Writing and Drawing tips and lessons

~ studyblr 2020 quaratine challenge ~ 

week 1 - friday, march 27: what is your current favourite subject to study?

ahh this is so hard bc i love my classes this semester, but I think my digital sociology class at the moment. learning about modern human relationships with technology is quite scary, but very eye opening. 

Hi everyone!

To all of the writers who want to get their creativity flowing as they create worlds and build legendary characters, I have the playlist for you!

This frequently updated Spotify playlist contains 50+ of the best movie scores and compositions known conjure up excitement for your adventure, emotion for your sadness, fear for your horror, and take you to the world of cinema and literature.

I’ve been using it for years!

Words to use instead of “very” . Useful in a polish among other things.

With depression, it’s hard enough trying to find the motivation to get out of bed in the morning before the next day begins. Summoning the energy it takes to write can be even harder, especially since depression (and sometimes medications used to treat depression) can stifle creativity. Here are some practical tips to help writers suffering from depressive disorders: 

1. Write one sentence a day – on your phone. The sentences don’t have to form a story or even be related. Just set a daily reminder to open your Notes app and type a single sentence. Make it an opening line, a one-line synopsis, a description of the weather, anything! Let it be as vague, boring and inconsequential as “She opened her eyes and pulled off the covers.” The end. Congrats! You have just achieved your goal for the day!

2. Change your work space. Instead of writing slouched in bed, sit at the kitchen table, or vice versa. If you can’t leave your room, sit on the opposite end of your bed or even the floor. You don’t have to clean or decorate your space to make it cute. Your brain has become accustomed to its surroundings and even a small change – like facing the opposite direction – can help break away from this.

3. Thinking about writing counts as writing. This rule doesn’t usually apply but we’ve made an exception just for you! Your depression is affecting your creativity but, ironically, having a creative outlet can help. If you can’t physically write, set aside a few minutes a day to think about writing. Great if you’re bad at meditation.

4. Experiment with different methods of storytelling. Try a voice recording instead of your usual handwriting or typing. This way, you don’t even have to leave your bed. Set small goals like “I will create a one minute voice memo of a character description”.

5. Share your success! And your failures! Post on Tumblr, tell your friends, tell your pet… It doesn’t matter how small your success, celebrate it by telling another human (or otherwise) who will understand what it means to you and congratulate you for it. Treat it like a big deal even if it’s just a single sentence. Similarly, tell people about anything you perceive to be a “failure” no matter how small or silly. Get it out of your system and maybe find some support, so you can move on.

6. Instead of abandoning your goals, alter them! Don’t give up if you failed to meet your goal once or even ten times. You need to retrain your brain to understand that these attempts at bettering yourself are lifestyle changes. If something isn’t working, don’t abandon ship. Make your goals easier, for example: instead of writing daily, plan to write once a week, even if it’s just one sentence.

7. Abandon deadlines and the like – sort of. Some structure is good - even required - in recovery. But if trying to stick to a routine, meet a deadline, keep up your word count, wake up or write at a certain time or similar rules are restricting you from writing (for example, if you feel so bad about constantly missing them that you sink further into depression and write even less) then be sure to give yourself days without them every now and then. Make a note of whether this is helpful (you’re more productive - yay!) or harmful (you backpedal - oops). The trick is to keep experimenting with different methods until you find something that works for you!

8. Accept your circumstances. Instead of seeing yourself as an ex-writer or a failed writer, reaffirm that this is simply a time in your life where your mental health (and possibly other circumstances) have made it difficult for you to flourish creatively. Don’t fret over how long it’s been since you picked up a pen or opened your Word document. Accept that this is a temporary break or a roadblock that will be over one day. Until then, your task is to focus on healing.

English Surnames

Dutch Surnames

Spanish Surnames

Scottish Surnames

German Surnames

Italian Surnames

Irish Surnames

French Surnames

Scandinavian Surnames

Welsh Surnames

Jewish Surnames

Surnames By Ethnicity

Most Common Surnames in the USA

Most Common Surnames in Great Britan

Indian surnames

Indonesian surnames

Pakistani surnames

Bengali surnames

Japanese surnames

Filipino surnames

Korean surnames

Syrian surnames

Mongolian naming and clan names

Thai surnames

What goes through a writer’s head, ft. me- a writer.

This is a compiled list of some of my favorite pieces of short horror fiction, ranging from classics to modern-day horror, and includes links to where the full story can be read for free. Please be aware that any of these stories may contain subject matter you find disturbing, offensive, or otherwise distressing. Exercise caution when reading. Image art is from Scarecrow: Year One.

