Write Nerd

Notebook.ai has different categories for different things:

And then once you make something each category has different questions for you to answer about your world:

Awww, thank you!

Ahh, siblings, probably the most complicated relationship you’ll have in your life. Often, sibling relationships can be described in terms of conflicts. A few examples: (not from my life btw)

Yes, I bitch about my sibling all the time, but if you bitch about them, I’ll be fiercely protective.

One moment I scream that I hate them, fifteen minutes later I ask if they are hungry, because I’m gonna get some food and do they need anything?

As young children and teens, a sibling typically is someone you subconciously practice social relationships on. You can do and say things to your siblings, on purpose or by accident, that you would never say to a friend without losing them. But your sibling stays your sibling. You can’t “unsister” someone if you’re living in the same house.

Don’t forget the parents, because they can have an influence on the relationship between the siblings if they don’t treat their children equally.

It’s possible that in the case of 3+ siblings, some siblings will be distinctly be closer with others than the narrator. 

Siblings can be 10 years apart and extremely close, or a few years apart and very distant. 

They never had any friends over, probably because the parents thought there were enough children in the house already. They all craved more friend-time and less sibling-time.

My sister and I are  n o t h i n g  alike, practically polar opposites, and we clash often. But being raised together means we shared a ton of experiences, so now we have similar humors and can make each other laugh by just yelling “BEANS” or quoting a childhood joke. Most of the time we don’t interact unless we both want something from the fridge at the same time, or we get bored and want to hang out.  

Really, I want to say that your sibling is probably the one person whose opinion you never really care about in your life. You might shape each other, even unintentionally, but you honestly don’t care what they think and they don’t care what you think and somehow you two can still be friends thirty years from now. 

Other sibling examples I know of personally:

I had a professor who said he has no relationship with his sister, but has always been best friends with his three male cousins. 

My mom had two older brothers who she wants nothing to do with, one because he was abusive and the other because he is judgmental. But ONE time the three of them as kids joined forces to buy an Atari.

My dad has six older siblings and he tries to interact with them all often. His oldest sisters raised him and are still motherly towards him, and his youngest big sister is the person who he shares stupid jokes with and they make fun of each other.

My best friend in high school had a shattered home, but she and her brother got adopted together. He was abusive, but they were very loyal to each other because of the constant turmoil they went through as kids.

My other bf had one sister and their relationship seemed much like mine is with my sister: got along great sometimes, fought all the other times.

Especially when you’re dealing with a non-western point of view. In a lot of cultures (including my own), your cousins for instance essentially are your siblings as well. But it also depends on your living situations, too.

Girls often end up having different expectations than boys as far as their roles in the family (this is not always set up in a sexist way, but based off the values of that culture and what each gender group should be doing for the group *more on this part in a minute) and though we don’t necessarily talk about it explicitly, your role in an indigenous family is important. As are bloodlines and ancestry whilst remembering that adopting (especially among blood relatives) is actually commonplace and always has been.

Also, consider, that most non-western societies are collectivist to some degree. Meaning, the group is more important than the individual and you, as a sibling, are expected to do things and behave a certain way that is advantageous to your family (extended often included) and this is going to affect your relationship with your sibling. If you are the oldest girl, for instance, you are probably doubly expected to help care for younger siblings and not bitch about it because this is your little brother/sister and it is your job to take care of them. And help your mother/aging parents or relatives because you’re being raised to help care for a household one day. And you know this. “This doesn’t make me happy” isn’t really a good excuse for not wanting to do it or one you know better than to have cross your mind/voice (I am sansing extreme or odd cases) and that includes siblings. Older boys can also be expected to watch and/or teach younger siblings or help their fathers do work around the house, etc. All of that is going to factor into your interactions and relationships with your siblings on top of other things depending on the specific culture.

Basically: Your siblings, your responsibility. 

This got long, but this was an interesting post to read and I wanted to add my to cents.

Types of Narrators

For the latest issue of The Southampton Review.

Embarrass your protagonist. Make them seem weak and vulnerable in some way.

Shoot someone. That always takes the reader by surprise. 

