Writing Notes & References

Dialogue: You can use your characters’ dialogue to foreshadow future events or big reveals. This foreshadowing may take the form of a joke, an offhand comment, or even something unsaid that adds personality to your characters while planting the seed for later revelations. A prime example of dialogue foreshadowing occurs in Shakespeare’s Romeo and Juliet, when Romeo says, “My life were better ended by their hate, than death prorogued, wanting of thy love.” This line foreshadows Romeo’s eventual fate: committing suicide over the loss of Juliet.

Title: The title of a novel or short story can be used to foreshadow major events in the story as well. For instance, Edgar Allan Poe’s “The Fall of the House of Usher” foreshadows not just the destruction of the physical house, but the demise of an entire family.

Setting: The choices you make about the setting or atmosphere of your story can foreshadow events as well. In Great Expectations, Charles Dickens uses descriptions of foreboding storm clouds and inclement weather to foreshadow the dark turn Pip’s story will take: “So furious had been the gusts, that high buildings in town had had the lead stripped off their roofs; and in the country, trees had been torn up, and sails of windmills carried away; and gloomy accounts had come in from the coast, of shipwreck and death.”

Metaphor or simile: Figurative language like similes and metaphors can be effective foreshadowing tools. In David Copperfield, Dickens uses simile to foreshadow the betrayal of David by his mother, comparing her to a figure in a fairy tale: “I sat looking at Peggotty for some time, in a reverie on this suppositious case: whether, if she were employed to lose me like the boy in the fairy tale, I should be able to track my way home again by the buttons she would shed.”

Character traits: A character’s appearance, attire, or mannerisms can foreshadow that character’s true essence or later actions. On second reading, Lennie’s death at the end of John Steinbeck’s Of Mice and Men comes not as a shock but as an echo of a moment much earlier, when George must put down a dog. For George, the two events are not directly linked, but the reader learns that he is willing to do something gut-wrenching in a moment of greater need.

Foreshadowing is a key tool for writers to build dramatic tension and suspense throughout their stories.

It’s a quiet flag from the writer to the reader to pay close attention, and it’s also a great tool to prepare your reader emotionally for big reveals.

For instance, if an abrupt revelation or plot twist is not adequately set up via foreshadowing, your reader may come away from your story feeling annoyed, disappointed, or confused, rather than surprised and satisfied.

If you encounter a stranger, you may say, “Hi, my name’s Rich.”

If you encounter a person you already know, you’ve already gone through this before, so you may just say, “What’s up?”

Time constraints also affect initiation. A quick passing calls for a quick hello, while a scheduled meeting may entail a more formal start.

If you already know the person, the length of time that’s passed since your last encounter will affect your initiation. For example, if you see a friend from high school while home for winter break, you may set aside a long block of time to catch up; however, if you see someone at work that you just spoke to ten minutes earlier, you may skip initiating communication.

The setting also affects how we initiate conversations, as we communicate differently at a crowded bar than we do on an airplane.

Culture can also impact the interaction. Some cultures have different expectations for interactions between people of different ages, sexes, or other situations while some cultures do not have as many expectations.

Even with all this variation, people typically follow their culture’s social scripts or interaction at this stage.

Stage 2: Experimenting

In this stage, we are getting to know the other person to identify compatibility beyond physical attraction.

We share information about ourselves while looking for mutual interests, shared political or religious views, and similarities in family background.

Common dating activities in this stage: going to parties or other publicly structured events, like movies or a concert, that foster interaction and small talk.

Small talk, a hallmark of the experimenting stage, is common among young adults just beginning to explore a new relationship by staying on polite, uncontroversial topics.

Small talk can be annoying sometimes, especially if you feel like you have to do it out of politeness but it serves important functions: creating a communicative entry point that can lead people to uncover topics of conversation that go beyond the surface level, helping us audition someone to see if we’d like to talk to them further, and generally creating a sense of ease and community with others.

If your attempts at information exchange with another person during the experimenting stage are met with silence or hesitation, you may interpret their lack of communication as a sign that you shouldn’t pursue future interaction.

Even though small talk isn’t viewed as very substantive, the authors of this model of relationships point out that most of our relationships do not progress far beyond this point (Knapp & Vangelisti, 2009).

Stage 3: Intensifying

In this stage, we continue to be attracted (mentally, emotionally, and physically) to one another, we begin engaging in intensifying communication. 

This is the happy stage (the “relationship high”) where we cannot bear to be away from the other person. It is here that you might plan all of your free time together, and begin to create a private relational culture.

Going out to parties and socializing with friends takes a back seat to more private activities (e.g., cooking together at home or taking long walks on the beach).

Self-disclosure continues to increase as each person has a strong desire to know and understand the other. In this stage, we tend to idealize one another in that we downplay faults (or don’t see them at all), seeing only the positive qualities of the other person.

Other signs of the intensifying stage can include:

creation of nicknames or inside jokes

increased use of we and our

increased sharing emotionally (e.g., saying “I love you”.)

increased physical intimacy

increased communication about each other’s identities

increased sharing of possessions and personal space (e.g., you have a key to your partner’s apartment)

Stage 4: Integrating

In this stage, identities and personalities are merged, and a sense of interdependence (dependence on each other) develops. 

Verbal and nonverbal signals of the integrating stage are when the social networks of two people merge; those outside the relationship begin to refer to or treat the relationship partners as if they were one person (e.g., always referring to them together—“Let’s invite Olaf and Bettina”); or the relational partners present themselves as one unit (e.g., both signing and sending one holiday card or opening a joint bank account).

Even as two people integrate, they likely maintain some sense of self by spending time with friends and family separately, which helps balance their needs for independence and connection.

They are looking to measure how well their new partner fits into their lives and how other significant relationships (friends and family members) rate or respond to their new love interests.

When the “relational high” begins to wear off, couples begin to have a more realistic perspective of one another and the relationship as a whole.

Here, people may recognize the faults of the other person that they so idealized in the previous stage.

Also, couples must again make decisions about where to go with the relationship—do they stay together and work toward long-term goals, or define it as a short-term relationship?

A couple may be deeply in love and also make the decision to break off the relationship for a multitude of reasons.

Perhaps one person wants to join the Peace Corps after graduation and plans to travel the world, while the other wants to settle down in their hometown.

Their individual needs and goals may not be compatible to sustain a long-term commitment.

Stage 5: Bonding

In this stage, a couple makes the decision to make the relationship a permanent part of their lives.

In this stage, the participants assume they will be in each other’s lives forever and make joint decisions about the future.

While marriage is an obvious sign of commitment it is not the only signifier of this stage. Some may mark their intention of staying together in a commitment ceremony, by registering as domestic partners, or by becoming Facebook official.

Likewise, not all couples planning a future together legally marry. Some may lose economic benefits if they marry, such as the loss of Social Security for seniors or others may oppose the institution (and its inequality) of marriage.

Not only do romantic couples progress through a series of stages of growth, they also experience stages of deterioration.

Deterioration does not necessarily mean that a couple’s relationship will end.

Instead, couples may move back and forth from deterioration stages to growth stages throughout the course of their relationship.

COMING APART PHASE

Stage 6: Differentiating

Individual differences can present a challenge at any given stage in the relational interaction model; however, in the differentiating stage, each partner in the relationship is reasserting their sense of self and trying to discover who they are as part of a couple.

Communicating differences becomes a primary focus.

Differentiating is the reverse of integrating, as we and our reverts back to I and my.

People may try to re-establish some of their life prior to the integrating of the current relationship, including other relationships, hobbies, and interests, or possessions.

For example, Carrie may reclaim friends who became “shared” as she got closer to her partner and their social networks merged by saying, “I’m having my friends over to the apartment and would like to have privacy for the evening.”

Or, she may have liked playing golf on Sundays and abandoned it for Sunday dinners with her new partner and her new family.

Now, she will want to return to what makes her happy.

Individuals in the couple will want to have a sense of self that is independent and not necessarily tied to their partner.

Stage 7: Circumscribing

In this stage, communication decreases and certain areas or subjects become restricted as individuals verbally close themselves off from each other.

Circumscribe means to draw a line around something or put a boundary around it (Oxford English Dictionary Online, 2011).

They may say things like “I don’t want to talk about that anymore” or “You mind your business and I’ll mind mine.”