PSYCHOLOGICAL: tense, dread-inducing horror that preys upon the human psyche and aims to frighten on a mental or emotional level. 

“The Frolic” by Thomas Ligotti, 1989

“Button, Button” by Richard Matheson, 1970

“89.1 FM” by Jimmy Juliano, 2015

“The Yellow Wallpaper” by Charlotte Perkins Gilman, 1892

“Death at 421 Stockholm Street“ by C.K. Walker, 2016

“The Ones Who Walk Away from Omelas” by Ursula K. Le Guin, 1973

“An Empty Prison” by Matt Dymerski, 2018

“A Suspicious Gift” by Algernon Blackwood, 1906

CURSED: stories concerning characters afflicted with a curse, either by procuring a plagued object or as punishment for their own nefarious actions.

“How Spoilers Bleed” by Clive Barker, 1991

“A Warning to the Curious” by M.R. James, 1925

“each thing i show you is a piece of my death” by Stephen J. Barringer and Gemma Files, 2010

“The Road Virus Heads North” by Stephen King, 1999

“Ring Once for Death” by Robert Arthur, 1954

“The Mary Hillenbrand Cassette“ by Jimmy Juliano, 2016

“The Monkey’s Paw” by W.W. Jacobs, 1902

MONSTERS: tales of ghouls, creeps, and everything in between.

“The Curse of Yig” by H.P. Lovecraft and Zealia Bishop, 1929 

“The Oddkids” by S.M. Piper, 2015

“Nightmare at 20,000 Feet” by Richard Matheson

“The Graveyard Rats” by Henry Kuttner, 1936

“Tall Man” by C.K. Walker, 2016 

“The Quest for Blank Claveringi“ by Patricia Highsmith, 1967

“The Showers” by Dylan Sindelar, 2012

CLASSICS: terrifying fiction written by innovators of literary horror. 

“The Tell-Tale Heart” by Edgar Allan Poe, 1843

“The Interlopers” by Saki, 1919 

“The Statement of Randolph Carter“ by H.P. Lovecraft, 1920

“The Damned Thing” by Ambrose Pierce, 1893

“The Legend of Sleepy Hollow” by Washington Irving, 1820 

“August Heat” by W.F. Harvey, 1910

“The Black Cat” by Edgar Allan Poe, 1843

SUPERNATURAL: stories varying from spooky to sober, featuring lurking specters, wandering souls, and those haunted by ghosts and grief. 

“Nora’s Visitor” by Russell R. James, 2011

“The Pale Man” by Julius Long, 1934

“A Collapse of Horses” by Brian Evenson, 2013

“The Jigsaw Puzzle” by J.B. Stamper, 1977 

“The Mayor Will Make A Brief Statement and then Take Questions” by David Nickle, 2013

“The Night Wire” by H.F. Arnold, 1926 

“Postcards from Natalie” by Carrie Laben, 2016

UNSETTLING: fiction that explores particularly disturbing topics, such as mutilation, violence, and body horror. Not recommended for readers who may be offended or upset by graphic content.  

“Survivor Type” by Stephen King, 1982

“I’m On My Deathbed So I’m Coming Clean…” by M.J. Pack, 2018

“In the Hills, the Cities” by Clive Barker, 1984

“The New Fish” by T.W. Grim, 2013

“The Screwfly Solution” by Racoona Sheldon, 1977

“In the Darkness of the Fields” by Ho_Jun, 2015 

“The October Game” by Ray Bradbury, 1948

“I Have No Mouth, and I Must Scream” by Harlan Ellison, 1967 

or - “Writing Characters with Mobility Impairments”

There’s a lot to be considered when writing a character with any kind of disability. One of the challenging things for a writer is writing a character of impaired mobility - i.e., a character who uses a wheelchair, a walker, canes or crutches in their daily life to get around. 

Whether this character is the POV character, a side character or even just a character who appears briefly in the narrative, it’s easy to be insensitive. And that’s not the fault of most writers. It’s just the fact that most people haven’t lived with a disability like this - heck, many people haven’t been around people (especially younger people) with impaired mobility for a lengthy amount of time. 

Even for those that have, it might be difficult to figure out how to properly write these characters too, especially when so much of narration is centered on characters w/o these disabilities. 

Disclaimer: For the record, I don’t have a disability related to mobility. But I HAVE had many good friends who’ve used wheelchairs and/or crutches in their daily lives (and for a short time dated a man who used a wheelchair). I’m not saying that makes me an expert, but I hope it gives me some insight and sensitivity. 

