camille

hey, everybody! i know i haven’t been super active on here recently and that’s because i’ve been working on a secret project and i’m so excited to finally share it with you all. may i present:

the hyacinthus mag

a literary magazine dedicated to uplifting marginalized creatives. we publish poetry, fiction, and creative nonfiction. our submissions are currently open.

hey, everybody! i know i haven’t been super active on here recently and that’s because i’ve been working on a secret project and i’m so excited to finally share it with you all. may i present:

the hyacinthus mag

a literary magazine dedicated to uplifting marginalized creatives. we publish poetry, fiction, and creative nonfiction. our submissions are currently open.

hey, everybody! i know i haven’t been super active on here recently and that’s because i’ve been working on a secret project and i’m so excited to finally share it with you all. may i present:

the hyacinthus mag

a literary magazine dedicated to uplifting marginalized creatives. we publish poetry, fiction, and creative nonfiction. our submissions are currently open.

hey, everybody! i know i haven’t been super active on here recently and that’s because i’ve been working on a secret project and i’m so excited to finally share it with you all. may i present:

the hyacinthus mag

a literary magazine dedicated to uplifting marginalized creatives. we publish poetry, fiction, and creative nonfiction. our submissions are currently open.

hey, everybody! i know i haven’t been super active on here recently and that’s because i’ve been working on a secret project and i’m so excited to finally share it with you all. may i present:

the hyacinthus mag

a literary magazine dedicated to uplifting marginalized creatives. we publish poetry, fiction, and creative nonfiction. our submissions are currently open.

This list is obviously subjective. There is no “right” or “wrong”, but as an emotionally reserved person, these are some things I thought were worth mentioning! You don’t have to do everything on this list, it’s simply here for inspiration/a bit of help.

Show your character’s struggles with holding in emotions. Just because your character won’t let themself go in public, doesn’t mean they don’t struggle holding everything in.

Find a motive. Pride and/or consideration for those around them can make emotionally reserved people hold back more than would be considered good for them. There are other reasons too. Think of something, perhaps the initial cause and the reason now are different, but try to give them a reason.

Show side-effects. Everything you bottle up shows itself in another way, whether it’s physical or mental. This can be long- and short-term, depending on the severity of the emotions.

Give them coping mechanisms. Everyone who wishes not to show certain emotions has a trick or two to keep themselves in check. Taking a sip of water, not looking people in the eyes, clenching their fists, breathing just a bit too deeply/shallow. There are a few lists of these online, I believe.

Write subconscious signs that they give off, which their close friends or family might pick up on. Just because these characters want to keep their emotions to themselves, doesn’t mean they don’t give off signs. Some manage to keep said signs well hidden from those closest to them, but it’s more common for their environment to pick up on something at the very least.

Perhaps make some characters perceive your OC as unable to feel certain emotions. There’s bound to be at least one person in their environment who thinks the character just doesn’t feel some emotions.

Convey their confusion/bewilderment when they’re confronted with others’ emotions. Most of the time, it’s difficult for an emotionally reserved person to understand why on earth someone else can’t keep themself under control.

Pick one main emotion to hide. This is the one they’re most uncomfortable showing, one they decide they’d rather go through physical and emotional pain than showing. Depending on whether their keeping to themself has to do with pride, your character might not even want to let this emotion surface when they’re alone. Generally these are the “weakest” emotions: sadness, fear, etc.

Let them cover up one emotion with another when they really can’t keep a straight face anymore. Generally speaking, anger is an amazing cover-up for a variety of emotions. Your voice is less likely to break when you raise it, that upset look on your face will suddenly make sense, and the fact that fear made you shaky suddenly seems to correlate with anger instead.

Learn the difference between suppression and repression. They’re two very different words often used as synonyms. I’m not a professional, so I don’t think I can explain it properly, but there are some great articles online!

Try to steer clear of making them unsympathetic. Not every reserved person is unsympathetic, but they can come off as such because they just have no idea on how to deal with emotions or show them to the outside world. Focusing on their internal conflicts, both with what caused them to feel strongly about something and keeping it concealed.