If one person was more interested in differentiating in the previous stage, or the desire to end the relationship is one-sided, verbal expressions of commitment may go unechoed—for example, when one person’s statement, “I know we’ve had some problems lately, but I still like being with you,” is met with silence.

Passive-aggressive behavior and the demand-withdrawal conflict pattern may occur more frequently at this stage.

Couples often engage in more outward conflict.

Stage 8: Stagnating

During this stage, romantic partners begin to neglect the small details that have always bound them together and their relationship becomes routine.

For example, they may stop cuddling on the couch when they rent a movie and instead sit in opposite chairs.

Taken in isolation, this example does not mean a relationship is in trouble.

However, when intimacy continues to decrease, and the partners feel dissatisfied, this dissatisfaction can lead to worrying about the relationship.

The partners may worry that they do not connect with one another in ways they used to, or that they no longer do fun things together.

When this happens they may begin to imagine their life without the relationship.

Rather than seeing the relationship as a given, the couple may begin to wonder what life would be like not being in the partnership.

They begin to assume that they know their partner and are dissatisfied with them.

Instead of communicating, a person may think, “There’s no need to bring this up again because I know exactly how he’ll react!”

Because of this kind of thinking, communication comes to a standstill.

This stage can be prolonged in some relationships.

Parents and children who are estranged, couples who are separated and awaiting a divorce, or friends who want to end a relationship but don’t know how to do it may have extended periods of stagnation.

Although most people don’t like to linger in this unpleasant stage, some try to avoid potential pain from termination, some hope to rekindle the spark that started the relationship, or even some enjoy leading their relational partner on.

Stage 9: Avoiding

Moving to this stage may be a way to end the awkwardness that comes with stagnation, as people signal that they want to close down the lines of communication.

Communication in the avoiding stage can be very direct—“I don’t want to talk to you anymore”—or more indirect—“I have to meet someone in a little while, so I can’t talk long.”

While physical avoidance such as leaving a room or requesting a schedule change at work may help clearly communicate the desire to terminate the relationship, we don’t always have that option.

In a parent-child relationship, where the child is still dependent on the parent, or in a roommate situation, where a lease agreement prevents leaving, people may engage in cognitive dissociation, which means they mentally shut down and ignore the other person even though they are still physically present.

Stage 10: Terminating

This stage of a relationship is when the relationship is ended.

Termination can occur at any point in the relational development model or follow through the phases of coming together and coming apart.

Termination can result from outside circumstances such as geographic separation or internal factors such as changing values or personalities that lead to a weakening of the bond.

When terminating a relationship, people will often follow a pattern that is typical of their culture.

In mainstream American culture, for example, it is typical for someone to start the formal termination of a relationship with a summary message that recaps the relationship and provides a reason for the termination (e.g., “We’ve had some ups and downs over our three years together, but I’m getting ready to go to college, and I either want to be with someone who is willing to support me, or I want to be free to explore who I am.”).

The summary message may be followed by a distance message that further communicates the relational drift that has occurred (e.g., “We’ve really grown apart over the past year”), which may be followed by a disassociation message that prepares people to be apart by projecting what happens after the relationship ends (e.g., “I know you’ll do fine without me. You can use this time to explore your options and figure out if you want to go to college too, or not.”).

Finally, there is often a message regarding the possibility for future communication in the relationship (e.g., “I think it would be best if we don’t see each other for the first few months, but text me if you want to.”) (Knapp & Vangelisti, 2009).

Love Styles. An individual’s love style is considered to be an attitude and describes how love is perceived (Hendrick & Hendrick, 1988).

Attitudes toward love and perceptions of love may change throughout an individual’s life.

College students may perceive love very differently from their parents or guardians because college students are in a very different stage of life.

College students are living among people their age who are more than likely single or unmarried.

These 2 factors mean that there are more prospects for dating, and this may lead the college student to conclude that dating any number of these prospects is necessary or even perceive that “hooking up” with multiple prospects is acceptable.

In contrast, individuals with children who are financially tied may view romantic relationships as partnerships in which goal achievement (pay off the house, send kids to college, pay off debt, etc.) is as important as romance.

These differences in perceptions of love can be explored through John Lee’s love typology in which he discusses 6 love styles (Lee, 1977):

Eros. Eros is romance and emphasizes love and physical beauty, immediate attraction, emotional intensity, and strong commitment. Eros love involves the early initiation of sexual intimacy and consecutive monogamous relationships.

Storge. Storge love develops slowly out of friendship where stability and psychological closeness are valued along with commitment, which leads to enduring love. Passion and intense emotions are not valued as they are in the eros love style. One of the author’s uncles was in his 60s and had never been married. However, he employed a woman who cooked and cleaned for him for over 20 years. His family was very surprised to receive an announcement that he was marrying the individual who took care of him for so long. The formation of their love is a great example of love that arises slowly out of friendship.

Ludic. Ludic lovers view love as a game, and playing this game with multiple partners is perceived to be acceptable by individuals with this love style. As such, this type of lover believes that deception and manipulation are acceptable. Individuals with this love style have a low tolerance for commitment, jealousy, and strong emotional attachment.

Agape. In contrast, agape love involves altruism, giving, and other-centered love. This love style approaches relationships in a non-demanding style with gentle caring and tolerance for others.

Pragma. Pragma love is known as practical love involving logic and reason. Arranged marriages were often arranged for functional purposes. Kings and Queens of different countries often married to form alliances. This love style may seek out a romantic partner for financial stability, ability to parent, or simple companionship.

Mania. Mania is the final love style characterized by dependence, uncertainty, jealousy, and emotional upheaval. This type of love is insecure and needs constant reassurance.

These love styles should not be considered to be mutually independent.

An individual may approach love from a pragmatic stance and have found love that provides financial stability.

However, they still feel insecure (representative of mania) about whether their romantic partner will remain with them, thus ensuring continued financial stability.

It is important to remember that individuals engage in each of these love styles, and it is simply a matter of how much of each love style a person possesses.

The 5 C's of Healthy Relationships. According to Dan Heller (2020), there are a few clues into what might make a relationship work.

In a research project Heller tackled in 1983 as an undergraduate at UC-Santa Cruz, he found 5 components present in successful relationships.

Heller found that the happiest individuals in his research were those who could identify all 5 of these elements in their romantic relationships.

Communication: Effective communication is vital in any relationship. It involves actively listening to each other, expressing thoughts and feelings honestly and respectfully, and resolving conflicts in a healthy way.

Compatibility: The shared values, interests, and goals that bring people together. While differences can be enriching, having fundamental compatibility in important areas can strengthen a relationship's foundation.

Commitment: A willingness to invest time, effort, and energy into the relationship. It means prioritizing the partnership and working together to overcome challenges. Both partners should be dedicated to making the relationship work and be willing to make compromises when necessary.

Care: Care in a relationship involves showing love, affection, and support for your partner. This can manifest through small gestures of kindness, empathy, and consideration for each other's well-being. It's about being there for your partner in good times and bad.

Compromise: Relationships require compromise from both persons involved. This means finding common ground and making sacrifices to meet each other's needs and desires. Healthy compromise is a collaborative effort that ensures both individuals feel valued and respected.

Elements of Healthy Relationships

Communication. The way you talk with friends or partners is an important part of a relationship. Everyone involved should be able to communicate feelings, opinions, and beliefs. When communicating, consider tone and phrasing. Miscommunication often occurs when individuals choose to text versus talking in person or a phone call. Figuring out the best ways to express your feelings together will help eliminate miscommunication.

Boundaries. Boundaries are physical, emotional, and mental limits or guidelines a person sets for themselves which others need to respect. You and your partners or friends should feel comfortable in the activities you are doing together. All individuals involved should be respectful of boundaries. Whether it’s romantic, sexual, or platonic, consider what you want the relationship to look like and discuss it with the other(s).

Consent. Consent is important in all relationships. Consent is uncoerced permission to interact with the body or the life of another person. Coercion can look like pressure to do something, physical force, bargaining, or someone holding power over another to get what they want. Consent can look like asking about boundaries in relationships, actively listening to responses, and always respecting those boundaries.

Trust. Each person in the relationship should have confidence in one another. If you are questioning whether to trust someone, it may be important to communicate your feelings to them. Consider what makes you not trust someone. Is it something they did, or is it something you’ve experienced in other relationships?

