𐙚⋆°｡ruthlxc 𓍢ִ໋🌷͙֒

Hey Nonnie

There is indeed an exact list for this. I highly recommend the Miranda's Runway series, The Knight Before christmas and the Harper series. Happy Reading

Miranda Adores Andy’s Child Mirandy Fics

A Knight Before Christmas by Literary Assassin https://archiveofourown.org/works/21968455/chapters/52422382

Departure and Arrivals by MissDMonsoonhttp://missdmonsoon.livejournal.com/1801.html

Miranda’s Runway Series  by Jehc   https://archiveofourown.org/series/107369

No Matter the Miles by Grdnofevrything  http://dvlwears-prada.livejournal.com/?skip=40&tag=user%3A%20grdnofevrythng

Out of the Mouths of Babes by mxrolkr http://archiveofourown.org/works/209845

Stealing Sunshine by Grdnofevrything  http://grdnofevrythng.livejournal.com/226139.html

The Harper Series by Brithna  https://archiveofourown.org/series/23971

The Missing Child and the Stolen Shoe  by Sarah Shalom David  https://archiveofourown.org/works/13432113

Writing that sizzles captures the reader's attention and keeps them engaged from start to finish. Whether you're an experienced writer or just starting out, there are several techniques you can use to make your writing more exciting and dynamic. Here are ten detailed ways to add sizzle to your boring writing:

1. Use Vivid Descriptions

Vivid descriptions bring your writing to life by creating a rich, immersive experience for the reader. Instead of relying on generic or bland language, use specific details that appeal to the senses. Describe how things look, sound, smell, taste, and feel to paint a vivid picture.

In Detail:

Visual Descriptions: Use color, shape, and size to create a mental image. Instead of saying "The car was old," say "The rusty, olive-green car wheezed as it pulled into the driveway."

Sound Descriptions: Incorporate onomatopoeia and detailed sound descriptions. Instead of "The music was loud," say "The bass thumped, and the high notes pierced through the night air."

Smell and Taste Descriptions: Use sensory language. Instead of "The food was good," say "The aroma of roasted garlic and herbs filled the room, and the first bite was a burst of savory flavors."

2. Show, Don't Tell

"Show, don't tell" is a fundamental writing principle that means revealing information through actions, thoughts, dialogue, and sensory details rather than straightforward exposition. This approach makes your writing more engaging and allows readers to experience the story.

In Detail:

Actions Over Exposition: Instead of telling the reader "Jane was scared," show her fear through her actions: "Jane's hands trembled as she fumbled with the lock, her breath coming in shallow gasps."

Dialogue: Use conversations to reveal character traits and emotions. Instead of "John was angry," show his anger through his words and tone: "John's voice was a low growl as he said, 'I can't believe you did this.'"

Internal Thoughts: Reveal characters' inner worlds. Instead of "Emma felt relieved," show her relief: "Emma let out a long breath she didn't realize she was holding and sank into the chair, a smile tugging at her lips."

3. Create Relatable Characters

Relatable characters are crucial for keeping readers invested in your story. Characters should have depth, including strengths, weaknesses, desires, and fears. When readers see aspects of themselves in your characters, they're more likely to care about their journeys.

In Detail:

Character Flaws: Give your characters realistic flaws. A perfect character can be boring and unrelatable. Show how these flaws impact their decisions and relationships.

Character Arcs: Ensure your characters grow and change throughout the story. A well-crafted character arc can turn a good story into a great one.

Background and Motivations: Provide backstories and motivations. Why does your character act the way they do? What drives them? This adds depth and makes them more three-dimensional.

4. Add Dialogue

Dialogue can break up large blocks of text and make your writing more dynamic. It reveals character, advances the plot, and provides opportunities for conflict and resolution. Ensure your dialogue sounds natural and serves a purpose.

In Detail:

Natural Speech: Write dialogue that sounds like real conversation, complete with interruptions, pauses, and colloquial language. Avoid overly formal or stilted speech.

Purposeful Dialogue: Every line of dialogue should have a purpose, whether it's revealing character, advancing the plot, or building tension. Avoid filler conversations that don't add to the story.

