’s part of it. And that’s not fair. While you don’t need to be in with the crowd to be successful, the publishing business is not a pure meritocracy, no matter how much it likes to tell itself that it is. Because most of us are, for better or worse, friends as well as colleagues, “networking” usually consists of chatting on social media and going to dinner and hanging out in bars and having bizarre 3 am conversations at cons that none of you remember clearly, but it does help a lot to know people and to be known by them. This sucks especially for people who can’t go to cons and other events, because in my personal experience that’s where a lot of it happens. But yeah, that’s just the hard truth. That said, there are a lot of people out there who remember what it was like to be the new kid in school, and they are warm and welcoming and will show you around and introduce you to people. So don’t sweat it too much.
  • You’re going to get resentful. That’s okay. Don’t beat yourself up about it, because it doesn’t mean you’re a bad person. Don’t let it poison you, reach out to friends about it if you’re struggling and don’t be afraid of being judged, because almost all of us deal with it. But you are probably going to find yourself seething now and then over the success of other people, especially if it’s success you feel you deserve. What I find helps? Gritting my teeth and boosting other people anyway. What you fake, you will often find you can make.
  • No one is making any money. Almost all pro writers have day jobs or are supported by spouses/partners/family. We are all fucking poor. That sucks, by the way, and is not okay, and a lot of us are agitating for restructuring of publishing that allows for us to get paid more. But yeah, don’t quit your day job as soon as you sell your first book.
  • Figure out what “success” means for you. Do you want money? Recognition? Awards? Most people are not successful in every way. Financially successful writers often don’t win many awards. Award-winning authors often aren’t pulling in large royalty checks or advances. It’s tough and weird out there.
  • “Success” will not fix you. If anything it’ll fuck you up even more. It will exacerbate your problems in some unexpected ways. I know writers, big writers with good deals who are where I’d like to be, and they are a hot mess. We’re all jittery balls of anxiety and self-loathing. I still think it’s worth it, just don’t expect yourself to suddenly feel like Enough because you’ve reached the vaunted status of Published Author.
  • You don’t actually have to write every day. I know many successful writers who don’t. I think it’s a good idea to try, and there’s a benefit to self-discipline, but it’s a bad idea to get down on yourself if you don’t. Take breaks. Be kind to you. Especially on days when writing is very hard. Those are usually days when your brain is telling you to ease up, and I would listen.
  • Be kind to you. I think a lot of us are our own worst critics, and I’ve found that’s more and more true the better a writer one is. High standards for yourself aren’t all bad, but think about how you’d like someone else to treat you, and try to be that way with yourself. Especially because writing is lonely, even with a community, and often you’re by yourself with only your own broken brain for company. At those times, if you aren’t kind to yourself, no one else will be.
  • You’re not on a set timeframe. You do not have to be a success before age thirty. You do not have to make a splash with your debut book. Is that what we all want? Sure, but everyone has a different journey, a different trajectory, and you need to walk your own path. Don’t think you’re being held to some arbitratry externally-imposed set of deadlines, because you’re not.
  • You’ll be okay. Truly. I swear.

romance movie prompts

don’t prompt me with these because i’m drowning in fics, but i’ll maybe reblog it when i’m not. here are some high quality romance plot descriptions harvested from netflix. 

1. a young couple breaks up and faces the prospect of the holidays turning into one long pity party. their solution: pretend they’re still together.

2. a restless bookstore manager struggles with commitment. can a rebound relationship be the real thing? 

3.  it’s every guy’s nightmare: an ex returns to haunt a new relationship. but the nightmare is real and the ex is a zombie.

4. afraid of being alone forever, two friends agree to become a couple if they’re still single in 10 years. a decade later, they’re not so sure. 

5. a little girl learns about her divorcing dad’s past relationships. there’s always the one…just not the one you think. 

6. a coffee-loving small-town barista and a tea-loving writer from new york. together, they could make the perfect blend.

7. to escape the stress of fame, a teen pop star goes incognito in a small town, where he forms a special bond with a high school art student.

8.  a passionate pianist and a soulful puzzle maker who treasures silence aren’t the best neighbors, but things get interesting when they start to date.

9. she dances in a posh conservatory, he performs on the streets for cash. but their common passion guides them both. 

10. a long-running romance with her oldest pal is usually simple, considering he’s gay. but not when they eye the same guy.

11. he’s a producer without a job. she’s a singer without a career. they might be the answer to each other’s prayers. 

12. after a one-night stand results in pregnancy, a young woman decides to become partners with the emotionally immature father-to-be.