Honesty. Honesty is important for communication. Each person within the relationship or friendship should have the opportunity to express their feelings and concerns. If you don’t feel comfortable being honest with someone, consider why and seek support if needed.

Independence. It’s important to have time to yourself in any relationship. Having opportunities to hang with others or time for self-care is important to maintain a healthy relationship. If you live with your partner(s) or friend(s), set up designated areas within your place where you can spend time alone.

Equality. Each person in the relationship should have an equal say in what’s going on. Listen to each other and respect boundaries.

Support. Each person in the relationship should feel supported. It’s important to have compassion and empathy for one another. In addition to supporting one another, it’s important to recognize your own needs and communicate boundaries around support.

Responsibility. Some days you may find you said something hurtful or made a mistake. Make sure to take responsibility for your actions and do not place the blame on your partner(s) or friend(s). Taking responsibility for your actions will further trust and honesty.

Healthy conflict. You may think conflict is a sign of an unhealthy relationship, but talking about issues or disagreements is normal. You won’t find a person that has the exact same interests, opinions, and beliefs as you; thus, at times disagreements may occur. Communicating your feelings and opinions while being respectful and kind is part of a healthy relationship.

Safety. Safety is the foundation of connection in a relationship. In order to set boundaries, communicate, and have fun, everyone must feel safe. If you do not feel safe to express your feelings, have independence, or anything else on this list, seek support using the resources below.

Fun. In addition to all these components, you should be enjoying the time you spend with others. Again, it’s important that your relationships promote your well-being and do not diminish it.

Sources: 1 2 3 4 ⚜ More: References ⚜ Writing Resources PDFs

Hi, I don't think this is a strange question, no apologies necessary! There were so many ways I wanted to answer this. For the first question on how to "figure out what one of [your] characters would find attractive in a romantic partner", you may base some of it on Love Styles (+ relevant information in the other studies discussed above).

As for making "their slow transition into a romantic relationship not feel out of place or jarring", the Stages of Relationship Development is one model you can consider for inspiration. Also added some findings on "elements" of romantic/healthy relationships that I thought you may find helpful to incorporate in your story as well. Choose which ones make sense for your characters.

Another way I wanted to answer this was on common love/romance tropes in literature and other media. I find it helpful to learn about different tropes used by other authors when there are topics we want to cover as fiction writers, but have limited knowledge/experience on. But then you could always deviate or subvert those tropes/ideas once your story starts to flow naturally (+ considering your own story angle etc.). As such, here are some links to tropes related to romance that might give you some ideas: 1 2 3 4 5 6 (+ study these tropes in your favourite books/shows etc. to know more how you could also use them in your own writing).

More references:

The Physiology of Love ⚜ The 4 Kinds of Love

Love (according to literature) ⚜ Triangular Theory of Love

Falling action takes different forms, depending on the narrative, the genre, the storytelling form, and the author’s style. There can be falling action in novels, films, plays, short stories, and epic poetry. Some examples of how falling action serves a narrative include:

William Shakespeare’s Othello (1603): In William Shakespeare’s Othello, the climax occurs when Othello, having been manipulated by Iago into believing that his wife Desdemona has been unfaithful, murders her. This occurs in the play’s final act, but considerable action follows it. Shortly after Desdemona’s murder, Othello, confronted by Emilia, Iago’s wife, begins to realize Iago’s treachery and the fact that his wife had remained faithful. Iago’s rage leads him to murder his wife, Emilia, although Othello knows the truth by now. Consumed with regret and the impossibility of redemption, Othello kills himself in the tragic resolution.

Robert Louis Stevenson’s Treasure Island (1883): In Robert Louis Stevenson’s Treasure Island, the climactic action occurs when the buried treasure goes missing, prompting a final deadly showdown between the mutineers and the remaining members of the schooner’s crew. Shortly afterward, the actual location of the treasure is revealed, and the falling action of the plot covers the recovery of the treasure, its transport back to the ship, and the return to civilization.

Franz Kafka’s The Metamorphosis (1915): In The Metamorphosis, the scene featuring Gregor’s appearance while his sister plays violin leads to a climactic emotional breakdown and the angry lodgers’ denunciations. This is then followed by the falling action of Gregor’s death, the lodgers being kicked out, the charwoman disposing of Gregor’s corpse, and the family taking a day trip, wherein their mood lifts as they contemplate the future.

F. Scott Fitzgerald’s The Great Gatsby (1925): Many critics consider the violent scene of Myrtle’s accidental death the plot’s climax. The distraught George, mistakenly assuming that Gatsby was Myrtle’s lover and responsible for her death, murders Gatsby. This is followed by Gatsby’s funeral and Nick’s ruminations on human character and fate, which close the novel.

How to Stop Being a People Pleaser

You can stop being a people pleaser while still being a nice person and a helping caregiver. Consider the following tips:

Chat with a therapist. Therapy can help you understand the root of your people-pleasing tendencies and offer a way to overcome these habits. Therapists are there to address your needs, so be honest and forward with what has been causing you stress, so they can adequately collaborate with you to improve your self-worth.

Grow comfortable with saying “no.” People pleasers often say yes to any requests, but that can come at a cost. Try saying “no” to some asks—you can simply say you do not have time or the energy to accomplish the request.

Have open discussions. If a coworker, friend, or family member is demanding too much of your time and resources, have an honest and open conversation with them. Explain how their needs are negatively impacting your own.

Set clear boundaries. Setting boundaries and scheduling time for yourself is an essential part of self-care. Having time where you get to relax and recharge invites you to be your best possible self.

Pus: Medical professionals manage healthy drainage with regular dressings. But cloudy, yellowish drainage or purulent discharge with a pungent or foul odor accompanied with swelling and elevated pain is a sign of an infected wound.

Pimple: When a pimple-like crust forms on an injury, it indicates an infection. This pimple increases in size over time.

Soft Scab: While it is normal to have slightly pink or reddish skin around the injury, a scab that constantly increases in size over time could indicate an infection.

Red Area: In the initial stages, wounds appear red due to the natural healing process. But if the red area around the injured site continues to increase even after 4-5 days of an injury, it is a telltale sign of an infected wound.

Red Streak: If a red streak starts forming from the injured site towards the heart, it could be lymphangitis (inflammation of the lymphatic system). This underlying infection requires immediate medical attention.

More Pain: Normally, the pain subsides a few days after an injury or wound. Long-lasting or elevated pain even after a few days is a symptom of an infected site.

More Swelling: Similar to redness around the wound, swelling in the affected area indicates that the body’s immune system is working. But if the swelling continues even after 3-5 days, with no signs of it reducing, it indicates an infection.

Swollen Node: Generally, swollen lymph nodes indicate that a body’s immune system is fighting an illness. But the formation of a large and tender node near the injured site could be a sign of an infected wound.

Fever: After an injury or surgery, it is normal for a patient to run a low-grade fever. However, persistent high-grade fever coupled with decreased appetite and body ache is a sign of infection.

An intermediate velocity (muzzle velocity 350-650 meters per second or 1,200-2,000 feet per second) and a high velocity (muzzle velocity >600 meters per second or >2,000 feet per second) gun shot wounds are more likely to have a high risk of infection.

It has been found that gunshot wounds to the abdomen with associated colonic injuries had a worse outcome with an increased risk of developing wound infections.

Necrotizing Soft Tissue Infection. A serious, life-threatening condition. It needs treatment right away to keep it from destroying skin, muscle, and other soft tissues.

The word necrotizing comes from the Greek word "nekros."

It means "corpse" or "dead."

A necrotizing infection causes patches of tissue to die.

These infections are the result of bacteria invading the skin or the tissues under the skin. If untreated, they can cause death in hours.

Fortunately, such infections are very rare. They can quickly spread from the original infection site. So it's important to know the symptoms.

The most common symptoms of a necrotizing soft tissue infection:

Pain that hurts more than you think it should, based on the size of the wound or sore

A wound with a fever (higher than 100.4°F or 38°C) and a rapid heartbeat. This is usually more than 100 beats a minute.

