DoubleWriting

Words to use instead of “very” 🌿

Do you sometimes hold back from expressing yourself fully in the world, out of fear that you might not be accepted? That you might be judged? That you might not fit in? 

Interestingly, when we don’t express ourselves authentically, letting our true nature shine, that’s when things get most uncomfortable! We don’t feel good, other people don’t feel at ease around us (they sense we’re not being our full selves) and that is when we feel least at home and least accepted! 

On the flip side, when we let ourselves be seen, when we express ourselves in thought, feeling, action, in our creativity, in all the various ways, THAT is when we feel most at home and aligned to our true selves, THAT is when we shine our fully glory, and THAT is when we are most accepted! 

Plus… let’s keep it real… there will always be a few naysayers and negative nellys. They’re the kind of people who don’t play nicely and treat you respectfully whether you stay small or shine bright! They’ll always have a frown, because it’s not even about you. It’s just their way of being in the world. So, chin up, speak up, shine out. Say what is real for you, share your ideas and inspiration, journal out all your thoughts and feelings, move your body, get creative, dance, sing, draw, paint, create, go for your goals and dreams… be fully self expressed. 

Express, express, express!!And remember… the people who really matter to you don’t mind (in fact they celebrate you and your full self expression) and those who mind… well they don’t matter! You are not here to stay small, to hide, to dim your light in order to make other people feel okay. You are here to BEAM like the beacon of beautiful awesomeness that you are. 

writing an essay in college is very different from writing an essay in high school. personally, i write more research/history papers than literary essays (the liberal arts life and curse), so this is going to be a post on how a general research-y essay that has a thesis and arguments. 

intro

don’t open with a quote and don’t be overly broad. 

avoid generalizations 

your intro should address the topic of your essay (ex. the significance of gardens in renaissance society), and then narrow down to what you want to talk about in regards to your topic (ex. the political influence of the Medici gardens during the renaissance)

thesis! it should include the argument you want to make about the narrowed down topic, and three (or however many your class requires) reasons to support it. I like to think of it as W = X + Y + Z. 

your thesis explains who, what and why in a concise manner. 

body

topic sentences should not be a word for word copy of your thesis.

the order of arguments in your thesis is the order of your paragraphs 

depending on the length of your essay, there should be at least two justifications to your argument. 

so, just as the intro has a formula, X = A + B, and so forth. 

A and B should be backed up with some sources/quotes. don’t forget that if you are quoting from class notes to put either the prof’s last name, or (class notes)

be sure to have clear and concise arguments, don’t be flowery

USE WORDS THAT ARE ACCURATE. thesaurus is great but if you use a word that sounds cool but doesn’t capture the meaning you want to convey then don’t use it, because it may just change the meaning of your argument

quote whatever isn’t yours. it is completely fine if 90% of your sentences are quotes. its weird to get used to, but don’t worry about it. 

conclusion

the worst part in my opinion. 

synthesize don’t summarize. show how your arguments relate back to the thesis.

try not to copy paste your thesis into the conclusion, word it so that the readers understands that through XYZ, you were able to conclude and support argument W (referring back to the thesis formula)

do not add any new information, do not add quotes. 

your final sentence should tie up the essay in a pretty bow, but try to avoid clichés 

protips

when writing the body paragraphs, your ‘weakest’ paragraph should be in the middle, strongest as your last, and the second best as your first.

if you’re stumped on the intro, skip it. write out the body first, then the intro and you’ll be able to concisely word your thesis

think of your essay as an infomercial. your intro is the loud and clear HERES MY PRODUCT, the body is blasting information on why the product is so cool, and the conclusion is the final push for the viewer to buy that product. make your teacher want to agree with your thesis! 

use a mix of paraphrase and quotes!

don’t forget your works cited lmao (the MLA Handbook is a gr8 tool, also OWL Purdue)

prime time for essay writing is in the morning or at night, but make sure you edit it meticulously 

EDIT ON PAPER NOT ON YOUR SCREEN

- a really sketchy thrift shop that you can only access from the alleyway 

- a submarine (bonus points: a submarine that functions as a hotel)

- A Truck Stop in Georgia

- Flower shop that is actually a drug front, but, like, also has rlly good bouquets

- A print shop that smells like ink, strawberries and doughnuts

- A haunted mansion that has been converted into a new and used bookstore. The ghosts give good book recommendations

- An abandoned office supply store

- A cottage that was was given to you by a mysterious benefactor, cottage also comes with a baby goat named Earl

- a high school auditorium at night complete with a costume attic

- A lighthouse during the apocalypse 

- A pretentious tea shop with brews that no one can pronounce

Hiya! Thanks for your question! Plot structures are important for creating a good story.

There’s an infinite amount of plot structures depending on the story you’re telling. Some types are better than others within certain genres. Here are the most common plot structures, and how they’re used:

The Four Main Plot Structures:

Freytag’s Pyramid:

Also known as dramatic structure, this is the most simplistic of plot structures, and probably the one you were taught in elementary school. In this type of story structure, the climax falls in the middle, and the latter half of the story consists of falling action and the resolution. This was developed to analyze Greek and Shakespearian plays that use a five-act structure.