How do they Move?

One of the first things that a writer may wonder about when writing a character with a mobility impairment is how to go about the “problem” of writing movement. I’ll urge you to remember two things. 

Don’t overthink it. 

But do think about it. 

What I mean by that is this. If you spend all of your time focusing on details like this and you put that into your writing, it’s going to be very obvious to the reader that you’ve done so - and that’s a problem. For example - 

Caleb wheeled his way to the front counter and stared up at the barista, clumsily digging for his wallet. “Uh, just a white chocolate mocha, please,” he said as he pulled out his credit card.

“That’ll be three fifty,” she said with a short smile. Caleb reached over to the card machine. Then he hurried to wheel himself back out of line, careful to avoid…etc.

Okay, so. That’s all well and good if the actual subject is about the difficulty people with mobility issues face on a day to day basis I guess. But you don’t want to FILL your story with writing like that. If he’s grabbing a coffee on his lunch break and thinking about the cute girl who smiled at him, how about instead -

”Next!” Caleb snapped out of his thoughts - the image of the girl from earlier still fresh in his mind - and moved to the front counter, looking up at the barista. 

“Hey - uh - just a white chocolate mocha, please,” he said as he dug for his wallet. The barista smiled at him as she tapped his order into the register. And sure, she was cute. But it only made him think of Minami again and he felt his cheeks heating up as he pulled out his credit card and clumsily reached for the card machine.

Just remember that you SHOULD think about it and showcase it when it IS important. There will be times when your character may struggle. Just don’t make every moment a struggle. Disability doesn’t have to be nor should it be a tragedy in fiction. 

How Do You Write Interactions?

Right. So with that out of the way, how do you write good interactions between characters with mobility impairments and your other characters? Well, a lot of that depends on the “character” of your character, of course. But there are some things that you should keep in mind.

For example, it’s polite for a person interacting with a person in a wheelchair to not bend down like the person in a wheelchair is a child. Because - you know - they’re not a child. 

Another thing to remember is that for a person who uses a wheelchair, crutches, prosthetic, etc., that object is a part of their personal space and it is VERY rude to touch/lean on/otherwise interact with the item without their permission. If a character uses a wheelchair, don’t have another character hop into their wheelchair for a joyride UNLESS they are very close and/or have the wheelchair user’s permission. 

Above all, it’s a good idea for you to just do research on the type of mobility impairment your character has and the type of etiquette that’s appropriate given the circumstances! Remember that things might be different given different mobility aids, prosthetics, etc.

On Romance

I feel it necessary to make this final point. When writing characters with mobility issues, especially those in wheelchairs, it’s NOBODY’S BUSINESS whether or not they can “do the deed” and I highly suggest you avoid putting these conversations in your story altogether. ESPECIALLY IF THE DISABLED CHARACTER ISN’T INVOLVED IN THE CONVERSATION. 

donjon has tons of generators. for calendars. for demographics of a country and city. for names (both fantastical and historical) of people, nations, magics, etc.

this site lets you generate/design a city, allowing you to choose size, if you want a river or coast, walls around it, a temple, a main keep, etc.

this twitter, uncharted atlas, tweets generated maps of fantasy regions every hour.

Ah, three act structure! While I learned about this in a screenwriting workshop as a method for constructing screenplays, the model has worked wonders for every fiction piece I’ve written and just about any modern story is constructed in this way. If you’re struggling in finding the arch of a story, this outlines it very well!

First of all, let’s cover the structure itself: i. status quo: how things are at the beginning of the story, before things change. Doesn’t have to be included in the novel/screenplay/etc explicitly, but is the ‘before’ circumstances. ii. inciting incident: this is where your story really starts! It’s the thing that makes things change, like your protagonist finding out they have super powers or that their best friend is in love with them. iii. plot point one: this is where the story transitions from the beginning to the middle section. After the inciting incident, the character reacts to that change, and this is the reaction. It’s usually a decision made by the main character and their final goal is introduced. iv. complications: fairly straightforward. When a goal is set, there are complications that come along the way. A good model to follow is three main complications, though it isn’t so strict. v. midpoint: the midpoint is usually the most emotional point in the story, aside from the climax. It can be either an extreme high or an extreme low, dependent on the ending; a story with a happy ending has an extreme high in the middle, but a bad ending has a very low point. For example, a superhero story where the protagonist changes the world’s midpoint might be a montage of the hero rescuing civilians, while a more disappointing superhero story would show our hero in a funk where he’s unable to save anyone. In modern film, a lot of midpoints are montages, but that’s not a set rule. vi. more complications: don’t think our characters are getting a break just yet! Generally, three more complications will happen post-midpoint– usually either continuations of earlier complications, or problems that happen as a result of solving those. vii. plot point 2: circumstances change yet again! This time, a big decision is made to resolve complications. It can be thought of as the inciting incident of the climax. Transition from middle to end. viii. climax: the most intense part of your story. This is where every complication, including the main complication, comes to a point and either gets resolved all at once.  ix. new status quo: same as the status quo, it isn’t always directly shown. It’s the way things are now, how things settle down after the journey our characters went on earlier. Should be different from the original status quo.