Pain that extends past the edge of the wound or visible infection

Pain, warmth, skin redness, or swelling at a wound, especially if the redness is spreading rapidly and if areas are turning bluish or black

Skin blisters, sometimes with a "crackling" sensation under the skin

Pain from a skin wound that also has signs of a more severe infection, such as chills and fever

Grayish, smelly liquid draining from the wound

A small sore or pus-filled bump that is unusually painful to the touch

An area around the sore that is hot to the touch

A hard time thinking clearly, especially along with one of the other symptoms noted

A lot of sweating, especially with one of the other symptoms noted

Areas of skin at or near a wound that feel numb

A sore that is getting worse quickly, especially if you:

Are obese

Have diabetes

Have a weak immune system from using a steroid regularly

Are on chemotherapy for cancer

Are on dialysis

Have peripheral artery disease

Drink a lot of alcohol

Have poorly controlled HIV/AIDS

People with some of these symptoms are surprised to learn that they have a necrotizing soft tissue infection.

That's because it may not seem to be very severe at first.

But these infections can get worse quickly if they are not aggressively treated.

Sources: 1 2 3 4 5 ⚜ More: References ⚜ Writing Resources PDFs

Here's another reference that includes some mechanisms at work with gunshots. And more information on wounds.

ADSR – Stands for Attack, Decay, Sustain and Release – refers to the envelope [i.e., characteristic of a sound (e.g. volume or filter) as it changes over time; can be used as a tool to shape a sound over time] applied to a sound to shape it over time. Can be applied to the volume, filter, pitch or more. Can make things sound plucky, soft, or ambient etc.

Aliasing – Subtle distortion that occurs in the digital realm when the input frequency is higher than the sample rate. The sample cannot be measured accurately and thus introduces imperfections into the sound.

Ambience – Can refer to a sound in a track which creates a sense of space or atmosphere – typically achieved by the use of time-based audio effects such as delays and reverbs. Also can refer to the level of sound in a recording that contains background noise, separate to the intended recording. Typically this background noise is undesirable, but sometimes it is an aesthetic choice.

Arpeggiator – A MIDI Effect that turns a static chord into an arpeggio. If that doesn’t make sense, it makes things go bleep-bleep-bleep.

Atmosphere – A sonic effect created by reverb, long tails and quieter sounds. Referred to as the background of a track.

Beat Repeat – A type of effect that takes audio as an input and repeats the snippet back at timed intervals to create a glitch effect.

Chill – A loosely-defined term to describe the sound of more relaxed, deeper and melody-driven music in electronic music. Sometimes people refer to this as a genre in itself.

Distortion – The processing of audio such that extra harmonics and loudness are added, creating a more fuller or aggressive sound. Distortion types include tube, clipping, tape, diode, overdrive, fuzz and many more.

Doppler Effect – The sonic effect of frequencies sounding higher pitched when moving closer to an audio source, and lower pitched when moving away. Like when you drive past a police siren.

Formant – A vocal quality of a sound relating to vowels, and a filter type that achieves a vowel-like sound. If you’ve ever heard an ‘oooh’ or ‘aaah’, then you’ve heard what a formant sounds like.

Gate – An audio effect that reduces the volume of a sound once it passes below a certain threshold. It’s good for reducing background noise or unwanted sounds in a recording or sample. Just like your gate at home stops unwanted people coming into your house.

Glide – Portamento—when the pitch slides evenly from note to note

Lazer – A type of sound made by a synth that features fast-moving pitch envelopes to create a ‘pew pew’ type effect.

Masking – A phenomenon when two sounds with similar frequency content cause one to become ‘buried’ due to phase cancellation or differences is loudness. For example, two piano sounds playing at the same time might cause one of them to sound less powerful and thin in the mix.

Normalize – Increases a waveform’s level to its highest before it becomes distorted

Panning – The process of moving a sound either left or right in the stereo field. Panning is a great mix technique to achieve width and space.

Polar Pattern – The way a microphone picks up a sound. Some pickup sound in many directions, others only in one direction, and everything in between.

Reflections – Part of a reverb that creates echoes based off sounds hitting walls and bouncing around rapidly.

Transient – The initial start point of a drum sound, where the audio goes from near silence to sudden loudness. Sounds clicky.

Voice stealing – When a synthesizer is programmed to play more sounds than accessible voices shuts down some present voices so new tunes can be played

Tips for Writing About Music

The most important step when writing about music is to write, read, and listen to as much as possible. Writing hones your voice, while reading exposes you to various styles and information that will shape your writing. The wider the range of music you embrace and study, the better your perspective and critical ear.

Read about music: Understand as much as possible about music, from instrumentation to how artists create their song lyrics. Reading also helps teach the technical vocabulary specific to certain genres. To help you gain a better command of music, use music writing reference books, such as A Short Guide to Writing About Music by Jonathan Bellman and How to Write About Music, edited by Marc Woodworth and Ally-Jane Grossan. Both of these works discuss how to research and write about music effectively, and are great resources for new music writers.

Stay informed: Develop an understanding of news, events, and cultural conversations that inform songwriters. For example, understanding the politics behind Russian feminist collective/punk group Pussy Riot is necessary if you want to write an informed piece on their output.

Learn music theory: The more informed your technical language, the better your music writing will be. Elements such as BPM, timbre, crescendos, adagio, and other music sounds will help you more deeply understand a particular piece of music and its relationship to other songs on an album.

Listen to music: Don’t only listen to genres that you prefer, but expand your ear to different types of music. Artists are inspired by music across time and genre, and the best music critics recognize those references.

Put work out: Whether you join your school’s paper, do creative writing, or start your own blog, getting eyes on your work is imperative to improving your music writing. There are also online resources that aggregate opportunities and writing prompts for writers of all experience levels, providing a great opportunity for new writers to get their foot in the door.

Pitch to publications: Online and print publications are always looking for new pitches from writers. The more places you pitch, the more likely it is that you will sell a piece. Don’t be discouraged if you pitch one outlet and never hear back. Lean into your passion, keep writing, and pitch some more.

Also describe the effects of the song to your character/s. The effects of music can be described using various adjectives like relaxing, calm, refreshing, soothing, etc.

Sources: 1 2 3 4 5 6 7 ⚜ More: References ⚜ Writing Resources PDFs

Thanks so much, really glad to hear this! Choose which of these notes would be most appropriate to incorporate in your story. Do go through the sources as there are more information I wasn't able to include here.

Another reference on music-related terms, plus some great additions. And more resources that could help with describing sounds and scenes related to music in your story:

Words to Describe Sounds

100 Sensory Words

Some Percussion Instruments

Some Pop Music Vocabulary

Writing Template: Singing Scene

Up until 1983, the breeds in the Herding Group were part of the Working Group.

They share an instinctual ability to control the movement of other animals.

These breeds were developed to: gather, herd and protect livestock.

Today, some like the Belgian Malinois and the German Shepherd Dog are commonly used for police and protection work.

The herding instinct in these breeds is so strong that Herding breeds have been known to gently herd their owners, especially the children of the family.

In general, these intelligent dogs make excellent companions and respond beautifully to training exercises.

Hound Group

Most hounds share the common ancestral trait of being used for hunting.

Some use acute scenting powers to follow a trail.

Others demonstrate a phenomenal gift of stamina as they relentlessly run down quarry. Beyond this, however, generalizations about hounds are hard to come by, since the Group encompasses quite a diverse lot.

There are Pharaoh Hounds, Norwegian Elkhounds, Afghans, Beagles etc.

Some hounds share the distinct ability to produce a unique sound known as baying. You'd best sample this sound before you decide to get a hound of your own to be sure it's your cup of tea.

Miscellaneous

This includes dog breeds that are currently part of the AKC’s Foundation Stock Service but have not yet been officially recognized by the organization or placed in a breed group.

Therefore, the breeds in this group do not have anything in common in terms of size, shape, or personality.

Non-Sporting Group

Non-Sporting dogs are made up of a diverse group of breeds with varying sizes, coats, personalities and overall appearance. They come from a wide variety of backgrounds so it is hard to generalize about this group of dogs.

From the sturdy Chow Chow, to the compact French Bulldog and the foxlike Keeshond, the differences in features can be vast.

Most are good watchdogs and housedogs.

Other breeds in this group are the ever-popular Dalmatian, Poodle and Lhasa Apso, and the less common Schipperke and Tibetan Spaniel.

Sporting Group

Naturally active and alert, these dogs make likeable, well-rounded companions.

First developed to work closely with hunters to locate and/or retrieve quarry. There are 4 basic types of Sporting dogs: Spaniels, Pointers, Retrievers, and Setters.