Subtext: Use subtext to add depth. Characters might say one thing but mean another, revealing their true feelings through what they don't say directly.

5. Use Strong Verbs

Strong verbs make your writing more vivid and energetic. They convey action and emotion effectively, making your sentences more powerful and engaging.

In Detail:

Action Verbs: Choose verbs that show precise actions. Instead of "She went to the store," say "She dashed to the store."

Avoid Weak Verbs: Replace weak verbs and verb phrases with stronger alternatives. Instead of "He was walking," say "He strode."

Emotionally Charged Verbs: Use verbs that convey specific emotions. Instead of "She was sad," say "She wept."

6. Vary Sentence Structure

Varying sentence structure keeps your writing interesting and prevents it from becoming monotonous. Mix short, punchy sentences with longer, more complex ones to create a rhythm that engages readers.

In Detail:

Short Sentences for Impact: Use short sentences to create tension, urgency, or emphasize a point. "He stopped. Listened. Nothing."

Complex Sentences for Detail: Use longer sentences to provide detailed descriptions or explain complex ideas. "As the sun set behind the mountains, the sky transformed into a canvas of oranges, pinks, and purples, casting a warm glow over the serene landscape."

Combine Different Structures: Mix simple, compound, and complex sentences to maintain a natural flow. Avoid repetitive patterns that can make your writing feel flat.

7. Introduce Conflict

Conflict is the driving force of any story. It creates tension and keeps readers invested in the outcome. Without conflict, your story can become stagnant and uninteresting.

In Detail:

Internal Conflict: Characters should struggle with internal dilemmas, fears, and desires. This adds depth and relatability.

External Conflict: Introduce obstacles and challenges that characters must overcome. This can be other characters, societal pressures, or natural forces.

Resolution: Show how conflicts are resolved, leading to character growth and plot progression. Ensure resolutions feel earned and satisfying.

8. Use Metaphors and Similes

Metaphors and similes add creativity and depth to your writing. They help readers understand complex ideas and emotions by comparing them to familiar experiences.

In Detail:

Metaphors: Directly state that one thing is another to highlight similarities. "Time is a thief."

Similes: Use "like" or "as" to make comparisons. "Her smile was like sunshine on a rainy day."

Avoid Clichés: Create original comparisons rather than relying on overused phrases. Instead of "busy as a bee," find a fresh analogy.

9. Create Suspense

Suspense keeps readers on the edge of their seats, eager to find out what happens next. Use foreshadowing, cliffhangers, and unanswered questions to build tension and anticipation.

In Detail:

Foreshadowing: Drop subtle hints about future events. This creates anticipation and a sense of inevitability.

Cliffhangers: End chapters or sections with unresolved tension or unanswered questions to compel readers to keep going.

Pacing: Control the pace of your story to build suspense. Slow down for crucial moments and speed up during action scenes.

10. Edit Ruthlessly

Great writing often emerges during the editing process. Be willing to cut unnecessary words, tighten your prose, and refine your sentences. Editing improves clarity, pace, and overall readability.

In Detail:

Cut Redundancies: Remove unnecessary words and repetitive phrases. "In my opinion, I think" can be reduced to "I think."

Focus on Clarity: Ensure each sentence conveys its intended meaning clearly and concisely.

Language is extremely complex, yet children already know most of the grammar of their native language(s) before they are 5 years old.

BABBLING

Babbling begins at about 6 months and is considered the earliest stage of language acquisition

By 1 year babbles are composed only of the phonemes used in the language(s) they hear

Deaf babies babble with their hands like hearing babies babble using sounds

FIRST WORDS

After the age of one, children figure out that sounds are related to meanings and start to produce their first words

Usually children go through a holophrastic stage, where their one-word utterances may convey more meaning

Example: "Up" is used to indicate something in the sky or to mean “pick me up”

Most common first words (among the first 10 words uttered in many languages): “mommy,” “daddy,” “woof woof,” “no,” “bye,” “hi,” “yes,” “vroom,” “ball” and “banana”

WORD MEANINGS

When learning words, children often overextend a word’s meaning

Example: Using the word dog to refer to any furry, four-legged animal (overextensions tend to be based on shape, size, or texture, but never color)