13. a love-challenged man and a woman he meets at a bookshop bar begin dating, but only at the shop – and without knowing anything about each other.

14. as christmas approaches, an attorney travels to vermont to oversee the sale of an inn, where she falls for a handsome but cursed GHOST*

*inflection my own because WHAT

captaintinymite:

drabblemeister:

OKAY
I have been meaning to do this for MONTHS but hey, there’s no better time than the present so buckle up, here we go!

THESE BOOKS ARE A GODSEND.

I am ALWAYS on the lookout for writing aids that ACTUALLY HELP. If you’re like me, and occasionally venture out to buy books on, let’s say, showing vs telling – you will always get the same rehearsed speeches on what that means. -summons pretentious writer’s voice- You’ve got to shoooooow what’s happening in the scene, not teeeeeeell~~ BAH! What you NEVER get, however, is how to do it, or how do it better.

THESE BOOKS ARE THE STUFF OF DREAMS

Each of these is so freaking helpful, I can’t even convey. They all follow the same format as the pictures I’ve shown above, so you get one detailed page of descriptions followed by tons of more in-depth, thought provoking concepts.

I’ll do my best to lay out the five that I have and if you are interested, hop on over to Amazon and buy these suckers up because they are AMAZING; I have NEVER used a writing resource more than I use these.

Negative Trait Thesaurus & Positive Trait Thesaurus
-gives you a definition of said negative trait
-gives you similar flaws also found in the book
-gives you possible causes of WHY the character might have this trait
-gives you a list of other behaviors the chara might have
-gives you examples of the chara’s thought process
-gives associated emotions
-gives positive aspects of the trait, as well as negative
-gives examples of well known chara’s that have this trait
-talks about how the chara might overcome it
-gives traits that, when combined with this one, might cause conflict
How I use this information:
Chara building, or when I get stuck on what I want a character to do. Man, I just can’t decide what they WOULD do. Well, awesome, I have a little guide to help me think through the character’s possible motivations. Also, I get help building a potential backstory because I get a framework of which to think, why is the character this way?

Urban Setting Thesaurus & Rural Setting Thesaurus
-gives a whole lot of examples of sights, smells, tastes, and sounds
-gives examples of textures and sensations (ie at an ‘antique shop’ you may encounter chipped paint, distressed wood, etc)
-gives you possible sources of conflict (ie at a ‘hotel’ you might have noisy neighbors)
-gives list of people you might expect to find at said location
-gives related settings
-gives tips on this type of setting
-gives a setting description example
How I use this information: IMAGERY IMAGERY IMAGERY

Emotion Thesaurus (aka MY FAVORITE)
-gives a definition of the emotion
-gives physical signs and signals (ie chara may look pale, might fidget, etc)
-gives internal sensations (aka, blood pounding in the ears, dry throat, adrenaline rush)
-gives mental responses (ie fight or flight)
-gives cues of acute or long-term impacts of the emotion
-gives ‘may escalate to _______’ and directs you to other emotions
-gives cues of suppression (ie cues of suppressed rage)
-gives writer tips
How I use this information: I love this book so hardcore, it’s so helpful with internalizing. It’s great because I get to step outside of that box of using the same five responses to a certain emotion and start really thinking about, what can a character do instead to show that they are feeling this, rather than me using adverbs or his adrenaline pumped fifty gazillion times.

These books are all co-written by Angela Ackerman and Becca Puglisi (bless their souls) and if this sounds of interest LOOK INTO IT!! I get such buyer’s regret after buying writing guides but these are legit the best ones I have found and I reference them so, so, so much.

Hope this helps anyone out there looking for something life-changing!!

I have these books and the emotion thesaurus is my favorite writing aid.

hey if ur cis and thinking about writing a trans character read this

lymantriidae:

i’m really fucking tired of trans character ~reveals~ never being consensual.

ex: being injured / unconscious and ~discovered~; someone peeping or walking in on them undressed and having ~the breakdown~ scene; someone Lifting Their Clothes literally what the fuck

i personally don’t wanna see cis peoples’ trans headcanons for a lot of reasons but mainly this. there’s some really fuckin gross implications there about what cis people think of trans people and trans bodies (and how cis people assume we view ourselves lmao)

idk. i’m not articulate enough to get into this in the detail it should be discussed, but if ur gonna write a trans character or headcanon a character as trans, please keep your trans audience in mind?? ?

like what are we supposed to get out of seeing a character go through what for some of us is our worst nightmare? how do you think it feels to only ever see characters like you in non-consensual situations? how do you think it feels to see a trans character’s outing used to pat a cis character on the back for being a “good person” ?