In relation, kidnap someone. Or, rather, make it seem to your protagonist like someone has been kidnapped. 

Have one of your side characters disappear or become unavailable for some reason. This will frustrate your protagonist.

Have someone kiss the wrong girl, boy, or person, especially if you’ve been setting up a romance angle. It’s annoying.

If this story involves parents, have them argue. Push the threat of divorce, even if you know it won’t ever happen. It’ll make your readers nervous.

Have someone frame your protagonist for a crime they didn’t commit. This could range from a dispute to a minor crime to a full-blown felony.

If this is a fantasy story involving magic or witchcraft, create a terrible accident that’s a direct result of their spell-casting. 

Injure your protagonist in some way, or push them into a treacherous scenario where they might not make it out alive. 

Have two side characters who are both close to the protagonist get into a literal fist-fight. This creates tension for the reader, especially if these characters are well-developed, because they won’t know who to root for.

Make your protagonist get lost somewhere (at night in the middle of town, in the woods, in someone else’s house, etc.) 

Involve a murder. It can be as in-depth and as important as you want it to be. 

Introduce a new character that seems to prey on your protagonist’s flaws and bring them out to light.

If it’s in-character, have one of your characters get drunk or take drugs. Show the fallout of that decision through your protagonist. 

Spread a rumor about your protagonist. 

If your protagonist is in high-school, create drama in the school atmosphere. A death of a student, even if your protagonist didn’t know them personally, changes the vibe. 

If your story involves children, have one of them do something dangerous (touch a hot stove, run out into the road, etc.) and show how the protagonist responds to this, even if the child isn’t related to them. 

In a fantasy story, toss out the idea of a rebellion or war between clans or villages (or whatever units you are working with). 

Add a scenario where your protagonist has to make a choice. We all have watched movies where we have screamed don’t go in there! at the top of our lungs at the main character. Make them go in there. 

Have your protagonist find something, even if they don’t understand the importance of it yet. A key, a document, an old stuffed animal, etc. 

Foreshadow later events in some way. (Need help? Ask me!)

Have your protagonist get involved in some sort of verbal altercation with someone else, even if they weren’t the one who started it. 

Let your protagonist get sick. No, but really, this happens in real life all the time and it’s rarely ever talked about in literature, unless it’s at its extremes. It could range from a common cold to pneumonia. Maybe they end up in the hospital because of it. Maybe they are unable to do that one thing (whatever that may be) because of it.

Have someone unexpected knock on your protagonist’s door. 

Introduce a character that takes immediate interest in your protagonist’s past, which might trigger a flashback.

Have your protagonist try to hide something from someone else and fail.

Formulate some sort of argument or dispute between your protagonist and their love interest to push them apart. 

Have your protagonist lose something of great value in their house and show their struggle to find it. This will frustrate the reader just as much as the protagonist.

Create a situation where your protagonist needs to sneak out in the middle of the night for some reason.

but for actual real life, no one on tumblr has enough energy to get out of bed

I often get questions from Anons asking me what is appropriate to use in a novel, from song quotes to character names of wildly popular characters from other books (names that are obviously more unique than just Sarah or Alice or Amelia). So I’m going to lay the groundwork of what writers can and can’t use in their novels—or for their novels.

Quotes from song lyrics. You can’t do this. Period. If you want to use quoted song lyrics, you would have to get permission from the artists themselves—and you would likely have to pay a heady sum of money to obtain that permission. A big part of the reason why you can’t do this is because song lyrics are often so short in the first place, and if you misquote even one word, you run the risk of being sued. In fact, you run the risk of being sued period if your book is somehow published with quoted song lyrics from an actual band. 