They may also underextend a word’s meaning

Example: Using the word dog to refer only to the family pet, as if dog were a proper noun

The Whole Object Principle: When a child learns a new word, (s)he is likely to interpret the word to refer to a whole object rather than one of its parts

SYNTAX

At about two years of age, children start to put words together to form two-word utterances

The intonation contour extends over the two words as a unit, and the two-word utterances can convey a range of meanings:

Example: "mommy sock" = subject + object or possessive

NOTE: Chronological age is NOT a good measure of linguistic development due to individual differences, so instead linguists use the child’s mean length of utterance (MLU) to measure development

The telegraphic stage describes a phase when children tend to omit function morphemes such as articles, subject pronouns, auxiliaries, and verbal inflection

Examples: "He play little tune" or "Andrew want that"

Between 2;6 and 3;6 a language explosion occurs and children undergo rapid development

By the age of 3, most children consistently use function morphemes and can produce complex syntactic structures:

Examples: "He was stuck and I got him out" / "It’s too early for us to eat"

After 3;6 children can produce wh-questions, and relative pronouns

Sometime after 4;0 children have acquired most of the adult syntactic competence

PRAGMATICS

Deixis: Children often have problems with the shifting reference of pronouns

Children may refer to themselves as "you"

Problems with the context-dependent nature of deictic words: Children often assume the hearer knows who s/he is talking about

AUXILIARIES

In the telegraphic stage, children often omit auxiliaries from their speech but can form questions (with rising intonation) and negative sentences

Examples: "I ride train?" / "I not like this book"

As children acquire auxiliaries in questions and negative sentences, they generally use them correctly

SIGNED LANGUAGES

Deaf babies acquire sign language in the same way that hearing babies acquire spoken language: babbling, holophrastic stage, telegraphic stage

When deaf babies are not exposed to sign language, they will create their own signs, complete with systematic rules

IMITATION, REINFORCEMENT, ANALOGY

Children do imitate the speech heard around them to a certain extent, but language acquisition goes beyond imitation

Children produce utterances that they never hear from adults around them, such as "holded" or "tooths"

Children cannot imitate adults fully while acquiring grammar

Example:

Adult: "Where can I put them?" Child: "Where I can put them?"

Children who develop the ability to speak later in their childhood can understand the language spoken around them even if they cannot imitate it

NOTE: Children May Resist Correction

Example: Cazden (1972) (observation attributed to Jean Berko Gleason) – My teacher holded the baby rabbits and we patted them. – Did you say your teacher held the baby rabbits? – Yes. – What did you say she did? – She holded the baby rabbits and we patted them. – Did you say she held them tightly? – No, she holded them loosely.

Another theory asserts that children hear a sentence and then use it as a model to form other sentences by analogy

But while analogy may work in some situations, but certainly not in all situations:

– I painted a red barn. – I painted a barn red. – I saw a red barn. – I saw a barn red.

Children never make mistakes of this kind based on analogy which shows that they understand structure dependency at a very young age

BIRTH ORDER

Children’s birth order may affect their speech.

Firstborns often speak earlier than later-born children, most likely because they get more one-on-one attention from parents.

They favor different words than their siblings. 

Whereas firstborns gabble on about animals and favorite colors, the rest of the pack cut to the chase with “brother,” “sister,” “hate” and such treats as “candy,” “popsicles” and “donuts.” 

The social dynamics of siblings, it would appear, prime their vocabularies for a reality different than the firstborns’ idyllic world of sheep, owls, the green of the earth and the blue of the sky.

MOTHER'S LEVEL OF EDUCATION

Children may adopt vocabulary quite differently depending on their mother’s level of education.

In American English, among the words disproportionately favored by the children of mothers who have not completed secondary education are: “so,” “walker,” “gum,” “candy,” “each,” “could,” “wish,” “but,” “penny” and “be” (ordered starting with the highest frequency).

The words favored by the children of mothers in the “college and above” category are: “sheep,” “giraffe,” “cockadoodledoo,” “quack quack,” the babysitter’s name, “gentle,” “owl,” “zebra,” “play dough” and “mittens.” 