As three acts this is:

Act One: Before plot point one. It’s the beginning of the story, when things are beginning to change but haven’t yet. Act Two: Between the first and second plot points. The middle of a story, where action is happening and the story is in rapid progression. Act Three: Post-plot point two. The end. Things are settling down into how they’ll be in the new status quo.

For an example, here is a basic love story told through three act structure:

i. status quo: character A and character B are best friends. ii. inciting incident: character A accidentally discovers character B is in love with them. iii. PP1: character A decides they have to make character B stop loving them. iv. complications: 1— character A doesn’t want to lose their friendship. 2— character B doesn’t know why A is being distant. 3— A isn’t completely sure of their own feelings, and is feeling intense jealousy in their attempts to set B up with someone else. v. midpoint: character A realizes they have a crush on character B, shown via a montage of closeness and internal panic of character A. vi. more complications: 1— character A doesn’t want to ruin their friendship, now for different reasons. 2— character B doesn’t know why A is acting so weird. 3— A struggles to hide their crush well, even though character B is completely oblivious. vii. PP2: character A has enough of this, and decides to just tell B everything they know. viii. climax: character A arrives and character B’s house and confesses everything; they kiss. ix: new status quo: characters A and B are happily together.

OR

Act One: Character A and B are best friends, but A knows B’s secret. Act Two: Character A decides how to deal with B’s secret. In the process of dealing with this, A discovers a secret of his own. Act Three: A confesses to B, and B’s reaction is positive.

A few things to note:

Status quo and new status quo’s difference.

How the inciting incident leads into PP1, same with PP2 into the climax— I’ve heard it described as the inciting incident/PP2 being the pulling back of the slingshot and PP1/the climax being the releasing of it.

PP1 and PP2 are both decisions being made by our protagonist.

The similarities between the first and second set of complications. Essentially: 1– character A doesn’t want to lose B. 2— B is confused. 3— A is also confused.

If you set up your story with this structure, there will be drama and change. The main problem I find in the structure of new writers’ works is that either there is insufficient conflict, the conflict is too short compared to the story, or, after the solving the conflict, everything is completely normal again. With this method, it’ll be very easy to prevent that; if your story doesn’t fit this, it likely needs altering. The structure can honestly be difficult to understand, but watch a few films or reference previous things you’ve watched/read and find the structure— eventually, you’ll be doing it subconsciously every time you consume any media it applies to!

On implementing it effectively:

All three acts shouldn’t be given equal screen time. Generally, the ratio of Act One:Act Two:Act Three should be about 1:2:1 (aka, in a 100k word novel, 25k Act One, 50k Act Two, 25k Act Three), but that could altered (like in the case I stated— 25k of intro? No thank you). All the time, though, Act Two should be at least as long as the first and third act combined. All three acts are necessary, but I’ve seen some films with less than ten minutes of Act One where it helps the story.

When your story’s introduction requires much explanation or backstory, such as building a fantasy world or even a vital relationship between characters, it might be on the longer side, while a love story between two characters who are only just meeting might take shorter— it’s extremely dependent on the narrative itself and requires you, as the author, to gauge the situation and decide how it should be. Even with a structure as formulaic as this, writing is still an art that can never have any general rules applied to fit all situations. 

Excerpt: 8 things I’ve learned about creative writing

I’ve always loved creative writing, and it wasn’t until university that I realized it was one of my passions. I can’t remember a time when I wasn’t imaginative, creative, a day dreamer. Now, at 21 I’ve realized that my imagination is one of my biggest strengths and it would be a shame to waste it…

By the end of May to early June, the first draft was finished. About 120k words and 300 pages. Still, poorly written as first drafts are, but it was done. I persevered, thrived and finished the project that meant the world to me. In this time I dedicated myself to my passion project, I learned so much about myself and creative writing. If you’re an aspiring writer or if you need some perspective and advice, stay here and read the rest of this post. Here are the 8 lessons I’ve learned about creative writing!