Names of fictional characters. One Anon asked me if he or she could use a fictional character’s name as a nickname for one of his/her characters. As far as I know, this is not copyright infringement, especially if the character whose nicknamed Harry Potter does not in anyway resemble the actual Harry Potter. It is also not copyright infringement to use a fictional character’s name in passing. For example, in Forgive Me, Leonard Peacock by Matthew Quick, Leonard frequently mentions Holden Caulfield as a comparison to himself. Holden Caulfield, however, is not an actual character in the book. There’s also the question of cameos, and whether or not a writer can use an actual character as a cameo in the book. This is on shaky ground, because using a published fictional character as a cameo technically is not copyright infringement, until that character actually starts talking. However, from the article I linked to you, you still run the risk of being sued. Fan fiction is an entirely different matter, as most writers don’t profit from this work, and authors want to please enthusiastic readers. (I would both cry and feel EXTREMELY flattered if someone were to ever write a fanfiction of my book, When Stars Die.)

Public domain. Any book before 1923 is fair use. Granted this does not mean you can re-write the entire book. Basically this means you can quote these works, while attributing their authors to them, in your novels. Frenchie,from Death, Dickinson, and the Demented Life of Frenchie Garcia by Jenny Torres Sanchez, frequently talks about Emily Dickinson and quotes her as well. Libba Bray puts a part of Tennyson’s poem, The Lady of Shallot, in A Great and Terrible Beauty. And when I do revisions for my novels, I’d like for my protagonist to quote parts of Edgar Allen Poe. 

Titles. You don’t need permission to use song titles, movie titles, book titles, television titles, and so on and so forth. You can also include the names of things, place, and events and people in your work without permission. I mention Paula Dean in brief passing in the current work I’m writing, because she owns a restaurant in Savannah, Georgia, the place my character lives. 

Pictures. I’m primarily talking about if you’re self-publishing or are allowed to work with your publisher (usually small press) on designing the cover. ANY stock photos listed on any stock photo website is fair game and can be photoshopped as much as you want to. However, you often have to buy these photos, but once you pay for them, they are yours to do with what you want. Unfortunately, you run the risk of having a similar book cover as another book, especially if you don’t do too much to that image beyond slapping your name and title of the book on it. The cover for When Stars Die received a heavy makeover, so it is not likely that I will find another book using my exact cover. I may find a book using the girl on the cover, but the plum blossoms, the colors, how the girl was edited, and my title and name are probably going to be next to impossible to find on another book. 

Quoting famous people. If the quote from, let’s say, a famous speech in the past, is over 100 years old, that work is likely in the public domain, so it’s fair to use quotes from  Georgie Washington or another popular figure. 

Referencing facts. If you’re referencing facts, like how the universe was made, this is not copyright infringement—they are unadorned facts. For the current novel I’m working on, I did use a website to help Gene’s teacher explain black holes, because Gene uses black holes as a motif to describe how people can have an effect on one another. However, because this is knowledge that you can pick up from any text book or even an astronomy class you took, I don’t need to quote the source I took it from because I did not repeat word-for-word what that website said. The website simply listed facts that you can find anywhere from a legitimate source. 

Using quotes from TV, films, or advertising. These are copyrighted, so don’t use them, unless you want to get sued. 

For now, these are the only points I can think of on what writers are allowed to use and not use in their novels. If someone can think of anything more, feel free to re-blog and add to this list!

Forgot a word in Spanish, while speaking Spanish to me, but remembered it in English. Became weirdly quiet as they seemed to lose their entire sense of identity.

Used a literal translation of a Russian idiomatic expression while speaking English. He actually does this quite regularly, because he somehow genuinely forgets which idioms belong to which language. It usually takes a minute of everyone staring at him in confused silence before he says “….Ah….. that must be a Russian one then….”

Had to count backwards for something. Could not count backwards in English. Counted backwards in French under her breath until she got to the number she needed, and then translated it into English.

Meant to inform her (French) parents that bread in America is baked with a lot of preservatives. Her brain was still halfway in English Mode so she used the word “préservatifes.” Ended up shocking her parents with the knowledge that apparently, bread in America is full of condoms.

Defined a slang term for me……. with another slang term. In the same language. Which I do not speak.

Was talking to both me and his mother in English when his mother had to revert to Russian to ask him a question about a word. He said “I don’t know” and turned to me and asked “Is there an English equivalent for Нумизматический?” and it took him a solid minute to realize there was no way I would be able to answer that. Meanwhile his mom quietly chuckled behind his back.