On that note: you don’t have to make them cold-hearted and stoic. Not every emotionally reserved person is the same. In fact, depending on the emotions they wish to keep private, they might be very cheerful and empathetic friends.

Do not, and I repeat do not, let them “give in” to their emotions the moment they’ve found their true love. This isn’t realistic. It’s laughable to any emotionally reserved person. Finding someone they’re really comfortable around is great, and your character might be able to let go later on, but things like that take time to develop. A month won’t suffice; a few years are more likely to be realistic.

Not everyone who is emotionally reserved has some kind of trauma that caused it. Yes, some people become quite guarded after experiencing a trauma of some sort, but other people just are the way they are. No specific reason, no tragedies, they are just who they are. There’s always our society to rely on for steering them in the “right” direction.

Over the last decade, I graduated from high school, got a bachelor’s in writing, earned an MFA in fiction, and started working as a copywriter.

In that time, I grew a lot as a writer — so I thought I’d share the lessons that helped me most along the way!

How does one from each year sound?

2010: Don’t let high expectations be a barrier to good writing

As a teenager, I had unhealthy expectations for my writing. This not only made writing painful, but also held back the quality of my work. Thankfully, in my last year of high school, I had to crank out a short story for a class, with no time to revise as I went. The result? I had fun, and ended up writing a story that was better than anything I’d written before it. That’s when I realized how toxic lofty expectations could become, if left unchecked.

2011: Good stories often depict, or inspire, change

In my first college writing workshop, our professor (of “It’s never about the bread” fame) told us that a good story often does one of two things: it either depicts a change in a character, or inspires a change in the reader. While a bit simplistic, that guidance was invaluable to me at the time. The first option gave me a clear target to aim for in workshop, while option two exposed me to the full, baffling mystery of what makes a story worth telling. 

2012: Clear, specific language brings scenes to life

As a sophomore, I fell in love with Raymond Carver’s minimalism and was particularly struck by the following description from “What We Talk About When We Talk About Love”:

Mel handed me the saucer of limes. I took a section, squeezed it over my drink, and stirred the ice cubes with my finger.

The description struck me as remarkably vivid, yet lean — making me realize how a small description could breathe life into a scene when written with clear, specific language.

2013: Personal experiences fuel good writing

After years of avoiding the genre, I took my first poetry workshop as a junior, and SURPRISE. I loved it. It was the first time I’d ever really tried writing about my own experiences, and it brought an invigorating sense of reality to both my poetry and my fiction. It also inspired me to become more observant, which fed back into my writing and made me better appreciate life’s little moments.

2014: Never mow the same grass twice

Throughout college, I had a trumpet instructor who’d often say, “Michael, I hate to mow the same grass twice!” You can find a full explanation here, but long story short, he encouraged me to fix flaws in my performance immediately upon discovering them, because if you repeat mistakes, they become habits. Bad habits that only get harder to break over time.

I didn’t take his advice to heart in my music, but I did apply it to my fiction. In the coming years, it would be instrumental (ha) in honing my craft.

2015: How to tie plot to character growth

In high school, my stories were all plot. In college, my stories were all character. During the first year of my MFA, I learned how to merge the two, by writing narrators with:

Emotions that drive actions,

Actions that trigger consequences, and

Consequences that compel growth.

This structure is simple, but effective, particularly when your character is motivated by a clear emotional struggle. More about this structure here.

2016: Write the stories that excite you

Throughout college, I almost exclusively wrote non-genre stories, because I wanted to pursue particular goals in that space. I learned a lot in the process, but it wasn’t until the second year of my MFA that I realized my stories themselves had lost a certain spark. So I switched back to writing the genre stories I loved. Like an old friend, the spark came back — and the writing got a lot more fun.

2017: Accept that you’ll never catch up to your expectations

The great irony of being a writer is that the more you hone your craft, the further away “perfection” seems. Why? Because as we improve, we not only overcome weaknesses, but also discover the flaws we never knew existed. So we fix those flaws. Discover new ones. Fix them. And so on. It’s a frustrating, never-ending cycle, and it wasn’t until my final year of the MFA that I was able to fully accept it — finding comfort in the fact that my dissatisfaction was a sign of growth.