Known for their superior instincts in water and woods, many of these breeds enjoy hunting and other field activities.

Many of them, especially the water-retrieving breeds, have well–insulated water repellant coats, which are quite resilient to the elements.

Most require regular, invigorating exercise.

Terrier Group

Feisty and energetic are two of the primary traits that come to mind for those who have experience with Terriers. In fact, many describe their distinct personalities as “eager for a spirited argument.”

Bred to hunt, kill vermin and to guard their families home or barn; sizes range from fairly small, as in the Norfolk, Cairn or West Highland White Terrier, to the larger and grand Airedale Terrier.

Prospective owners should know that terriers make great pets, but they do require determination on the part of the owner because they can be stubborn; have high energy levels, and require special grooming (known as “stripping”) to maintain a characteristic appearance.

Toy Group

They might be short on size, but they are definitely not short on personality! Breeds in the Toy group are affectionate, sociable and adaptable to a wide range of lifestyles.

Just don't let their size and winsome expressions fool you: they are smart, full of energy and many have strong protective instincts.

Toy dogs are popular with city dwellers because they make ideal apartment dogs and terrific lap warmers on nippy nights.

Working Group

Quick to learn, this group is intelligent, strong, watchful, and alert.

Bred to assist man, they excel at jobs such as guarding property, pulling sleds and performing water rescues.

Doberman Pinschers, Siberian Huskies and Great Danes are part of this Group, to name just a few.

They make wonderful companions but because they are large, and naturally protective, prospective owners need to properly train and socialize a dog.

Some breeds in the Working Group may not be for the first-time dog owner.

Dog's Emotions. According to Dr. Erin Hecht and her team on The Canine Brains Project at Harvard University, dogs do feel and express emotions.

However, assigning human words and root causes to these emotions isn’t always the best way to describe them.

“On one hand, it can be helpful to use words like “jealousy” for conceptualizing and relating to dogs’ feelings,” says Dr. Julia Espinosa, a National Science Foundation postdoctoral fellow who studies how genes, the brain, and life experiences influence fear and reactivity in dogs.

But anthropomorphizing—assigning human feelings to animals—carries the risk of missing signals that more accurately explain your dog’s feelings and needs.

A better approach involves considering your dog’s feelings on a scale of very negative to very positive.

“What’s the smartest dog?” the question Dr. Hecht gets asked most — she has the science to back up her diplomatic answer: “This research suggests there’s not one type of canine intelligence,” she said. “There are multiple types.”

Dogs express their emotions all the time through body language like tail wagging, ear position, and subtle facial expressions.

Emotions that dogs and people may experience similarly include:

Fear

Frustration

Attachment

Playfulness

Joy

Puppies may begin developing feelings as early as 3 weeks of age. Around this time, they:

Startle when hearing loud noises, which suggests they feel fear.

Show signs of sadness or distress when away from their mom or littermates.

Begin initiating play during their critical period for socialization, when they’re between 3 and 12 weeks old. This behavior is likely influenced by positive emotions, such as happiness, Barton says.

Wolves also have similar brain structures and likely experience most of the same emotions, too. They aren’t domesticated, though, so they express these feelings toward other wolves, not humans.

Love. Technically speaking, “love” is a human concept—but you can gauge your relationship with your dog by strength of your bond and the level of trust between you. Even though dogs don’t experience love in the same way as humans, they still form strong social bonds with their favorite humans, says Dr. Olivia Reilly, a National Institutes of Health postdoctoral fellow examining how hormones like oxytocin influence attachment bonds between dogs and children. Experts believe oxytocin, a hormone released during social interactions, helps promote the formation of strong social bonds—and some evidence suggests dogs experience a surge of oxytocin when gazing into a favorite person’s eyes.

Fear. Dogs have the same hormones that play a role in the human stress response. This suggests they likely experience fear and anxiety in much the same way as humans do—although, of course, dogs and humans generally don’t fear the same things.

Sadness, anxiety, or depression. Dogs are very good at picking up on and mimicking human emotions. Actually, they’re a little too good at mimicking human emotions, says Dr. Nicholas Dragolea, certified dog behavior consultant and founder of Fetched. When a dog senses their pet parent is feeling sad or anxious, they’re likely to feel sad or anxious themselves. This is called emotional contagion. Dogs can also become sad, anxious, or depressed due to a change in their environment, including the loss of another pet or human. Changes from a dog’s baseline behaviors can be signs of emotional distress, according to Dr. Dragolea. For example, a dog who suddenly loses interest in going for walks, playing fetch, or eating may be feeling blue.

Other hurt feelings. Dogs don’t have the same capacity for abstract thought as humans. So while they may experience fear and emotions similar to jealousy, they likely won’t dwell on those events or feel resentment or embarrassment. Emotions like jealousy relate to a dog’s primal instinct to protect resources, including their pet parents, according to Dr. Dragolea. That’s why, if your dog catches you giving attention to another dog, they may consider this a threat and adjust their behavior accordingly. Even so, this doesn’t mean your dog’s feelings were hurt. What you interpret as hurt feelings may instead be more of a learned shift in behavior. For example, dogs may act subdued when they hear a sharp or upset, “No!” because they associate the word with that negative body language and tone. They may also experience fear, which can damage your bond.

One of the most comprehensive examinations of the structure of dog personality is Jones (2008) personality taxonomy for dogs.

In this framework, dogs vary along 5 dimensions:

Fearfulness characterizes a dog’s general anxiety and fearfulness toward people, other dogs, new environments, and handling (e.g., by groomers and owners). 

Aggression toward people characterizes a dog’s general and situational aggression toward humans. 

Activity/excitability characterizes a dog’s general level of excitability, playfulness, engagement, and companionability. 

Responsiveness to training characterizes a dog’s trainability and controllability (e.g., leaves food alone when they are told to). 

Aggression toward other animals characterizes a dog’s aggression and dominance towards other dogs and perceived prey (e.g., squirrels).

A study published in Journal of Research in Personality, is one of the first – and is the largest – studies of its kind to examine changes in dogs’ personalities.

Chopik surveyed owners of more than 1,600 dogs, including 50 different breeds.

Dogs ranged from just a few weeks old to 15 years, and were split closely between male and female.

The extensive survey had owners evaluate their dog’s personalities and answered questions about the dog’s behavioral history. The owners also answered a survey about their own personalities.

“We found correlations in 3 main areas:

age and personality,

in human-to-dog personality similarities and

in the influence a dog’s personality has on the quality of its relationship with its owner,” Chopik said.

“Older dogs are much harder to train; we found that the ‘sweet spot’ for teaching a dog obedience is around the age of 6, when it outgrows its excitable puppy stage but before its too set in its ways.”

One trait that rarely changes in age with dogs, Chopik said, was fear and anxiety.

Honing in on the saying, “dogs resemble their owners,” Chopik’s research showed dogs and owners share specific personality traits.

Extroverted humans rated their dogs as more excitable and active, while owners high in negative emotions rated their dogs as more fearful, active and less responsive to training.

Owners who rated themselves as agreeable rated their dogs as less fearful and less aggressive to people and animals.

The owners who felt happiest about their relationships with their dogs reported active and excitable dogs, as well as dogs who were most responsive to training.

Aggression and anxiety didn’t matter as much in having a happy relationship, Chopik said.

The Canine Behaviour Type Index divides dog behaviour into 12 types based on three dimensions of interactive factors.

The Environmental Dimension. There are 2 elements to this dimension: The Organised type seeks an orderly controlled environment. It loves to herd things and is team focused. The Spontaneous type is more self-focused and interested in a particular facet of its environment at any time, rather than with the larger picture that the Organised type focuses on.

The Social Dimension. This dimension refers to social position and willingness to comply with social rules. It is a linear hierarchy of 3 types: A, B, or Gamma in that order. The Alpha type is most dominant, confident and controlling socially. The Beta type is socially mobile and challenging of the social order. The Gamma type is a born follower and is highly rule bound socially.

The Motivation Dimension. This is a general term denoting how active your dog is. Dogs display either high or medium levels of motivation. High levels will amplify other characteristics in the preceding two dimensions. Medium levels will tone down the other behavioural dimensions.

Dogs’ personality may change with senescence (old age).

Breeds tend to cluster around specific profiles, because they have been selectively bred for specific purposes.