Said an expression in English but with Spanish grammar, which turned “How stressful!” into “What stressing!”

In case anyone’s interested, I made some writing cards to help with story planning. I made these for working on NaNoWriMo, but feel free to use them for your own purposes! :) 

This is an ultimate masterlist of many resources that could be helpful for writers. I apologize in advance for any not working links. Check out the ultimate writing resource masterlist here (x) and my “novel” tag here (x).

✑ PLANNING

Outlining & Organizing

For the Architects: The Planning Process

Rough Drafts

How do you plan a novel?

Plot Development: Climax, Resolution, and Your Main Character

Plotting and Planing

I Have An Idea for a Novel! Now What?

Choosing the Best Outline Method

How to Write a Novel: The Snowflake Method

Effectively Outlining Your Plot

Conflict and Character within Story Structure

Outlining Your Plot

Ideas, Plots & Using the Premise Sheets

✑ INSPIRATION

Finding story ideas

Choosing ideas and endings

When a plot isn’t strong enough to make a whole story

Writing a story that’s doomed to suck

How to Finish What You Start: A Five-Step Plan for Writers

Finishing Your Novel

Finish Your Novel

How to Finish Your Novel when You Want to Quit

How To Push Past The Bullshit And Write That Goddamn Novel: A Very Simple No-Fuckery Writing Plan

✑ PLOT

In General

25 Turns, Pivots and Twists to Complicate Your Story

The ABCs (and Ds and Es) of Plot Development

Originality Is Overrated

How to Create a Plot Outline in Eight Easy Steps

Finding Plot: Idea Nets

The Story Goal: Your Key to Creating a Solid Plot Structure

Make your reader root for your main character

Creating Conflict and Sustaining Suspense

Tips for Creating a Compelling Plot

The Thirty-six (plus one) Dramatic Situations

Adding Subplots to a Novel

Weaving Subplots into a Novel

7 Ways to Add Subplots to Your Novel

Crafting a Successful Romance Subplot

How to Improve your Writing: Subplots and Subtext

Understanding the Role of Subplots

How to Use Subtext in your Writing

The Secret Life of Subtext

How to Use Subtext

Beginning

Creating a Process: Getting Your Ideas onto Paper (And into a Story)

Why First Chapters?

Starting with a Bang

In the Beginning

The Beginning of your Novel that isn’t the Beginning of your Novel

A Beginning from the Middle

Starting with a Bang

First Chapters: What To Include @ The Beginning Writer

23 Clichés to Avoid When Beginning Your Story

Start Writing Now

Done Planning. What Now?

Continuing Your Long-Format Story

How to Start a Novel 

100 best first lines from novels

The First Sentence of a Book Report

How To Write A Killer First Sentence To Open Your Book

How to Write the First Sentence of a Book

The Most Important Sentence: How to Write a Killer Opening

Hook Your Reader from the First Sentence: How to Write Great Beginnings

Foreshadowing

Foreshadowing and the Red Hering

Narrative Elements: Foreshadowing

Foreshadowing and Suspense

Foreshadowing Key Details

Writing Fiction: Foreshadowing

The Literary Device of Foreshadowing

All About Foreshadowing in Fiction

Foreshadowing

Flashbacks and Foreshadowing

Foreshadowing — How and Why to Use It In Your Writing

Setting

Four Ways to Bring Settings to Life

Write a Setting for a Book

Writing Dynamic Settings

How To Make Your Setting a Character

Guide for Setting

5 Tips for Writing Better Settings

Building a Novel’s Setting

Ending

A Novel Ending

How to End Your Novel

How to End Your Novel 2

How to End a Novel With a Punch

How to End a Novel

How to Finish a Novel

How to Write The Ending of Your Novel

Keys to Great Endings

3 Things That End A Story Well

Ending a Novel: Five Things to Avoid

Endings that Ruin Your Novel

Closing Time: The Ending

✑ CHARACTER

Names

Behind the Name

Surname Meanings and Origins

Surname Meanings and Origins - A Free Dictionary of Surnames

Common US Surnames & Their Meanings

Last Name Meanings & Origins

Name Generators

Name Playground

Different Types of Characters

Ways To Describe a Personality

Character Traits Meme

Types of Characters

Types of Characters in Fiction

Seven Common Character Types

Six Types of Courageous Characters

Creating Fictional Characters (Masterlist)

Building Fictional Characters

Fiction Writer’s Character Chart

Character Building Workshop

Tips for Characterization

Fiction Writer’s Character Chart

Advantages, Disadvantages and Skills 

Males

Strong Male Characters

The History and Nature of Man Friendships

Friendship for Guys (No Tears!)