2018: Be willing to let stories go

In my first year as a copywriter, the fast pace of agency life quickly taught me the importance of knowing when to “let go” of my writing. At work, it was because I had deadlines. But in fiction, I realized I couldn’t keep revising the same stories forever, when others were waiting to be written. “Art is never finished, only abandoned,” said Leonardo da Vinci, and it’s true. Our stories will never be perfect, so it’s our responsibility to decide when it’s time to cut the cord.

2019: If you want to write meaningful stories, start with what’s important to you

After my fiction professor gave that brief explanation (back in 2011) of what made a good, meaningful story, I became obsessed with finding a clearer answer. Something to grasp onto to guide my writing.

But this past year, I realized it was a bit of a fool’s errand. The things that make a story worth telling are incredibly subjective and different for everyone — naturally arising from their backgrounds, desires, fears, and more.

You can’t predict it. Or at least, you can’t predict it well.

So you just need to look inward. To find what you think is important.

And then write.

2020: TBD

Cheers to a new decade, everybody! May we keep honing our craft and fill the years to come with incredible stories.

— — —

By Writerthreads on Instagram

I’ve identified a few types of story titles, and I’ll briefly describe them below:

Common saying/phrase

Eg. When the Cows Come Home, Cruising for a Bruising

Usually, the saying might describe the events of the book or men’s something

Something with a character’s name

Eg. The Redemption of Fletcher Cheung (my old title), Harry Potter and the _______

Or literally the character’s name

Eg. Oliver Twist, Doctor Strange, Hansel and Gretel

A location

Eg. Schitt’s Creek, The Good Place, Brooklyn Nine-Nine, The Secret Garden

Choose an location where a part of the plot takes place. It would help if that location has a unique name (eg. Earhart High School would be boring).

A memorable line

Eg. The Stars are Burning (my WIP lol), To Kill a Mockingbird

Use a memorable or important line, or a version of it. Bonus points if it’s in the first or last sentence of the book!

Use an allusion

Eg. These Violent Delights, The Grapes of Wrath

An allusion is a reference to or a phrase taken from an external source. The title usually alludes to something in the plot or a main theme.

If all else fails...

Use an unusual word

Warning: this makes the title less memorable, imo

Use a song title or lyric

Warning: copyright?? Also it might be cliche.

Now that we’ve covered the main types of titles, let me give you some advice on book titles;

Long titles

They’re hard to remember and hard to type/say, which reduced visibility. Try to shorten the title if you can :)

Make it interesting

Eg. Gone With the Wind

Titles that use poetic language, vivid imagery, or a bit of mystery tend to be alluring to potential readers.

Use alliteration

Eg. The Count of Monte Cristo

Alliteration is especially popular because it’s punchy and sounds good lol.

This is part 1 of my theory recs; rather than dumping hundreds of titles into a Google doc and releasing it into the wild, I figured it would be less overwhelming to break them down by topic. This list is obviously non-exhaustive, and I might add some links to it at a later date, but it contains what I consider fundamental readings. Some books I was initially going to include here I kept for future posts instead, because they cover intersecting topics like settler colonialism or political economy.

You will be able to find all the recs under this tag. Drop me a message if one of the links is broken and I’ll do my best to replace it. Happy learning!

- National Liberation and Neocolonialism 101, selected writings by Lenin, Nkrumah, Amilcar Cabral, Che Guevara, and Bill Fletcher

- Imperialism, the Highest Stage of Capitalism — V. I. Lenin + The Internationalist Lenin: Self-determination and anti-colonialism — Vijay Prashad

- Capital, Volume I, Chapter Thirty-One: Genesis of the Industrial Capitalist — Karl Marx

- How Europe Underdeveloped Africa (audiobook also available) — Walter Rodney + The World Turned Upside Down: Rodney’s 1972 masterpiece — Leo Zeilig

- Divided World, Divided Class — Zak Cope

- Neo-Colonialism, The Last Stage of Imperialism — Kwame Nkrumah

- The Wretched of The Earth — Franz Fanon

- Towards the African Revolution — Franz Fanon

- The African Liberation Reader (Vols. 1 - 3)  