People often prefer a particular breed for their character, hence continue to select the same breed with a similar personality profile.

According to Dr. Hecht, just because certain dogs have brain makeups that suggest a certain disposition, it doesn’t lock them into those behaviors. That goes especially for working skills.

Sources: 1 2 3 4 5 6 7 8 9 10 11 12 13 ⚜ Cats ⚜ Horses ⚜ Resources PDFs

Historical Figures of Eastern Philosophy

Learn how these notable eastern philosophers shaped their cultures with religion and philosophical breakthroughs throughout the history of philosophy:

Laozi (born circa 570 BCE): The historical existence of Laozi, or Lao Tzu, is disputed, but some believe the Chinese philosopher is the author of the Tao Te Ching, a manuscript central to the philosophical religion known as Daoism (or Taoism). The metaphysical and ethical philosophy promotes living in harmony with nature and doing no harm to others.

Confucius (551–479 BCE): The teachings of this Chinese philosopher and politician formulated the basic tenets of East Asian societies. Known as Confucianism, the Chinese philosophy encouraged family loyalty, ancestral appreciation, and education—concepts that remain important to modern Chinese traditions.

Siddhartha Gautama (born in fifth century BCE): Historians and academics dispute the facts of the life of Siddhartha Gautama, also known as the Buddha. By some traditions, he was born into an aristocratic family and enjoyed an entitled life until he decided to pursue a nomadic and ascetic lifestyle. Over time, people attributed teachings to him on self-restraint, meditation, and mindfulness—ideas that grew into a popular world religion.

Jalāl ad-Dīn Mohammad Rūmī (1207–1273): A thirteenth-century Persian poet, Jalāl ad-Dīn Mohammad Rūmī wrote Quranic verses and Sufi poems that scholars still translate and publish today. A large part of philosophy in Rumi’s poetry is his set of values around love and religion. His philosophy of life focused on using art and self-expression to bring humans closer to God.

Historical Figures of Western Philosophy

Ancient Greek philosophers established western philosophy as early as the sixth century BCE. Here are a handful of Greek philosophy figures who created theoretical foundations and frameworks that future generations could use to question their own complex societies:

Socrates (470–399 BCE): The Athenian philosopher Socrates is credited as the founding father of western philosophy and the Socratic method—a form of questioning that scholars in multiple areas of philosophy use to pinpoint shortcomings in logic or beliefs. His teachings were never published but lived on through the work of his student, Plato.

Plato (428/427–348/347 BCE): An influential thinker of the classical Greek period, Plato is famous for his theory of forms, which questions the connection between our minds and reality. He is also remembered for his several published works, like The Republic, which communicated his social and political philosophy.

Aristotle (384–322 BCE): The philosopher Aristotle was a star pupil of Plato’s (another ancient philosopher) and went on to found his own school, called Lyceum. During his career, Aristotle collected and simplified the philosophies of his predecessors and contributed to philosophical work in nearly every aspect of classical Greek culture. He was the first ancient philosopher to analyze the concept of free will.

René Descartes (1596–1650): A French mathematician and philosopher, René Descartes is best known for the existentialism theories he put forth in Discourse on the Method and his statement: “I think, therefore I am.” Descartes’ natural philosophy and metaphysical inquiries, as well as his thoughts on the existence of God, established him as a pioneer of modern philosophy.

Georg Wilhelm Friedrich Hegel (1770–1831): German philosopher Georg Hegel is best known for his metaphysical concept known as idealism. The concept dictates that the perceptions of a self-conscious mind result in the most accurate interpretations of concrete objects. His work had a dramatic impact on western philosophy in the twentieth century and influenced the works of philosophers Karl Marx and Friedrich Nietzsche.

In a novel, the setting (time, place) can be just as important as the characters. Readers need to feel a sense of where things are happening, just as much as why they’re happening.

Planning setting can depend on a number of things, depending on what kind of novel you’re writing. Get to know your setting intimately. Do as much research as you can. If your novel is set in the real world, find photos, descriptions, and other materials to inform your ideas.

Is your novel set in a boarding school? During a particular period in time?

Find as much information, both written and visual, about boarding schools in that time. Picture your settings in your mind, and write down as much detail as you can: everything from how something looks and sounds to how it might smell, taste, or feel.

3. Get to know your characters

Write character profiles. Visualize them. Pretend you’re introducing these characters to your friends. What would you say about them? What details would you include, and what details would you omit—and why? What kind of journey will each character undertake in the novel? Where will they start, and where will they end up? Who will be central to the novel’s plot, and who will just serve as color and background?

Develop character backstories. Think of the moments in each character’s life that have led them to the point where they are introduced in the novel. What elements have shaped their personality and progression as characters? Do they have unresolved issues crucial to the plot?

One method is to conduct a Q&A with the most important characters, as a way of finding out more about them. Ask your characters a series of questions (get as personal as you want) and have him/her answer in his/her own words.

4. Construct your plot

Construct a timeline of events. Write down everything that happens in the novel, from the beginning to the end. Include details where you can, such as where the events take place, and who is involved. If you know the outcome of the events, and how they will impact the novel’s overall plot, include this as well (these can help form the foundation of additional subplots).

Beginning: The beginning of your novel has to accomplish a lot. It must introduce the hero, the villain, and the world of the story, as well as the story’s sole dramatic question, and it must do this with enough energy to grab your reader’s interest right away. A prologue can be useful for seizing the reader’s attention.

Middle: Often, tension evaporates in the middle of a novel, so it’s a good idea to figure out your ending first. It may not be perfect, and you can always change it later, but it’s useful to know the climax to which your characters are headed. Having that destination will help you stay focused during the “middle muddle.” Write as many short sentences as you need to describe the pathway your characters will take to reach the climax.

End: While it may seem daunting to figure out the ending so early, just return to your sole dramatic question, which already has your ending hidden within it. For example, if your question is: Will Ahab catch the whale? Then your story’s finale will be the moment when he does.

5. Write your scenes

Once your plot outline is in place, you’ll have a better idea of what scenes will need to be placed where. Add them to the outline. Flesh them out as much as you want—everything from where the action takes place to who is involved, even dialogue if you already know what you want your characters to say. Don’t worry about things making sense at this point, you’ll have time later to go back and highlight anything that feels out of place. Just focus on getting everything down so you can see it in front of you.

Once your outline is complete, you’ll be free to start writing your first draft with the knowledge that if you falter, you can always turn back to the outline to see the big picture. As you begin the writing process, watch out for gaps in logic. Refer back to the outline, and update storylines, plot points, and the timeline as you go along.

While it’s necessary to have a basic grasp of your characters and your world when you start writing, it’s not essential to know everything up front. In fact, even with the most meticulous outlines, you may still find that your characters do things to upset your plans. When this happens, follow your instincts. Don’t be afraid to toss your outline or significantly revise it mid-way through your novel. A good rule to remember is that outlines involve plotting what will happen to your characters, but in the end, your characters should determine your plot.

Classic Methods for Creating Novel Outlines

No two outlines are ever the same, however there are myriad methods to kickstart the novel outline process.

Synopsis outline. This involves the creation of a short document, usually one or two pages long, that gives you a rough idea of the novel’s structure but also leaves room for flexibility. Think of this as a synopsis of the book, hitting all the major beats: what happens in the beginning, middle, and end? What are the major plot points and twists? What is the climax? What is the resolution?

In-depth outline. This is a more evolved outline that usually involves writing chapter summaries and outlining the different scenes within those chapters. This is more comprehensive and can take a lot more time. However, some writers swear by this method to stay on track. Some in-depth outlines can almost be mini-novels themselves, hitting around the 10,000-word mark.

Snowflake method. This method was created by author and writing instructor Randy Ingermanson. It begins with a one-sentence summary of the story you’re trying to tell. For example, the sentence could be something like: “Two teenagers discover a secret cave that contains treasures that a group of criminals has been hunting for.” The snowflake method would then require you to build that sentence into a paragraph, and then use that paragraph to create a series of character descriptions, and from there a series of storylines that involve those characters. The process spans outward until you have a fully outlined novel.

Bookend method. This method is for writers who prefer to leave some things to chance. It involves plotting the start and end of the story, as well as each of the main characters—but nothing more. This method is usually recommended for writers who already have a strong grasp of the characters and the kind of story they want to tell.

