#para help

1. Word count.

Nobody likes to put a ton of time and effort into a para, only to receive a reply half its size. I know that sometimes it's tricky to build a para up, and it never has to be the exact size as the one you're replying to, but it helps to get a rough idea of what you're aiming for. You can do this by pasting their last reply into a word processor and checking the word count. Then just write until the count is close to double what you started with – their reply, plus yours. An even better idea may be to write up your reply without considering the size of theirs, and then working out how far off you are after you’re done. This way it might not seem quite as forced.

2. Synonyms!

This is real easy because your computer practically does the work for you. If your writing is seeming a little flat, and you want to avoid any mediocre replies, just look for words that seem dull and google synonyms for it! This not only gives you more satisfying words, but might even lengthen you’re para a little. I used Microsoft Word (right-clicking to find synonyms), Google, and also just gave it a last look so see if there are more things than could be changed. It might be a good idea to double check the new word’s definition, just in case it doesn’t mean exactly what you’re trying to say

3. Sentence structure

Personally, I’m quite stubborn with how I start my paras. I try not to start them by addressing my character – or at least not for every reply I give. I think that this gives each reply some diversity from the last. Of course you don’t need to force yourself to start every reply like this, but I try to only open with a reference to my character every three or four replies. You can also change the structure of your sentences by making cliché phrases like ‘feeling uncomfortable in their own skin’ your own and turning it into- ‘…skin suddenly felt too tight for their bones’. These kinds of things not only make well-known phrases more personal, but makes the reader feel with your character, rather than for them by connecting with their discomfort.

4. Senses

A great way to add more length to a para is by talking about senses. Most people tend to stick to what their character sees and, when it comes to dialogue, hears. However, once you’ve worked out their relevance, the other senses are great to talk about too! Okay, so let’s tackle the last few senses one at a time. Taste: This one doesn’t have to be taken literally – in fact, the term ‘left a bitter taste in their mouth’ is a great way to indirectly express how your character is feeling. You could also talk about the state of the characters location; ‘the air was stale’ has the implication of taste without it sounding too nasty (unless that’s what you’re going for!) Smell: The air can also smell stale or fresh. If they’re outside, surrounded my greenery, talk about the flowers, the grass, the muggy lake, etcetera. If they’re inside, talk about the food or the old wooden flooring, the dusty furniture, the fresh paint… Smell can also give an idea of what you’re character is feeling. Negative smells often connote a negative situation – nice smells doing the opposite. Touch: Your character doesn’t have to be touching other things or people to feel. A breeze could be making the back of their neck chilly, or causing a strand of hair to tickle their cheek. They could feel the tension between themselves and your roleplay partner’s character, or they could get the feeling of being observed. These things may not be physical, but they can spark physical reactions. Feeling anxious or conscious can cause your character to become more self-aware.

5. Thoughts

There are two main ways that you can show what you’re character is thinking. You could write it out as they’re imagining it (for example, ‘I have a bad feeling about this place,’ he thought…), or you could tell the reader yourself (e.g. he had a bad feeling about…). Unless I’m really in the flow of my writing, and thoughts just flow well with my text, I don’t tend to go out of my way to add them. This is simply because using the senses often does the work for you. If you’re really struggling with your word count, adding a few side-thoughts always works a charm. Your writing will not suffer with or without!

6. Response.

It is, of course, really important to both give your rp partner a response, and to give them something to respond to. Try reacting to something that they do, rather than exclusively what they say. Maybe the other character crosses their arms, and yours mirrors them habitually, or perhaps, for example, the other person just moves a little too quickly and cause your character to flinch, and then duck their head in embarrassment, as a kind of chained reaction. This way you’re not only responding to the other character, but you’re giving them something to respond to. I love when people add tiny details in their paras that seem unnecessary, but actually add a vital mood to the text (you may want to listen to bands such as ‘The Front Bottoms’ and some of ‘The Artic Monkeys’ earlier stuff for some inspiration, because they demonstrate it perfectly in their songs). For example, your character just looked down and noticed that their shoelace was sticking out, or that the other character’s skin-tone contrasted nicely with their hair. The senses, again, can come into play here. It may not matter that, in the distance, somebody else’s muffled conversation could be heard, but it gives more feel to your para and puts anyone involved in the right state of mind.