BOYS / GIRLS

One area of remarkable consistency across language groups is the degree to which the language of children is gendered.

The words more likely to be used by American girls than by boys are: “dress,” “vagina,” “tights,” “doll,” “necklace,” “pretty,” “underpants,” “purse,” “girl” and “sweater.”

Whereas those favored by boys are “penis,” “vroom,” “tractor,” “truck,” “hammer,” “bat,” “dump,” “firetruck,” “police” and “motorcycle.”

Tips for Writing Children's Dialogue (compiled from various sources cited below):

Milestones - The dialogue you write should be consistent with the child's developmental milestones for their age. Of course, other factors should be considered such as if the child has any speech or intellectual difficulties. Also note that developmental milestones are not set in stone and each child is unique in their own way.

Too "Cutesy" - If your child characters are going to be cute, they must be cute naturally through the force of their personality, not because the entire purpose of their existence is to be adorable.

Too Wise - It’s true kids have the benefit of seeing some situations a little more objectively than adults. But when they start calmly and unwittingly spouting all the answers, the results often seem more clichéd and convenient than impressive or ironic.

Unintelligent - Don’t confuse a child’s lack of experience with lack of intelligence. 

Baby Talk - Don’t make a habit of letting them misuse words. Children are more intelligent than most people think.

Unique Individuals - Adults often tend to lump all children into a single category: cute, small, loud, and occasionally annoying. Look beyond the stereotype.

Personal Goals - The single ingredient that transforms someone from a static character to a dynamic character is a goal. It can be easy to forget kids also have goals. Kids are arguably even more defined by their goals than are adults. Kids want something every waking minute. Their entire existence is wrapped up in wanting something and figuring out how to get it.

Don't Forget your Character IS a Child - Most of the pitfalls in how to write child characters have to do with making them too simplistic and childish. But don’t fall into the opposite trap either: don’t create child characters who are essentially adults in little bodies.

Your Personal Observation - To write dialogue that truly sounds like it could come from a child, start by being an attentive listener. Spend time around children and observe how they interact with their peers and adults. You can also study other pieces of media that show/write about children's behaviour (e.g., documentaries, films, TV shows, even other written works like novels and scripts).

Context - The context in which children speak is crucial to creating realistic dialogue. Consider their environment, who they're speaking to, and what's happening around them. Dialogue can change drastically depending on whether a child is talking to a friend, a parent, or a teacher. Additionally, children's language can be influenced by their cultural background, family dynamics, and personal experiences. Make sure the context informs the dialogue, lending credibility to your characters' voices.

Sources and other related articles: 1 2 3 4 5 6 7 8 9 10

Twins who are always together have trouble learning pronouns. My twins would use "we" when they meant "I" all the time because they were used to being together and being referred to as a unit. "We want ketchup!" okay but your sister actually doesn't like ketchup and you know that, you mean "I want ketchup."

Twins do not actually have a secret language. They just mimic each other's mistakes and mispronunciations in a way where they understand each other but adults cannot understand them.

Breaking News! 

1. “no underwear? did you plan this?”

2. “are you just going to watch?”

3. “but the cameras” - “they can’t see us from this angle, if you can stay still”

4. “you’re such a needy girl”

5. “you just keep doing what you’re doing”

6. “you’re fucking soaked”

7. “you make me so wet”

8. “can i ask you for something?”

9. “please don’t think i’m weird for this…”

10. “does that turn you on?”

11. “i need your fingers”

12. “say/do it like you mean it”

13. “scream my name while you cum”

14. “call me mommy”

15. “touch yourself, i want to watch”

16. “on your knees”

17. “turn around”

18. “bend over”

19. “spread your legs”

20. “open wider”

21. “sit on my thigh/face/etc”

22. “lift your leg”

23. “i’m bored, let’s play”

24. “i can see you staring at my tits/thigh/ass”

25. “harder”

26. “it’s my turn now”

27. “i didn’t mean to call you that, i’m sorry” - “no! don’t apologize, i liked it…”

28. “spank me”

29. “choke me”

30. “bite me”

31. “you can practice on me”

32. “this is a one time thing”

33. “i thought you said it was a one time thing?”