Basic Questions Every Outline Should Answer

Besides listing characters and plot points for story structure, your outline should give you a general sense of the direction of your story as well as the primary conflicts and tensions that will make it intriguing for readers. Keep the following questions in mind while creating your outline:

What is the main contract of the story? You must resolve the promises you made to your reader by the end of the novel.

What sort of time pressure is working on your characters?

What is at stake for the protagonist of the novel? Does the pressure on the main characters grow more intense as the story progresses?

Pros & Cons of Creating an Outline

Some writers are comfortable creating a detailed outline for a novel. New writers in particular find it helpful to have a road map.

Others feel that writing an outline diminishes the pleasure of discovering the story along the way. They argue that working from an outline means you’re not creating anymore, you’re translating your ideas.

In the literary world, novelists who use outlines are referred to as “plotters.” Example: Ernest Hemingway.

Those who don’t are known as “pantsers” — a reference to flying by the seat of their pants. Famous pantsers include Margaret Atwood and Stephen King.

While every writer is different, there are some general pros and cons to consider before creating your novel outline.

The benefits of creating an outline:

Helps visualize the big picture

Keeps the story on track

Logs which scenes go where

Clearly presents character arcs

Acts as a guide to ease writer’s block when you’re stuck

Clarifies the middle, to avoid the “muddle”

The drawbacks of creating an outline:

Can create a stilted narrative

If followed too closely, can feel formulaic

May lead to more showing rather than telling in the actual writing

Characters may seem to make inauthentic choices, solely based on plot points instead of natural results from narrative action

Bestselling author Stephen King supposedly swears by putting interesting characters in difficult situations and just seeing what happens. He famously said: “Outlines are the last resource of bad fiction writers who wish to God they were writing masters’ theses.”

That aside, both plotters and pantsers agree on one thing: there is no correct way when it comes to novel writing. It simply depends on what kind of writer you are, and what works for you.

Reasons to Write in First Person Point of View

When you’re writing a story, you have several narrative voices to choose from. Giving the protagonist or someone close to them the narrative reins has its advantages. A first-person narrator gives the reader a front row seat to the story. It also:

Gives a story credibility. First-person point of view builds a rapport with readers by sharing a personal story directly with them. Bringing the reader in close like this makes a story—and storyteller—credible. From the opening line of Herman Melville’s epic sea tale, Moby Dick, the reader is on a first-name basis with the narrator: “Call me Ishmael.” This familiarity creates a relationship with the narrator, leading the readers to believe that what they are about to hear is a true story. When a writer breaks that narrative trust by leading readers astray—either through a narrator who deliberately lies or a characteristic of the narrator that compromises their credibility—the narrator becomes unreliable.

Expresses an opinion. A narrator tells a story through a lens filtered by their opinions. In the first person point of view, the use of the pronoun “I” establishes a sense of familiarity between reader and narrator, allowing the writer to subtly influence the reader by telling a story with a bias. Scout is the six-year-old narrator in To Kill A Mockingbird and the story is told with the innocence and naiveté of a child’s world view. The author, Harper Lee, had several characters to choose from, but telling this story about race in the American South through this young character’s eyes forces the reader to examine and question the inequalities of race in the same way that Scout does.

Builds intrigue. First person perspective limits a reader’s access to information. They only know and experience what the narrator does. This is an effective tool for creating suspense and building intrigue in stories, particularly in thrillers or mysteries. For example, John Watson is the narrator In almost all of Sir Arthur Conan Doyle’s Sherlock Holmes mysteries. Keeping Holmes, the protagonist, at arm’s length makes him more interesting, but it also allows the reader to be just as surprised as Watson when Holmes finally cracks a case. Readers tend to identify with characters who are learning like they are.

The role the narrator plays in a story determines the type of first-person point of view. The elements of a story—like genre—can help determine who is best suited to serve as narrator and which first-person voice to use.

First-person central. In first-person central, the narrator is also the protagonist at the heart of the plot. Margaret Atwood’s novel Alias Grace employs first-person central point of view. The story is based on a historical event: a double murder that occurred in 1843 in which a manservant was tried and hanged for the murder of his employer. Grace Marks, a maid, was tried and imprisoned as his accessory. The novel is told in through Grace’s point of view as she speaks to the doctor hired to exonerate her.

First-person peripheral. In first-person peripheral, the narrator is a witness to the story but she or he is not the main character. In The Great Gatsby, F. Scott Fitzgerald created the character of Nick, a friend of the protagonist, Jay Gatsby. Nick tells the story of Gatsby trying to win the love of Nick’s cousin, Daisy. Telling the story this way keeps the focus on the protagonist but also creates some distance, so the reader is not privy to their thoughts or feelings. This deliberately keeps Gatsby as a mysterious character and enables Nick to tell the story with a slant, drawing on his experience with Gatsby and his opinion of him to color the narration.

Idiophones produce sound when a percussionist strikes them, causing the entire instrument to vibrate. There are many enduring idiophones throughout the world of music, including:

Cymbals: Most cymbals are curved brass discs appearing in a wide array of sizes. Drum kit cymbals include a hi-hat, ride cymbal, crash cymbal, and splash cymbal, each mounted on a cymbal stand and played with beaters. Orchestral and marching band crash cymbals appear in handheld pairs; they produce sound when a player slides one cymbal past the other. Finger cymbals, as their name implies, are small enough to be worn on the player's fingers.

Crotales: Also known as antique cymbals, crotales are made up of a collection of small pitched cymbals and may be found in everything from classical music to 1970s progressive rock.

Claves: Wooden sticks that click together to produce an unpitched sound. They are a mainstay of salsa music.

Temple blocks: A series of pitched woodblocks popular in classical ensembles.

Agogo: An unpitched metal bell (or pair of bells) often featured in samba music.

Ganzá: An unpitched metal rattle developed in Brazil and popular in Brazilian samba.

Headless tambourine: This instrument is a tambourine without a membrane. It produces sound via the vibration of the frame and jingles.

Slit drum: Also known as a log drum, the slit drum is not a membranophone despite its name. Rather, a slit drum is an idiophone made from a hollowed log.

Udu: An untuned idiophone resembling a hollow jug.

Cajón: Originating in Peru, a cajón (or cajón de rumba) is a hollow wooden box that usually features internal snares on one side. A player sits on the cajón and strikes it with their hands (and occasionally beaters).

Gong: A suspended metal disc found in both Western classical and Eastern traditional music. Orchestras particularly favor a type of gong known as a tam-tam.

Maracas: Originating in Venezuela but popular throughout Latin American music, maracas are wooden shakers with handles.

Castanets: Castanets are handheld wood idiophones that come in pairs. They make a clicking sound when the player snaps two of them together.

Güiro: An idiophone made from a dried gourd. Typically, a percussionist plays güiro by rubbing wire brushes against it.

Shekere: A dried gourd covered with a netting of beads. Originally from West Africa and popular in Latin American traditions, it produces sound when shaken.

Tubular bells: These are pitched chimes that a player strikes with beaters.

Mbira: Also known as an African thumb piano, a mbira contains individual keys that a player presses and releases, causing them to vibrate.

Cabasa: A type of African shaker made by wrapping metal chains around a wooden cylinder.

Xylophone: A pitched percussion instrument made from wooden bars laid out like a piano keyboard, which the player strikes with felted mallets.

Marimba: A musical instrument much like a xylophone but with a greater range and resonators beneath its wood bars.

Vibraphone: An adaptation of a xylophone, the vibraphone has metal bars and a built-in electric resonator that projects the instrument's sound. A vibraphone is essentially a plugged-in metal marimba.

Glockenspiel: A smaller member of the xylophone and vibraphone family, containing small metal bars that produce a definite pitch with numerous overtones.

Steel drum: An idiophone made from a concave metal drum. The player can attain different pitches by striking different parts of the drum.

Cowbell: A hollow metal idiophone named for a similar device hung around the necks of some domestic cows.

The Beat poetry movement was relatively brief but culturally potent.

Columbia University: In the early 1940s, Allen Ginsberg, Jack Kerouac, Hal Chase, Lucien Carr, and other writers met at Columbia University. They would go on to be associated with a movement known for rejecting academia in favor of creating American literature that lived closer to the working class.