‘I Love You, Man’ and the rules of male friendship

Male Friendship

Understanding Male Friendship

Straight male friendship, now with more cuddling

Character Development

P.O.V. And Background

Writing a Character: Questionnaire

10 Days of Character Building

Getting to Know Your Characters

Character Development Exercises

✑ STYLE

Chapters

How Many Chapters is the Right Amount of Chapters?

The Arbitrary Nature of the Chapter

How Long is a Chapter?

How Long Should Novel Chapters Be?

Chapter & Novel Lengths 

Section vs. Scene Breaks

Dialogue 

The Passion of Dialogue

25 Things You Should Know About Dialogue

Dialogue Writing Tips

Punctuation Dialogue

How to Write Believable Dialogue

Writing Dialogue: The Music of Speech

Writing Scenes with Many Characters

It’s Not What They Say …

Top 10 Tips for Writing Dialogue

Speaking of Dialogue

Dialogue Tips

Interrupted Dialogue

Two Tips for Interrupted Dialogue

Show, Don’t Tell (Description)

“Tell” Makes a Great Placeholder

The Literary Merit of the Grilled Cheese Sandwich

Bad Creative Writing Advice

The Ultimate Guide to Writing Better Than You Normally Do

DailyWritingTips: Show, Don’t Tell

GrammarGirl: Show, Don’t Tell

Writing Style: What Is It?

Detail Enhances Your Fiction

Using Sensory Details

Description in Fiction

Using Concrete Detail

Depth Through Perception

Showing Emotions & Feelings

Character Description

Describing Your Characters (by inkfish7 on DeviantArt)

Help with Character Development

Creating Characters that Jump Off the Page

Omitting Character Description

Introducing Your Character(s): DON’T

Character Crafting

Writer’s Relief Blog: “Character Development In Stories And Novels”

Article: How Do You Think Up Your Characters?

5 Character Points You May Be Ignoring

List of colors, hair types and hairstyles

List of words to use in a character’s description 

200 words to describe hair

How to describe hair

Words used to describe the state of people’s hair

How to describe your haircut

Hair color sharts

Four Ways to Reveal Backstory

Words Used to Describe Clothes

Flashbacks

Using Flashbacks in Writing

Flashbacks by All Write

Using Flashback in Fiction

Fatal Backstory

Flashbacks as opening gambit

Don’t Begin at the Beginning

Flashbacks in Books

TVTropes: Flashback

Objects in the Mirror Are Closer Than They Appear: Flashback Techniques in Fiction

3 Tips for Writing Successful Flashbacks

The 5 Rules of Writing Effective Flashbacks

How to Handle Flashbacks In Writing

Flashbacks and Foreshadowing

Reddit Forum: Is a flashback in the first chapter a good idea?

Forum Discussing Flackbacks

P.O.V

You, Me, and XE - Points of View

What’s Your Point of View?

Establishing the Right Point of View: How to Avoid “Stepping Out of Character”

How to Start Writing in the Third Person

The Opposite Gender P.O.V.

LANGUAGE

 How To Say Said

200 Words Instead of Said

Words to Use Instead of Said

A List of Words to Use Instead of Said

Alternatives to “Walk”

60 Synonyms for “Walk”

✑ USEFUL WEBSITES/LINKS

Grammar Monster

Google Scholar

GodChecker

Tip Of My Tounge

Speech Tags

Pixar Story Rules

Written? Kitten!

TED Talks

DarkCopy

Family Echo

Some Words About Word Count

How Long Should My Novel Be?

