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Kathedrale St. Peter, this entrance was built between 1385-1415. Regensburg, Germany
hey, did you know that the world is a better place because of your creations and art and writing, no matter how niche or how many people see it
The Science Research Notebooks of S. Sunkavally. Page 295.

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A wild lab, first in the morning.
gluggafoss, hvolsvĂśllur
recently in these pagesâď¸đ
bingewatching will never come close to bingereading. there is nothing like blocking out the entire Earth for ten hours to read a book in one sitting no food no water no shower no bra and emerging at the end with no idea what time it is or where you are, a dried-up prune that's sensitive to light and loud noises because you've been in your room in the dark reading by the glow of a single LED. it's like coming back after a three-month vacation in another dimension and now you have to go downstairs and make dinner. absolutely transcendental

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So... I found this and now it keeps coming to mind. You hear about "life-changing writing advice" all the time and usually its really notâbut honestly this is it man.
I'm going to try it.
I love the lawyer metaphor, because whenever I see âJohn knew that...â in prose writing I immediately think âhow? How does he know it?â Interrogate your witnesses. Cross-examine them. Make them explain their reasoning. It pays dividends.
All of this, but also feels/felt. My editor has forbidden me from using those and itâs forced me to stretch my skills.
This is your "show not tell" advice explained!
Editor here.
First, let me preface this with something very important: you can treat all of this advice as SECOND-DRAFT ADVICE. It is so much easier to rewrite this kind of stuff once you have words on the page. Telling yourself the first draft is totally appropriate and acceptable.
What weâre talking about here are FILTER WORDS (and to some degree verbs of being). Yes, âthoughtâ words are included. But so are âheard, saw, looked, tasted, smelledâ etc.âmost words having to do with the senses.
This isnât black and white advice; sometimes youâll use these words and thatâs okay. Theyâre not WRONG. Theyâre just weaker. And theyâre weaker because they create distance between the reader and the experience of the character.*
If you want your reader to feel like theyâre experiencing the story right alongside the character, you want to cut down on filter words.
*This is particularly important with first person and close third POVs. The reader always knows whose eyes theyâre seeing through and thoughts theyâre privy to. So you donât need to tell them âI saw X.â Or âI heard X.â Or âI thought Y.â You can just jump into the action/observation as itâs happening.
This is also where you want to pay attention to verbs of being.
âIt was rainy.â Versus: âThe rain pounded against the roof.â Or âThe rain howled like an injured animal.â Or âThe rain tapped against the window like an anxious lover.â All of these are inviting the reader deeper into the experience of the story by using stronger verbs and similes. And, at the same time, they stir feelings (instead of TELLING feelings). And feelings keep your reader engaged. Engaged readers keep turning pages; engaged readers become FANS.
This is also where
you want to pay attention
to verbs of being.
Beep boop! I look for accidental haiku posts. Sometimes I mess up.
someone please send over motivation to studyyyy I went to a crafts fair this morning and bought yarn and I just want to crochet and draw but alas, revision awaits me :(
twelve years of it, in azkaban.
Jenny Bloomfield. Cats in the Meadow.

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this is the passage in crying in h-mart that gets me the most