Greenwich Village: From the early to late 1950s, writers that were or would come to be associated with the Beat movement gathered in Greenwich Village in New York City due to the low cost of living and communal culture.

Gallery Six: In San Francisco, California, the Six Gallery Reading took place on October 7, 1955. It featured Philip Lamantia, Michael McClure, Gary Snyder, Philip Whalen, and most famously Allen Ginsberg, who gave a poetry reading of the first section of "Howl." Kenneth Rexroth served as the host of the reading. At this time, Lawrence Ferlinghetti of the City Lights bookstore in San Francisco began publishing the City Lights Pocket Poets series. He would publish Allen Ginsberg's Howl and Other Poems the following year in 1956.

Rising popularity and resistance: In 1957, “Howl” was subject to a famous obscenity trial that was later dismissed, which further attested to the movement's values and potency in the public consciousness. Other state-led suppression efforts on Beat poets continued, including the FBI arresting Amiri Baraka and Diane Di Prima on grounds of obscenity that similarly resulted in non-indictment. Anti-war was an important theme in the Beat's work and the movement is largely considered America's first Cold War literary scene.

Multi-faceted influence: As the popularity of the Beat writers rose, artists like Bob Dylan, Joan Baez, Jackson Pollock, Willem de Kooning, and the Beatles were influenced by their work and values. Following the murder of Malcolm X, Amiri Baraka advanced his organizing and activism. Diane Di Prima also helped to organize the Diggers as community activists in the Haight-Ashbury district of San Francisco. Between the late ’50s and early ’60s, Paris became a hotspot for members of the Beats to be inspired by French avant-garde art and political history. The Beats were a major influence on the Black Mountain Poets, another literary movement that adopted similar core values and often featured work by Beat poets in the Black Mountain Review literary magazine.

Media mischaracterization: Popular media circulated an understanding of the Beats that was more informed by a perceived bohemian hedonism gleaned from cursory readings of Ginsberg's "Howl," Kerouac's On the Road, and Burroughs's Naked Lunch. A columnist coined the term "beatnik" as a pejorative term referring to the Beats in 1958, and in 1960, J. Edgar Hoover declared that "communists, eggheads, and beatniks" were the primary enemies of the United States. Ironically, by that time the popular conception of Beat poets had strayed from the lives of the original Beats. The public viewed the movement as a frivolous fad and cultural commodity, complete with themed kitsch aesthetic media, services, and coffee shops based on hippie or hipster imagery with an over-emphasis on psychedelic and drug addict associations.

Tips for How to Not Be Toxic

Devoting yourself to positivity rather than toxicity can prove a boon for both you and all your loved ones. Learn how to stop being toxic with these 7 steps:

Apologize when necessary. Everyone exhibits bad behavior from time to time. Apologize when you act out of line so you can get back to spending time creating positive memories with friends and family.

Assess yourself regularly. Toxic traits often emanate from low self-esteem and unaddressed trauma. Work on bettering your mental health and wellness. Journal out your thoughts to improve your sense of self-awareness.

Be open to feedback. Free and open communication is one key hallmark of healthy relationships. Listen more than you speak. Ask people what you can do so you both can have a good relationship with each other.

Deal with past trauma. There’s an old saying: “Hurt people hurt people.” In other words, people who’ve gone through hard times and are in a painful situation are likely to create hard times and painful situations for others. Seek out help to deal with these very real wounds. No one deserves to suffer, and the sooner you heal, the sooner you can help others heal, too.

Practice mindfulness. Very few people actively set out to be a toxic person, they just fall into toxic habits. Practicing mindfulness meditation gives you the tool kit to break up negative thought patterns and assess why you might behave in a toxic way.

Respect boundaries. Individual toxicity often leads to toxic relationships with others characterized by codependency. Respect people when they set boundaries with you, then pay attention to whether you’re crossing them.

Seek opportunities for compassion. Rather than looking for opportunities to criticize, seek out the ability to be compassionate. Give yourself grace as a form of self-care—remind yourself you’re not a bad person, just someone trying to get through the difficulties of life like anyone else. Forgive others who frustrate or wrong you. Focus on spreading a sense of well-being and you’ll be well on your way to ensuring each day is a positive rather than toxic one.

How to Stop Being Self-Conscious

Even if you’re self-conscious now, you can take steps to build your confidence and become more comfortable in social situations. Here are a few tips you can incorporate into your life:

Be kind to yourself. To overcome self-consciousness, turn your feelings of self-loathing into self-love. Rather than engage in self-criticism, work on reciting positive affirmations to yourself. Focus on your strengths and what you have to offer the world. Realize that even perceived weaknesses can become strengths when you utilize them well. It might feel unnatural at first, but self-acceptance can prove to be just as much of a learned behavior as self-consciousness.

Get outside your comfort zone. In the course of your daily life, try to put yourself in situations that make you uncomfortable. Start small and work your way up from there as you begin to step out of your comfort zone. Remind yourself there’s a first time for everything. As you experience self-conscious emotions in these scenarios, you’ll slowly begin to realize they aren’t as bad as you worried they’d be.

Meet with a therapist. Reach out to a licensed therapist to work through how your feelings of self-consciousness developed in the first place. These trained professionals can help you unpack why you feel anxiety in social situations or why your own thoughts can often work against you. They’ll also help you build up your sense of self-worth, leading to an improved state of well-being.

Practice mindfulness. If self-consciousness is a fixation on negative thoughts, mindfulness is the process of letting these thoughts go. When you practice mindfulness meditation in your everyday life, you start to realize your self-conscious thoughts are like storm clouds passing through the sky. The same goes for your emotions. If you let these thoughts and feelings pass through you rather than latch on to them, you’ll begin to view yourself with more objectivity, equanimity, and compassion.

Reframe your thoughts. Your inner critic will make you believe everyone thinks you’re awful and knows every bad thing you’ve ever done. This is an example of the spotlight effect—the belief everyone in a room focuses on you. In reality, many people are probably just as self-conscious as you and are worrying over what you think about them. As you reframe your negative thoughts in a positive way, you’ll bolster your sense of self-worth.

Causes of Self-Consciousness

Self-consciousness arises in people for all sorts of different reasons.

Mental health conditions like depression, anxiety, or OCD might put you at higher risk for developing these feelings about yourself.

Childhood experiences of abandonment, bullying, and rejection can also have a major impact on a person’s self-image or propensity for negative self-talk.

Even into adulthood, negative experiences with others can lead you to develop a poor self-image and an increased sense of self-consciousness.

Example: “As red as a rose” —a universal descriptor for the color red that is now commonplace and unoriginal.

Other examples of clichés include demarcations of time, such as “in the nick of time” and “at the speed of light.”

Clichés also include expressions about emotions, such as “head over heels” to describe love, and the phrase “every cloud has a silver lining” to express hope in difficult situations.

The word “cliché” comes from French.

It was first used to describe a stereotype: a metal plate used for printing an image.

Both the words “cliché” and “stereotype” derive from printing jargon but now have negative connotations.

Why You Should Avoid Clichés in Writing

Overused clichés can show a lack of original thought, and can make a writer appear unimaginative and lazy.

Clichés are often specific to language and cultures and may be a communication barrier to international readers.

Some old clichés have been repeated for so many years that the original reference is archaic and irrelevant.

When it’s OK to Use Clichés in Writing

There are a few instances in which the use of a cliché as a literary device is acceptable, but clichés should always be chosen wisely. Here are some examples of admissible usage:

To sync with a readership. Clichés of idiomatic phrases and slang words can work for specific audiences. If you’re writing for a baby boomer audience, the cliché “back in the day” would make sense. By contrast, millennial readers would be familiar with the cliché “the struggle is real.”

To simplify. Clichés can be used to explain beginning level concepts. For example, a how-to guide for expectant mothers might use the phrase “Remember, you’re eating for two!”

For characterization. Writers might have a character use clichés to demonstrate that they are not an original thinker.

A thought-terminating cliché is a phrase that offers a reductive answer to a complex idea.

The term was popularized in the 1961 book Thought Reform and the Psychology of Totalism: A Study of ‘Brainwashing’ in China by physiatrist Robert Jay Lifton.

They are also known as semantic stop signs or thought-stoppers.

Here are some examples of thought-terminating clichés:

“To each his own.”

“You win some, you lose some.”

“I’ll cross the bridge when I get there.”

“Take it or leave it.”