- The Open Veins of Latin America — Eduardo Galeano

- Cuba’s achievments and America’s Wars — Fidel Castro

- Killing Hope — William Blum

- The Jakarta Method: Washington’s Anticommunist Crusade and the Mass Murder Program That Shaped Our World — Vincent Bevins (no free PDF because it was published this year, but I linked an Amazon alternative for purchase)

- NATO’s Secret Armies: Operation Gladio and Terrorism in Western Europe — Daniele Ganser

- The CIA As Organized Crime: How Illegal Operations Corrupt America and the World — Douglas Valentine    

- How to Read Donald Duck — Ariel Dorfman and Armand Mattelart

- Rambo and the Swarthy Hordes — Michael Parenti

- Against Empire — Michael Parenti

- The Face of Imperialism — Michael Parenti

- The Law of Worldwide Value — Samir Amin + Samir Amin at 80: An Introduction and Tribute — John Bellamy Foster

- Discourse on Colonialism — Aimé Césaire

Personality is the most important thing about your character.

So, whenever I see character sheets, most people just put a little paragraph for that section. If you’re struggling and don’t know what your character should say or do, what decisions they should make, I guarantee you that this is the problem.

You know your character’s name, age, race, sexuality, height, weight, eye color, hair color, their parents’ and siblings’ names. But these are not the things that truly matter about them.

Traits: 

pick traits that don’t necessarily go together. For example, someone who is controlling, aggressive and vain can also be generous, sensitive and soft-spoken. Characters need to have at least one flaw that really impacts how they interact with others. Positive traits can work as flaws, too. It is advised that you pick at least ten traits

people are complex, full of contradictions, and please forgive me if this makes anyone uncomfortable, but even bullies can be “nice” people. Anyone can be a “bad” person, even someone who is polite, kind, helpful or timid can also be narcissistic, annoying, inconsiderate and a liar. People are not just “evil” or “good”

Beliefs:

ideas or thoughts that your character has or thinks about the world, society, others or themselves, even without proof or evidence, or which may or may not be true. Beliefs can contradict their values, motives, self-image, etc. For example, the belief that they are an awesome and responsible person when their traits are lazy, irresponsible and shallow. Their self-image and any beliefs they have about themselves may or may not be similar/the same. They might have a poor self-image, but still believe they’re better than everybody else

Values:

what your character thinks is important. Usually influenced by beliefs, their self-image, their history, etc. Some values may contradict their beliefs, wants, traits, or even other values. For example, your character may value being respect, but one of their traits is disrespectful. It is advised you list at least two values, and know which one they value more. For example, your character values justice and family. Their sister tells them she just stole $200 from her teacher’s wallet. Do they tell on her, or do they let her keep the money: justice, or family? Either way, your character probably has some negative feelings, guilt, anger, etc., over betraying their other value

Motives:

what your character wants. It can be abstract or something tangible. For example, wanting to be adored or wanting that job to pay for their father’s medication. Motives can contradict their beliefs, traits, values, behavior, or even other motives. For example, your character may want to be a good person, but their traits are selfish, manipulative, and narcissistic. Motives can be long term or short term. Everyone has wants, whether they realize it or not. You can write “they don’t know what they want,” but you should know. It is advised that you list at least one abstract want

Recurring Feelings:

feelings that they have throughout most of their life. If you put them down as a trait, it is likely they are also recurring feelings. For example, depressed, lonely, happy, etc.