The Universal Mary Sue Litmus Test

Writer’s “Cheat Sheets”

The Myth of Writer’s Block

A short while ago I reblogged a quote, that, to paraphrase, said “Writer’s block isn’t real.” Since then I’ve received a few messages refuting that quote and sharing stories about bad cases of writer’s block. Some people even pointed out that I have a tag dedicated to writer’s block and have shared my “block breaking” tips in the past.

As such, I thought I’d clarify my views on writer’s block:

Writer’s block is just the name that we prescribe to an inability to write, which can stem from a number of different sources that have different solutions. Treating writer’s block as its own condition can obscure the real problem and make it harder to find the right solution.

As a young writer, I attributed every single loss of motivation, inspiration, or other difficulty to a mysterious, incurable malady: writer’s block. I believed that I just had to wait for it to go away, like a cold, and then I’d be able to write again—but until then, there was nothing I could do.

I see a lot of other young writers doing the same because a lot of the people they look up to don’t talk about writer’s block as if it’s just a term. It wasn’t until I started putting together methods for beating the block that I came to the realization that every single time I had writer’s block, I was either neglecting my self-care or overlooking a problem with the writing itself. Every single time.

So—writer’s block, as a term used to describe different issues that can prevent productivity, is a real thing.

But writer’s block, as some mystical force that stops you from writing, is not a real thing.

If you find yourself experiencing writer’s block, consider some of the following bulleted points. These block breakers work for me almost 100% of the time because they address the root of most of my actual problems. Maybe they will work for you, maybe they won’t. Either way, I hope that this post was at least somewhat helpful.

Have you eaten/had something to drink in the past few hours? Being hungry or thirsty can make it hard to focus. Try keeping snacks on hand, or if possible, move your writing time to after you’ve had a meal.

Did you get enough sleep? It’s not easy to write when you’d rather be in bed. Try to get to bed at a good hour and don’t force yourself to stay awake.

Are you stressed out, tired, sick, or generally not in good shape? All of these things can be severe distractions. Remember, it’s okay to take a break. Do what you need to do to be healthy; your needs come before writing.

Have you exercised that day (in whatever capacity you are capable of)? Sitting for a long time can make some people lethargic. Try doing a few stretches or, if you can, going for a short walk. A little bit of fresh air can help with a lot.

Have you taken a break within the last few hours? As with the above, getting a little fresh air and stepping away from the source of frustration for a little while can help you approach it with a fresh perspective.

Do you have other obligations? If you have chores to do, bills to pay, animals to care for, personal hygiene, etc., it might be a good idea to try to take care of these things before you start writing. Not only might they be distracting you, but they might interrupt a streak when you have to stop writing and take care of them later. Keep a notebook handy, just in case.

Do you know where the story is going from here? If your outline is too vague, or if you don’t have an outline, it can be difficult to keep going because you don’t have clear direction. Step back and think about what plot developments you might want to occur, and which ones are the most likely to happen soon. Knowing your destination can help you get there.

Are you uninterested in writing, or are you uninterested in writing this scene? If you’re itching to write a plot point but can’t stomach the scene that’s chronologically in your way, write an outline of what needs to happen next and skip it!

Are you bored of this story or character? Sometimes projects that we start off with a lot of enthusiasm for become dull over time. If this is still a project you want to pursue, try going back to the outline to see if there are story issues that are making you lose interest. If you think it might be best to shelve it entirely, write up a summary of what you learned during the process, what story elements you might want to recycle, and save the project in a folder somewhere that you aren’t likely to accidentally delete it.

Do you have a firm grasp of character motivation in this scene? Writing about a character doing something is a lot harder when you don’t really understand why they’re doing it (other than to make the plot happen). Spend some time thinking about what motivates the character, what their stakes in the scene are, and make sure that you really get into their head.

What is your character feeling in this scene? This is one that stops me up all the time; in fact, it is the #1 source of writer’s block for me. I get so caught up in what the characters think or what they do that I forget to include what they feel. How a character reacts emotionally to a scene can not only help the reader get invested, but the writer, too. Let your characters have emotions, and let them sweep you away with them.