as a trans person i want trans characters so i can see myself represented. i want good, well-written, diverse characters, written with the same level of awareness and detail that cis characters get to be written.

i don’t want cheap shock value. i don’t want the same stereotypical scenario over and over. i don’t want a characters transness to be presented in non-consensual or unsafe contexts just to pad cis peoples’ good ally savior complexes.

u feel me

if you can’t think of any way to disclose a character as trans other than a forced outing then maybe you shouldn’t be writing trans characters

we deserve better

!!! Hi ok this is a stupid question, but I’ve followed you for awhile and I’m always SO amazed at how quickly you churn out these really adorable snippets of writing. I’ve called myself a writer for a while, but I dont actually write much at all. I get ideas, and then never do anything. I wanna write fanfic so badly but I feel like anything I write would be too OOC. Idk. Can you maybe give me some advice?

no such thing as a stupid question!! 

I’m just gonna throw some random advice at you and hopefully some of it will be actually helpful, because I was, like, never formally taught how to write? But maybe there will be value among them

(I’m writing this presuming you’re wanting to write Daredevil stuff but a lot of it applies to all kinds of writing): 

  • If I want to write for a show, I binge-watch it at least twice then have it on in the background until their voices, like, reach my lizard brain and stay there eternally. 
  • This might just be me but having TV on in the background actually really helps me. I think it’s like white noise but you also hear the natural cadence of speech and it definitely helps me to write first drafts without worrying over every little thing because my brain’s not hyper-focused on details over output.
  • Speaking of, shitty first drafts are a thing! I’m a garbage human and basically always post my shitty first drafts without editing them unless I’m writing with somebody else or writing a gift, but there’s a lot of joy in throwing a bunch of words at your computer and then slashing them up later. It’s a whole lot easier to start writing when you’re not worried about whether or not it will be a masterpiece or not
  • beta-readers and cowriters can help a lot, if you have anybody irl or online who would do that with you! There are probably online means of finding people who want to collaborate, too, but I actually don’t know what they are. 
  • I am 150% sure that I’ve written fics that are totally OOC, especially at first. You could always write just for yourself for awhile until you get the feel of it, but writing and posting and engaging with the fandom are also all ways to develop and grow with your writing!
  • Write down every idea you have and then talk about them. I have a giant text file where I keep ideas along with rambling about where they could go, dialogue that pops into my head, etc. and it’s a great place to dip into when I need something to write (or also to steal dialogue from myself for other fics, which I do constantly) 
  • Also, prompts! I live and breathe prompts because I like attention and making people happy and also attention. And having the knowledge that I’m writing something for someone else makes it seem more special, sometimes? And, if you don’t have people waiting to throw prompts at you, there are kink memes and prompt tumblrs and all kinds of other places to find them. 
  • This is possibly all a lot of nonsense, but one more thing, for the Daredevil fandom in particular–there are probably, like, clutches of people who fight, but I’ve had almost nothing but lovely experiences writing for and with people in this fandom. By far the most caring one I’ve ever been in, and just small enough at this point in time that it kind of has that everybody knows each other vibe? It’s just a super nice group and, I think, an older group than a lot of fandoms which can make a difference. 
    • basically, don’t be afraid!! most of us are cool! and if you’re even bothering to be worried about it, your fics probably won’t be nearly as OOC as you think 🙂 
I think I wrote a lot but said very little, but hopefully some of that was helpful!  ❤ ❤ ❤ 

How to write fic for Black characters: a guide for non-Black fans

eshusplayground:

eshusplayground:

eshusplayground:

  1. Don’t characterize a Black character as sassy or thuggish, especially when the character in question is can be described in literally ten thousand other ways..
  2. Don’t describe Black characters as chocolate, coffee, or any sort of food item.
  3. Don’t highlight the race of Black characters (ie, “the dark man” or “the brown woman”) if you don’t highlight the race of white characters.
  4. Think very carefully about that antebellum slavery or Jim Crow AU fic as a backdrop for your romance.
  5. If you’re not fluent with AAVE, don’t use it to try to look cool or edgy. You look corny as hell.
  6. Don’t use Black characters as a prop for the non-Black characters you’re actually interested in.
  7. Keep “unpopular opinions” about racism, Black Lives Matter, and other issues pertinent to Black folks out the mouths of Black characters. We know what the fuck you’re doing with that and need to stop.
  8. Don’t assume a Black character likes or hates a certain food, music, or piece of pop culture.
  9. You can make a Black character’s race pertinent without doing it like this.
  10. Be extremely careful about insinuating that one or more of a Black character’s physical features are dirty, unclean, or ugly.