Example:

I tried to find a para from when I first started to roleplay so there were quite few improvements that could be made. This might not be a great example, but hopefully you get the point;

Nathan still jumped when the door clicked, although he was anticipating Trent’s arrival, but didn’t say a word, just in case a member of staff had realized where he was hiding out and had come to yell at him. The moment he heard the man’s voice, however, Nathan was quickly crossing the small space and throwing his arms around Trent’s neck, hugging him tightly with his face hidden against his shoulder. “I’m so sorry.” He murmured, fingers tangling and untangling themselves in the other patient’s hair. His tone was sad, but he knew that he had no right to be upset. Nathan sighed and let his hands fall to his sides again, taking a few small steps back to perch on the edge of the box he’d previously been sat on. He put his hands at either side of himself, also on the edge of the cardboard and ducked his head like he was ashamed or embarrassed, even though Trent wouldn’t be able to see clearly enough to read Nate’s expression in the dark. “I didn’t know what else to do.”

Can be transformed to…

Despite anticipating Trent’s arrival, Nathan startled when the door clicked, but didn’t utter a word, in fear of raising his head to find a member of staff had come to terms with where he was hiding out and was only there to scold him. The instant he heard the man’s voice, however, the tension in his muscles suddenly eased and his skin no longer felt too tight for his bones. ‘The Trent effect,’ he noted fondly. The tiny window behind him flooded an orange light into the room, and Nathan hurriedly crossed the diminutive space and threw his arms around his friend’s neck, embracing the silhouette tightly with his face supressed against the man’s shoulder.

“I’m so sorry.” He murmured, fingers interweaving and loosening themselves in the other patient’s hair. His tone had been sorrowful, although he was aware that he had zero justification to be saddened – it was, after all, his own stupid fault. Nathan sighed and allowed his hands drop to his sides again, taking a few slight steps backwards to perch on the edge of the box he’d previously been seated on. He placed his hands at either side of himself, also on the edge of the cardboard, his fingers picking at the edge where it was beginning to break away with age. The man bowed his head as if he was ashamed or discomfited, even though Trent wouldn’t be able to see clearly enough to read Nate’s countenance in the darkness.

The air felt thick and uncomfortable and, in the corner, something dripped steadily, making the small room feel damp and clammy. A warm light reflected from whatever liquid lived in the corner, but he pulled his attention away from the scene, and back to Trent’s face where, now that his vision was slowly adapting to the light, the slightly younger man’s eyes caught a slight glint from the flickering bulb on the porch outside. His chest tightened, their eye contact seemingly forcing him back into the small, dark storage room. The window suddenly seemed smaller, the walls closer but the door further away.

Comece com o formato do rosto do personagem. Isto é importante porque o rosto de uma pessoa dá uma impressão forte e imediata de sua personalidade. É em forma de coração com uma testa larga e um queixo pontudo? É quadrado, com uma linha de mandíbula que poderia esculpir granito? Qual desses rostos que você poderia descrever como brincalhão e que possa descrever como robusto? Quando você descreve o personagem, tenha em mente que as pessoas definitivamente associam certos traços de personalidade com determinadas características.

Descreva a estrutura óssea do personagem. Em particular, tiram-se muitas conclusões a partir de estrutura óssea de uma pessoa. Alta, maçãs do rosto largas podem dar a impressão de bochechas de maçã e, com isso, um sorriso persistente. Considerando que um queixo "fraco" está associado com a passividade, um queixo proeminente é descrito como "determinado" e pode sugerir que alguém está disposto a manter o seu queixo para cima. Olhos grandes são encontrados na maioria dos bebês e tornaram-se associada com a inocência, enquanto olhos profundos que são muitas vezes sombreados, podem ser associados a indigno de confiança ou uma personalidade pensativa.