Where is this scene happening? Can you clearly visualize it? Again, it’s hard to write a scene in a nebulous void (unless your scene takes place in one). If you’re having a hard time visualizing the scene, try looking up images or listening to music that helps evoke the story. This can be for settings, moods, general atmosphere, anything that helps you get into that world. Fun fact: I start every writing session with 10-15 minutes of music specifically chosen to get into the mood of the piece.

Do you lack confidence in this scene? Sometimes you might have problems writing a scene because you’re afraid of how people will react to it. I see this a lot in writers who think that their ideas are “too weird.” But don’t worry—you don’t have to share anything that you don’t want to share, and there are lots of “weird” things that are highly successful. Just get it onto paper and you can decide what to do with it later.

Could this scene be cut from the draft entirely? There are lots of times when writers get hung up on a scene, only to realize that it either doesn’t belong in that spot, or doesn’t need to be there at all. If you’re spinning your wheels on a scene and you just can’t make it work no matter what you try, examine your outline and ask yourself if you really need to write it.

What is this scene meant to accomplish? The phrase “can’t see the forest for the trees” comes to my mind often during early drafting stages. Sometimes I obsess over the what and how and who of the scene that I forget about the why. Taking a step back and reminding myself what the purpose of the scene is can help me understand which pieces need to be highlighted and what I should focus on. This lets me blow past some of the clutter that oftentimes crops up and get the bare-bones of the scene down so I can move on and come back to it later during redrafting.

- thinking “Oh, there’s a little smudge. I’ll just clean it quickly”, then taking the glasses off and wondering how the hell you could see with what looks like three layers of dirt on them

- giving your loved one a little kiss but in the wrong angle so their nose touches your glasses

-if you have long eyelashes, having to push your glasses down your nose so they dont constantly rub each other, then having to push them up cuz you cant see

-WHY WONT YOU STAY ON MY FACE?!?!?!

-forgetting where you put them then having to either ask for help or judge your entire surroundings

-dont like contacts? like cosplaying? guess what! you’re blind now!

-trading glasses with other glasses wearers to see how blind your friends are

-when there’s a smudge that just. Won’t. Go. Away.

-“hey do you have lens cleaner?”

-your old glasses become your back up pair in case your current ones break

- they dont need glasses. Their arms are just TOO short. Stretch those arms AND put on a light. Use your phone’s flashlight if you need to. You are not old. The letters are just too small.

-some accept there fate. Glasses on, off, on, off.

- yes they are on the top of your head

- cords are for losers

- multifocale glasses come in crappy expensive ones and riduculously expensive slightly better ones

-when going down the stairs, chin on your chest, or you WILL fall (and break your hip)

Others

When you are fasting (ramadan) your eyesight can change, when adding or loosing weight also, when pregnant also, in growspurt also.

Titanium glasses break less but when they do they are hard to repair.

If you got a really flat nose, good luck with wearing glasses

If you got a large nose, good luck finding a pair that fits.

If your eyes are close to eachother. Every glasses you wear look dumb. Try the kids section

Also they get anime eyes

A Guide for the Seasoned and the Not-So-Plot Savvy

This is a subject that a lot of writers tend to struggle with. They have ideas, great ideas, but are uncertain how to string them together into a solid plot. There are many methods that have been devised to do so, and most seem to be based on something you might remember:

The 5 Point Method

This is your basic plot diagram:

Exposition – This is the beginning of your story. This is where you introduce your character (s), establish a setting, and also present your main conflict.

Rising Action – Your story now begins to build. There are often multiple key events that occur where your main character may be faced with a new problem he has to solve or an unexpected event is thrust at him.

Climax – Everything you’ve been writing has been leading up to this moment. This is going to be the most exciting part of your story where your main character faces the main conflict and overcomes it.

Falling Action – This is mostly tying up loose ends after your main conflict is resolved. They are minor things that weren’t nearly as important as the main conflict, but still needed to be dealt with.

Resolution –The end of the story.