34. “we can’t do this”

35. “i ordered us something”

36. “that looks too big”

37. “you bought a vibrator?”

38. “sit here”

39. “while standing?”

40. “give me your hand”

41. “i’m/it’s all over your chin”

42. “do you think about me when you touch yourself?”

43. “why are you being so shy? it’s not like i haven’t already seen all of you”

44. “you’re so spoiled”

45. “can we use a toy?”

46. “can i use a toy on you?”

47. “just like that”

48. “nobody can know about this, okay?”

49. “how are you so close already?”

50. “i can see how wet you are through your shorts”

51. “can you be quick?”

52. “please, i’ll finish fast”

53. “use your mouth”

54. “why do you get so shy when i use that word?”

55. “where do you want me to touch you?” - “down there…” - “you have to say the word”

56. “on the counter/table/etc?”

57. “have you seen the things the the fans write about you and *other member*?”

58. “pull my hair”

59. “open your mouth”

60. “you’re such a messy girl”

61. “take off your underwear” - “but, there’s other people here” - “they won’t see you, there’s an entire table here”

62. “open your eyes”

63. “look at me while you cum”

64. “do you want me to use my fingers/mouth?”

65. “do you want to join me?”

66. “how bad do you want it?”

67. “it’s too late for this” - “you don’t have to do anything, just stay laying down”

68. “can you stay quiet if i take this call?”

69. “we could get kicked out for this”

70. “don’t make me say it, you know what i want”

71. “you’re so annoying” - “would i still be annoying eating you out?”

72. “put your leg over my shoulder”

73. “there’s no one else here, be louder”

74. “i’m going to fuck you against the windows, i want everyone to see how good you are for me”

75. “stop being gentle”

76. “you can’t leave marks”

77. “we are not doing this standing, there’s a bed right there”

78. “do you like it when i spank you?”

79. “use my thigh”

80. “if you hate me so much, why are you letting me do this?”

81. “you’re really telling me to stop while both of your hands are in my shirt?”

82. “i still hate you”

83. “this is just sex, no strings”

84. “fuck you” - “well, that’s what we’re doing isn’t it?”

85. "you can take it like a good girl, right?"

86. “that was a nice way to wake up"

ღ request from: @generousvintagevictorianeagle — hi!! can you please write some dialogue prompts about a relationship/ intimacy within partners/ and caring for each other type beat… fluff and maybe a little angst and smut… much appreciated!!

ღ warnings : some angst + smut mentioned!

"when’s the last time you ate something?"

“let me run you a nice soothing bath.”

“you look so beautiful, baby.” “babe, i just woke up.” “you’re always beautiful even if you just woke up.”

“let’s cuddle on the couch and watch your favorite movie.”

“i got you a present, i hope you like it.”

“why didn’t you just tell me you needed a break?”

“i’m sorry about what happened, i’m here if you ever need to talk about it.”

“hey… hey… why are you crying?”

“are you okay?”

“this is a great opportunity for you, i thought you would be happy but why do you look so sad?”

“you know you can tell me anything right?”

“can’t sleep.” “i tried absolute everything but nothing.” pulling you even closer as they say “you haven’t tried everything, i think i can get you to fall asleep”

“wanna take this to the bed?”

“we can take things slow if you want?”

“fuck… you’re so good.”

“please… go harder.”

“you look so pretty as you squirm under me.”

“let me clean you up.”

“such a good girl f’me.”

“is this okay?” character a ask before going any further and character b simply nods their head. “use your words baby.”

“i never thought you’d be the one to betray me.”

“after everything we’ve been through, this is how it ends?”

“i told you my deepest secrets, and this is how you repay me?”

“you’ve broken my trust, and I don’t know if I can ever forgive you.”

“i thought you were different, but you’re just like the rest.”

“i wish i could turn back time and see the truth sooner.”

“i don’t know if I can ever look at you the same way again.”

“you’ve shattered everything we built together.”

“was any of it real, or was it all a lie?”

“you were the last person I expected to hurt me.”

“i trusted you more than anyone else, and you broke that trust.”

“how long were you planning this? how long have you been lying to me?”