Descrever os olhos do personagem. Os olhos são as "janelas da alma" e devem receber atenção extra. A maioria dos bebês têm olhos grandes e longos cílios, fazendo com que as pessoas de olhos grandes ou longos cílios pareçam mais confiáveis e abertos. Olhos castanhos estão entre os mais comuns e são frequentemente associados com uma planície e honestidade. Pessoas de olhos azuis podem ser vistas como inocentes (azul bebê), perfurando (azul gelo) ou sábio (cinza-azulado). Pessoas de olhos verde-claro podem parecer confiantes enquanto as pessoas de olhos verde-esmeralda são muitas vezes consideradas como exóticas ou felinas.

Descreva as sobrancelhas do personagem. Uma vez que as sobrancelhas são tão intimamente envolvidas na expressão facial, eles também têm um enorme impacto em seu estado de repouso. As sobrancelhas retas de Kristen Stewart dá uma expressão de indiferença, enquanto as sobrancelhas de alto arqueamento de Marilyn Monroe adicionam à sua aparência de ligeira surpresa e interesse contínuo. Se a metade interior de cada sobrancelha inclina fortemente para baixo, ele pode criar um olhar malicioso á la Christian Slater ou uma ligeira carranca á la Megan Fox. Especialmente baixas sobrancelhas como as de Michael C. Hall (vulgo Dexter Morgan) podem criar uma aparência sinistra.

Descreva o nariz do personagem. O nariz é uma parte extremamente proeminente na face e pode sugerir muito sobre a atitude de seu personagem. Uma pessoa de nariz arrebitado pode ser bonita e brincalhona como uma criança, mas também pode ser esnobe. Uma pessoa de nariz comprido pode sugerir um ar de sabedoria. Um nariz comprimido como Nicole Kidman pode ser bonito como um botão, mas também pode aparecer plissados ​​como se com desgosto.

Descreva a boca do personagem. Como as sobrancelhas, a boca é fundamental na formação de expressões faciais e está sujeito a muita interpretação. Os lábios finos são ligados com a pouca idade, já lábios carnudos são associados com sensualidade. Lábios ligeiramente abertos podem parecer relaxados ou mesmo sugestivos (que é por isso que a maioria dos modelos posam desta forma), mas uma boca que não pode fechar (a la Napoleon Dynamite) pode dar a impressão de estupefação perpétua. A boca que é muitas vezes chamada de "generosa" pode transmitir uma sensação de abertura, enquanto uma pequena ou estreita (acho que Hugh Laurie de "House") pode parecer reservada ou hostil.

Descreva o couro cabeludo do personagem. O couro cabeludo também desempenha um papel importante na forma como vemos um rosto moldado. Pico de uma viúva, que interrompe a testa apontando para baixo no nariz, acrescenta um elemento de intriga e é normalmente o de os vampiros. A calvície pode sugerir uma perda de virilidade e ganho de um título irônico como "orelhas de Mickey Mouse".

Descreva o tipo de corpo do personagem. Ele é alto? Se assim for, ele é "cheiinho" e desengonçado ou magro e atlético? Se não, ele é baixo e atarracado ou delicado? O personagem é acima do peso, abaixo do peso ou talvez apenas muito robusto? Que outras características destacam-se? Por exemplo, um pescoço alongado pode ser gracioso e elegante enquanto um pescoço grosso ou quase nenhum pescoço poderia sugerir a força bruta. Knock-knees pode sugerir incerteza ou falta de jeito, os pés de pato podem parecer desajeitados e dedos finos podem transmitir uma inclinação artística.

Descrever a postura do personagem, linguagem corporal e estilo de roupa. Todas estas coisas refletem a maneira como uma pessoa interage com o espaço ao seu redor, o que diz muito sobre a forma como eles interagem com o mundo em geral. Será que o desleixo do personagem está ligado com indisciplina ou ego alto? A sua linguagem corporal é sem brilho, hesitante, contraída ou expansivo? Será que o seu desgaste sujestivo é uma atraente roupa ou tem algo a ver com sua história? Em outras palavras, o seu personagem "completa" uma sala?