Why it’s good: It allows authors to explore the consequences of one’s actions. It’s also good for story analysis.

Why it’s bad: Long resolutions get boring fast. Modern novels don’t use this because no one wants to read a story where the villain is defeated in the middle.

When to use it: Children’s books and short stories

It’s good to use in children’s books because the goal of most children’s books is to teach kids a lesson. Using Freytag’s Pyramid gives writers the chance to teach kids the consequences of doing something wrong (lying, bullying, etc.). It works in short stories because the limited length prevents the denouement from being too long and boring the reader.

Examples: Any of Shakespeare’s plays

The Fichtean Curve:

This is what most modern novels use, no matter the genre. The Fichtean Curve features a varying number of crises (or mini-climaxes) within the rising action to build up to climax about two-thirds of the way through the story. The falling action is short and used to wrap up loose ends or establish a new way of life for the characters.

Why it’s good: Putting crises throughout the story will keep readers hooked until the end. It also helps to keep good pacing. Despite being frequently used, this structure is loose enough that anyone can use it and make it unique for their own story.

Why it’s bad: Too much action can be overwhelming. This structure also doesn’t work well with certain story types such as Voyage and Return, Rebirth, or Comedy.

When to use it: Action-packed stories, Overcoming the Monster plots, or Quest plots

Examples: Night Circus by Erin Morgenstern, World War Z by Max Brooks, or Red Queen by Victoria Aveyard

The Hero’s Journey:

Another common plot structure that is seen in modern novels (especially western literature), and can be combined with the Fichtean Curve. Often, modern novels are a combination of the two. What makes the Hero’s Journey unique is that the protagonist must go through a literal or figurative death that completely transforms them. The death is usually, but not always, the climax of the story. Another key difference in The Hero’s Journey is that the protagonist must atone for their past rather than overcome it or move on without going back.

Why it’s good: Allows for great character development in character-strong stories.

Why it’s bad: Nearly every western novel, film, or TV show (successful and unsuccessful) uses this plot structure. It’s a little overdone, but if you can put a good personal twist on it, it can work out just fine.

When to use it: First-person stories, stories with small casts, Voyage and Return plots, or Rebirth plots

Examples: To Kill a Mockingbird by Harper Lee, The Lightning Thief by Rick Riordan, or Divergent by Veronica Roth

In Media Res

Latin for “in the middle of things”, In Media Res is a unique plot structure. Rather than start with an exposition that builds up to the action, In Media Res starts right in the middle of the story. If you were to start your story at the second or third crisis point of the Fichtean Curve, you would get In Media Res.

Why It’s Good: Dropping people in the middle of the action will hook the right from the beginning.

Why It’s Bad: Starting with the action can be disorienting for readers. Make sure you fill in the backstory as the plot moves on.

When to Use It: Stories with small casts, Crime plots, or Mystery plots

Examples: Hatchet by Gary Paulsen, The Lord of the Flies by William Golding, or The Iliad by Homer

There are plenty more plot structures, but these are the main four, and all others are based off these in some way. Keep in mind that most stories use a combination of these plot structures, so you don’t have to stick to just one.

Thanks again for your question! If you need help with anything else writing related, feel free to send in another ask. Happy writing!

- Mod Kellie

The tone in writing is one of the most important characteristics of a piece of writing. Books, poetry, songs, articles, any writing whatsoever; the tone is everything. That being said, there are a lot of ways in which writers can either mess it up or completely forget to set the tone. Below is a guide to setting the tone to come across exactly how you want it to.

Some Things To Note

Tone is the character or attitude of a text that invokes emotion in the reader

There are two things you want to ask yourself when reading a text and studying the tone:

How does the text make you feel?

and

How is the text designed to make you feel?

Things That Create Tone

There are several different elements in writing that create the tone. Here are a few:

Body Language

How your characters act, interact, and speak all play a large role in how your readers perceive your story. If your characters are speaking cryptically, fidgeting, and the tensions are high, your readers will feel the suspense.

Volume (Dialogue Tags)

How loud people say things is a big indicator of how they mean for it to come across to whomever they’re talking to. It’s the same this with dialogue. While it’s important not to overdo it with the dialogue tags, you must also use them to your advantage. It’s kind of when you’re writing a script and you sometimes feel the need to add a note for the actor to say something a certain way in order for them to portray what you envision. Use specific dialogue tags sparingly, but use them well.

Context

The context of the situation is everything. If your reader doesn’t know what’s going on and your main character is super relaxed all of a sudden when they thought they were in the middle of a very stressful situation, it’s going to give them very weird vibes. Knowing where the character is, how they feel, and having some idea of what’s about to go down is imperative to creating the right tone.

WORD CHOICE

Word choice is the main way you can set the tone in your story. You must be clear, intentional, natural, and consistent with the way you choose how you phrase things in your story. We all have certain associations with specific words and using those associations will bode well for you.