Feel free to add more.

Adding more…

  1. Be wary of making Black characters seem animalistic, uncivilized, or subhuman in comparison to white characters. Watch out for: comparing us to monkeys, gorillas, chimpanzees, apes, and other animals.
  2. Words like Negroid, colored/colured, Negro, and the n-word do not belong in the mouths of contemporary characters you want to portray as sympathetic.
  3. Not all Black people are African American.
  4. Africa is not a country but the second-largest continent on earth with some 54 different countries with thousands of ethnic groups and 1,500 to 3,000 languages and dialects.
  5. Resist the urge to make a Black character seem uneducated and ignorant compared to white characters.
  6. Capitalizing Black shows that you recognize that the word unifying people of African descent, particularly the diaspora, should be described using a proper noun.
  7. Please, say “Black people,” not “blacks.”
  8. Give Black characters the same psychological and moral complexity as white men are given by default.
  9. Make sure that you don’t write a Black character as happily subservient to a white character.
  10. Understand and show that you understand that Black characters don’t exist to be the caretakers of white characters.

And more…

  1. Do your own homework instead of expecting, asking, or demanding Black fans to do it.
  2. Before approaching that Black person you admire so much for being so articulate about race issues (this is sarcasm) to beta read your work: 1) make sure it’s something they’ve expressed interest in doing, and 2) you offer something in return for their time and expertise.
  3. Be prepared for fans to have issues with what you came up with and open to suggestions.
  4. Having only one Black character in a story that takes place in a huge city, country, or galaxy looks weird. Really, really weird. Scary weird.
  5. Don’t use a Black character’s death to motivate a white character.
  6. Portray Black characters with complex and multifaceted identities. We are more than just Black. We are also women, LGBT, Jewish, disabled, neurodivergent, immigrants, etc.
  7. There is a huge chasm between hypersexual and desexualized.
  8. Remember: what’s progressive for a white character is not necessarily progressive for a Black one.

SOME MORE NOVELING 

i know a teensy tiny bit about, like, appalachian granny magic and mountain-y stuff and i think that’s what i’m moving towards, but also the thought occurred to me: “matilda but older and gayer,” so who knows where we will end up

[some visual context: Em’s sitting on the roof outside her window, looking down at Casey in her front yard]

Em holds her breath, doesn’t take her eyes off the surprisingly elegant arc of Casey’s body in a too-big t-shirt and leggings as Casey’s scuffed Keds skid for a half a second in the grass before she leaves the ground. It’s a good jump, a strong start–Casey throws her arms up immediately to grab the closest branch and actually manages to catch it, which is further than she’s gotten since her primary goal in life became Climb Em’s Granny Tree.

It’s just an Elm tree. Em might have been convinced when she was a kid that a little bit of her grandmother’s soul was inside of it and might have told Casey that once when they were younger. Their sleepover talk tended to veer in the direction of I thought for awhile that my grandmother didn’t so much die as she became one with the giant tree in our front yard conversations, rather than the things that girls in movies talk about. She thinks this might be true of lots of girls, but she can’t say for sure.

Casey had nodded like it was the most reasonable thing in the world and refused to enter Em’s house without first greeting her grandmother from that point on, originally with reverence, eventually with hugs. This morning, she had thrown her arms around the trunk and said, voice slipping into something a little more sweet and Southern than usual, “Granny, you’re gonna finally let me in today.” 

Casey swings from the branch and her feet scramble against the bark to try to force herself up before she says, “Shit damn,” in one breath and her hands slip. 

Heat flares up underneath Em’s skin. For a second, everything dims except the shine of the sun against Casey’s hair, braids piled up on top of her head. She might not actually hurt herself if she falls naturally, but it doesn’t matter. The world shifts inside Em’s head. Everything shifts from hot to cold then back again. Two seconds pass and Casey lands gently on her knees in the grass.

“Why does she hate me?” Casey asks, sighing dramatically and throwing herself onto her back, not noticing a thing. “Doesn’t she know I’m family?”

Em draws in a shaky breath before she smiles, throws down another gummy worm that manages to land on Casey’s bare stomach where her shirt has ridden up. Casey laughs and eats it immediately.

“She’s a tree,” Em says. “She doesn’t know anything.”

“Don’t talk about your grandmother like that,” Casey says. She groans like the weight of the world is on her fourteen-year-old bones as she pushes herself to her feet, pointing a finger at Em. “Don’t move, I’m coming up.”

“Yes’m,” Em murmurs, leaning back against the wall, her feet dangling over the edge. This is as dangerous as she gets: sitting.

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