Self Image:

what the character thinks of themselves: their self-esteem. Some character are proud of themselves, others are ashamed of themselves, etc. They may think they are not good enough, or think they are the smartest person in the world. Their self-image can contradict their beliefs, traits, values, behavior, motives, etc. For example, if their self-image is poor, they can still be a cheerful or optimistic person. If they have a positive self-image, they can still be a depressed or negative person. How they picture themselves may or may not be true: maybe they think they’re a horrible person, when they are, in fact, very considerate, helpful, kind, generous, patient, etc. They still have flaws, but flaws don’t necessarily make you a terrible person

Behavior:

how the character’s traits, values, beliefs, self-image, etc., are outwardly displayed: how they act. For example, two characters may have the trait “angry” but they all probably express it differently. One character may be quiet and want to be left alone when they are angry, the other could become verbally aggressive. If your character is a liar, do they pause before lying, or do they suddenly speak very carefully when they normally don’t? Someone who is inconsiderate may have issues with boundaries or eat the last piece of pizza in the fridge when they knew it wasn’t theirs. Behavior is extremely important and it is advised you think long and hard about your character’s actions and what exactly it shows about them

Demeanor:

their general mood and disposition. Maybe they’re usually quiet, cheerful, moody, or irritable, etc.

Posture:

a secondary part of your character’s personality: not as important as everything else. It is advised you fill this out after. Posture is how the character carries themselves. For example, perhaps they swing their arms and keep their shoulders back while they walk, which seems to be the posture of a confident person, so when they sit, their legs are probably open. Another character may slump and have their arms folded when they’re sitting, and when they’re walking, perhaps they drag their feet and look at the ground

Speech Pattern:

a secondary part of your character’s personality: not as important as everything else. It is advised you fill this out after. Speech patterns can be words that your character uses frequently, if they speak clearly, what sort of grammar they use, if they have a wide vocabulary, a small vocabulary, if it’s sophisticated, crude, stammering, repeating themselves, etc. I personally don’t have a very wide vocabulary, if you could tell

Hobbies:

a secondary part of your character’s personality: not as important as everything else. It is advised you fill this out after. Hobbies can include things like drawing, writing, playing an instrument, collecting rocks, collecting tea cups, etc.

Quirks:

a secondary part of your character’s personality, not as important as everything else. It is advised you fill this out after. Quirks are behaviors that are unique to your character. For example, I personally always put my socks on inside out and check the ceiling for spiders a few times a day

Likes:

a secondary part of your character’s personality, not as important as everything else. It is advised you fill this out after. Likes and dislikes are usually connected to the rest of their personality, but not necessarily. For example, if your character likes to do other people’s homework, maybe it’s because they want to be appreciated

Dislikes:

a secondary part of your character’s personality, not as important as everything else. It is advised you fill this out after. Likes and dislikes can also contradict the rest of their personality. For example, maybe one of your character’s traits is dishonest, but they dislike liars

History:

your character’s past that has key events that influence and shape their beliefs, values, behavior, wants, self-image, etc. Events written down should imply or explain why they are the way they are. For example, if your character is distrustful, maybe they were lied to a lot by their parents when they were a child. Maybe they were in a relationship for twenty years and found out their partner was cheating on them the whole time. If their motive/want is to have positive attention, maybe their parents just didn’t praise them enough and focused too much on the negative

On Mental and Physical Disabilities or Illnesses

if your character experienced a trauma, it needs to have an affect on your character. Maybe they became more angry or impatient or critical of others. Maybe their beliefs on people changed to become “even bullies can be ‘nice’ people: anyone can be a ‘bad’ person”

people are not their illness or disability: it should not be their defining trait. I have health anxiety, but I’m still idealistic, lazy, considerate, impatient and occasionally spiteful; I still want to become an author; I still believe that people are generally good; I still value doing what make me feel comfortable; I still have a positive self-image; I’m still a person. You should fill out your character’s personality at least half-way before you even touch on the possibility of your character having a disability or illness

Generally everything about your character should connect, but hey, even twins that grew up in the same exact household have different personalities; they value different things, have different beliefs. Maybe one of them watched a movie that had a huge impact on them.

Not everything needs to be explained. Someone can be picky or fussy ever since they were little for no reason at all. Someone can be a negative person even if they grew up in a happy home.

I believe this is a thought out layout for making well-rounded OCs, antagonists and protagonists, whether they’re being created for a roleplay or for a book. This layout is also helpful for studying Canon Characters if you’re looking to accurately roleplay as them or write them in fanfiction or whatever.

General Writing Tips, Guides and Advice

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Start Your Novel Already!

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Word Building 101

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All That Sex!

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The Keys to Conflict

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