This is probably the easiest way to remember how to string together a single (or multiple) plots. It may be easier for some to define the main plot as the central conflict, or the thing that’s causing your main character a huge problem/is his goal.

The 8 Point Method

This method is used to write both novels and film scripts, and further breaks down the 5 Point Method. From the book Write a Novel and Get It Published: A Teach Yourself Guide by Nigel Watts:

Stasis – The opening where the story takes place. Here you introduce your main character and establish a setting (Watts defines it as an “everyday” setting, something normal, but it can be whatever you want).

Trigger or Inciting Incident – The event that changes your character’s life an propels your story forward. This is where you introduce the main conflict.

The Quest – The result of the event. What does your character do? How does he react?

Surprise – This section takes of the middle of the story and involves all of the little setbacks and unexpected events that occur to the main character as he tries to fix the problems he’s faced with and/or achieve his goal. This is where you as an author get to throw complication, both horrible and wonderful, at your protagonist and see what happens.

Critical Choice –At some point your character is going to be faced with making a decision that’s not only going to test him as individual, but reveal who he truly is to the audience. This cannot be something that happens by chance. The character must make a choice.

Climax – This is the result of the main character’s critical choice, and should be the highest point of tension in the story.

Reversal – The consequence of the choice and climax that changes the status of your protagonist, whatever that may be. It could make him a king, a murderer, or whatever else you like but it has to make sense with the rest of the story.

Resolution – The end of the story where loose ends are tied up. You’re allowed to leave things unresolved if you intend to write a sequel, but the story itself should be stand alone.

Three Act Structure

While this method is usually for screenplays, it is also used in writing novels (for instance The Hunger Games novels are split up into three acts). From the The Screen Writer’s Workbook by Syd Field: Acts 1 and 3 should be about the same length while Act 2 should be double. For instance if you were writing a screenplay for a two hour film Acts 1 and 3 would be 30 minutes each while Act 2 would be 60 minutes.

Act 1, Set Up – This contains the inciting incident and a major plot point towards the end. The plot point here leads into the second act and is when the protagonist decides to take on the problem he’s faced with.

Act 2, Confrontation – This contains the midpoint of the story, all of the little things that go wrong for the protagonist, and a major plot point towards the end that propels the story into the third act. This is the critical choice the character must make.

Act 3, Resolution – This is where the climax occurs as well as the events that tie up the end of the story.

Another way to look at this method is that there are actually three major plot points, or disasters, that move the plot forward. The first is at the end of Act 1, the second is in the middle of Act 2, and the third is at the end of Act 2.

The Snowflake Method

A “top-down” method by Randy Ingermanson that breaks novel writing down into basic parts, building upon each one. You can find his page on the method here. His ten steps:

Write a single sentence to summarize your novel.

Write a paragraph that expands upon that sentence, including the story set up, the major conflicts, and the ending.

Define your major characters and write a summary sheet corresponding to each one that includes: the character’s name, their story arc, their motivation and goal, their conflict, and their epiphany (what they will learn).

Expand each sentence of your summary paragraph in Step 2 into its own paragraph.

Write a one page description of your major characters and a half page description of less important characters.

Expand each paragraph in Step 4 into a page each.

Expand each character description into full-fledged character charts telling everything there is to know about the characters.

Make a spreadsheet of all of the scenes you want to include in the novel.

Begin writing the narrative description of the story, taking each line from the spreadsheet and expanding the scenes with more details.

Begin writing your first draft.

Wing It

This is what I do. I tend to keep in mind the basic structure of the 5 Point Method and just roll with whatever ideas come my way. I’ve never been a fan of outlines, or any other type of organization. According to George R.R. Martin, I’ve always been a gardener, not an architect when it comes to writing. I don’t plan, I just come up with ideas and let them grow. Of course, this may not work for some of you, so here are some methods of organization:

Outlines

Notecards

Spreadsheets

Lists

Character Sheets

And if all else fails, you can fall on the advice of the great Chuck Wendig: 25 Ways to Plot and Prep Your Story.

Remember, none of the methods above are set in stone. They are only guidelines to help you finally write that novel.