Clear Word Choice…

Be clear before anything else when setting the tone. Portray what you need to in order to create the scene itself and put the reader in the story. Then change what words you’re using in order to make the reader feel a certain way. However, never sacrifice clarity in exchange for the use of a fancy word. If your read doesn’t know what you’re saying, what good does it do anyway?

Intentional Word Choice…

Be intentional when you’re deciding where to switch out words and where you decide to really hit the reader with a huge wave of tone. Don’t just fling words anywhere there’s a gap in the hopes that it will accomplish the same thing as intentionally injecting words where it will pierce the reader’s soul. See what I mean?

Natural Word Choice

While it’s important to choose words that fit the tone, they must flow naturally with the dialogue and descriptions. Don’t just slap your reader in the face with “OMG Becky did you hear what that brat Jessica said about you and your bae? She’s such a vacuous shrew!” because that’s not exactly natural is it? 

I have a whole post called Improving Flow In Writing that expands on this quite a bit.

Consistent Word Choice…

Be consistent in your word choice. Don’t use the same words over and over again, but don’t go from calling dogs to “canis lupus familiaris”. Well.. unless it’s absolutely necessary.

Examples Of Tones

Some of you might be a little fuzzy on what I mean by tone in the first place, so here are a few examples of tone:

Comedic

Suspenseful

Enticing

Desperate

Terrifying

Happy

Dramatic

Romantic

Etc.. You get the picture.

“Creating one interesting character is hard enough — but when it comes to writing a whole novel or series of books, you have to create dozens of them. How can you keep your supporting cast from seeming like cookie-cutter people? There’s no easy answer, but a few tricks might help you create minor characters who don’t feel too minor.” [x]

10 Secrets to Creating Unforgettable Supporting Characters

Give them at lease one defining characteristic. “…lots of people have one or two habits that you notice the first time you meet them, that stand out in your mind even after you learn more about them.”

Give them an origin story. “…Your main character doesn’t necessarily need an origin story, because you’ve got the whole book to explain who he/she is and what he/she is about. But a supporting character? You get a paragraph or five, to explain the formative experience that made her become the person she is, and possibly how she got whatever skills or powers she possesses.”

Make sure they talk in a distinctive fashion. “…you still have to make sure your characters don’t all talk the same. Some of them talk in nothing but short sentences, others in nothing but long, rolling statements full of subordinate clauses and random digressions. Or you might have a character who always follows one long sentence with three short ones.“ ”…One dirty shortcut is to hear the voice of a particular actor or famous person in your head, as one character talks.“

Avoid making them paragons of virtue, or authorial stand-ins. ”…People who have no flaws are automatically boring, and thus forgettable.“ ”…Any character who has foibles, or bad habits, or destructive urges, will always stand out more than one who is pure and wonderful in all ways. And nobody will believe that you’ve chosen to identify yourself, as the author, with someone who’s so messed up. (Because of course, you are a perfect human being, with no flaws of your own.)“

Anchor them to a particular place. ”…A huge part of making a supporting character “pop” is placing her somewhere. Give her a haunt — some place she hangs out a lot. A tavern, a bar, an engine room, a barracks, a dog track, wherever. It works both ways — by anchoring a character in a particular location, you make both the character and the location feel more real.“

Introduce them twice — the first time in the background, the second in the foreground. ”…You mention a character in passing: “And Crazy Harriet was there too, chewing on her catweed like always.” And you say more about them. And then later, the next time we see that character, you give more information or detail, like where she scores her catweed from. The reader will barely remember that you mentioned the character the first time — but it’s in the back of the reader’s mind, and there’s a little “ping” of identification.“

Focus on what they mean to your protagonists ”…What does this minor character mean to your hero? What role does he fulfill? What does your hero want or need from Randolph the Grifter? If you know what your hero finds memorable about Randolph, then you’re a long ways towards finding what your readers will remember, too.“

Give them an arc — or the illusion of one. ”… You can create the appearance of an arc by establishing that a character feels a particular way — and then, a couple hundred pages later, you mention that now the character feels a different way.“ ”…A minor character who changes in some way is automatically more interesting than one who remains constant…“

The more minor the character, the more caricature-like they may have to be. ”…This one is debatable — you may be a deft enough author that you can create a hundred characters, all of whom are fully fleshed out, well-rounded human beings with full inner lives.“ ”…some writing styles simply can’t support or abide cartoony minor characters. But for your third ensign, who appears for a grand total of two pages, on page 147 and page 398, you may have to go for cartoony if you want him to live in the reader’s mind as anything other than a piece of scenery.“

Decide which supporting characters you’ll allow to be forgettable after all. ”…And this is probably inevitable. You only have so much energy, and your readers only have so much mental space. Plus, if 100 supporting characters are all vivid and colorful and people your readers want to go bowling with, then your story runs the risk of seeming overwritten and garish.Sometimes you need to resign yourself to the notion that some characters are going to be extras, or that they’re literally going to fulfill a plot function without having any personality to speak of. It’s a major sacrifice they’re making, subsuming their personality for the sake of the major players’ glory.“