“This is your daily, friendly reminder to use commas instead of periods during the dialogue of your story,” she said with a smile.
“Unless you are following the dialogue with an action and not a dialogue tag.” He took a deep breath and sat back down after making the clarifying statement.
“However,” she added, shifting in her seat, “it’s appropriate to use a comma if there’s action in the middle of a sentence.”
“True.” She glanced at the others. “You can also end with a period if you include an action between two separate statements.”
Things I didn’t know
“And–” she waved a pen as though to underline her statement–“if you’re interrupting a sentence with an action, you need to type two hyphens to make an en-dash.”
You guys have no idea how many students in my advanced fiction workshop didn’t know any of this when writing their stories.
crucial muse development questions. send a number in my inbox to find out more about my character as a person ( because often, the most important things about character development have nothing to do with their shoe size or netflix queue ).
Find the right place to write your novel…
Nature
Places
Garden with pond and waterfall
Study room from victorian house with rain
Fictional places
Chloe’s room (Life is Strange)
Blackwell dorm (Life is Strange)
Two Whales Diner (Life is Strange)
Star Wars apartment (Star Wars)
Star Wars penthouse (Star Wars)
Tatooine (Star Wars)
Coruscant with rain (Star Wars)
Yoda’s hut with rain ( Star Wars)
Luke’s home (Star Wars)
Death Star hangar (Star wars)
Blade Runner city (Blade Runner)
Askaban prison (Harry Potter)
Hogwarts library with rain (Harry Potter)
Ravenclaw tower (Harry Potter)
Hufflepuff common room (Harry Potter)
Slytherin common room (Harry Potter)
Gryffindor common room (Harry Potter)
Hagrid’s hut (Harry Potter)
Hobbit-hole house (The Hobbit)
Founding Fathers Garden (Bioshock)
Things
Transportation
Historical
Titanic first class dining room
Sci-fi
Futuristic apartment with typing
Post-apocalyptic
Horror
World
Trips, rides and walkings
Beautiful
@icanneverbesatisfied @maybe-mikala I HAVE FOUND THE ULTIMATE RESOURCE
I LOVE YOU FOR THIS
HONESTLY I CAN DIE HAPPY NOW
This helps if you’re drawing too!
Reblogging for reference!
I can’t remember of I reblogged this before or not so… here you go! I like to use this sort of stuff for ambient noise during d&d games
I love a great redemption story, but not every character who finds
redemption is the same. So today I’ve outline three types of redemptive
characters and what to watch for and consider when writing each.
If you are familiar with the story of
Les Mis
and you are like most people, you were probably thinking that stealing a loaf of bread to save your starving family is really not that bad of a sin. (And certainly having to spend 19 years in prison is waaaay too much, whether or not you tried to escape.)
Yet throughout the story, Jean Valjean consistently feels that he is falling short, even though most of his mistakes and sins are actually rather minor and understandable in comparison to his trials and accomplishments. Time and time again, Valjean sees himself as far worse of a human being than the audience does. In fact, he can’t bear Cosette, the one person in his life he can love and who loves him in return, finding out about his sins, and in his death scene, asks her not to read his letter about them until he has passed away.
Valjean is not a terrible person. He’s an amazing person! But nonetheless, his story of redemption is perhaps one of the most powerful and moving.
You can write redemptive characters the same way. However, like everything in writing, you need to be balanced. One of the easiest mistakes to make with this character type (or really, in any redemptive story) is to become too sentimental or melodramatic. If you go overboard about how wretched your character feels about herself, it can become annoying. If the gap between what the sin actually was vs. how awful she feels about it, is too big without an explanation, it can become more annoying. To be honest, there is a rather large gap between what Valjean commits vs. how awful he feels about it, but the gap is explained in how his society and other human beings (such as Javert) treat him for it–which further enables him to feel wretched.
A third problem can arise when you render the character’s emotion improperly or poorly, particularly by having it all illustrated through the character on the page instead of allowing the audience to feel it first. Unless you are in a denouement where you want to release and validate all that emotion, usually less is more.
Characters
of this type tend to have a lot of inner turmoil and conflict, so
getting the emotion right is key. (You can find all my tips on rendering
emotion in my Writing Tip Index.)
Watch out for: Sentimentality,
melodrama, repetitious emotions, too wide of a gap between the sin and
the poor self-esteem (without an explanation), and poor rendering of
emotion.
Consider: Inner turmoil/conflict and
how it is portrayed, how others and society may view the character and
how it compares or contrasts with how he views himself and also how that
affects his relationships, how shame and guilt and the sin motivate his
actions or dam his progression.
Other Examples: In the movie DragonHeart, Draco thinks less of himself and is harder on himself for having given half his heart to save a boy who grew to become an evil king–what was meant to be a noble act, even a holy act, ends up haunting Draco for the rest of his life. In Disney’s The Lion King, Simba blames himself (thanks to Scar) for his father’s death, which leads to him turning away from his place in society and even his true identity.
Before the Reynolds affair even started, Hamilton discloses to the audience that he is in a state of weakness–exhausted, overworked, and lonely. Despite being popular with the ladies, he is not out and about looking to be promiscuous. He’s minding his own business, trying to save his job, when a woman seeks him out.
Essentially, the entire song “Say No to This” is about Hamilton literally praying to God that he can resist temptation, and out of weakness, giving in again and again and again, and being mad with himself about it, but … giving in again.
Like I talked about at FanX, I think this is a human experience we can all relate to (though ideally ours isn’t about an affair). We all have weaknesses, whether it’s a brownie, impulsive spending sprees, or even lust.
This type of character needs redemption because she actually did do something pretty bad. She might have gotten caught in the moment, experienced powerful temptation, given in to a weakness, or felt overwhelming desperation. Any of those particular things can be powerful motivators–leading people to do things they would not typically do.
I once had someone tell me that all human beings really have personal boundaries rather than personal standards. We may think we would never do X, but when we get pushed enough–from being stuck in shortsightedness, powerfully tempted, overworked, or desperate–and Y situation happens, we might.
One thing I love about this type of character, is that the experience is so human, and even if we may hate it … relateable.
And
I think that is key to this type. Even if we completely disagree with
what the character does, think they were stupid, or anything else
negative, we have to understand it. We have to be able to relate to it
on some level, or at least see how it could have happened. If not, it
will be annoying, it will be a fail. I would say most of the
time, the sin is not going to be something premeditated–exceptions to
this are when pressures are ongoing and intense (ongoing exhaustion,
ongoing temptation, ongoing desperation). The character will probably
feel bad or, like Hamilton, angry with himself (“How could I do this?!”)
Watch out for: Situations
and setups that aren’t relatable to the audience–or rather, are not
rendered in human, relatable ways, are not properly explained. The sin
should probably not be done flippantly; it’s done in a moment of
weakness not laziness–there is a difference.
Consider: These
powerful components–being caught up in the moment, experiencing
personal weakness, powerful temptations, desperation, and ongoing trials
and hardships and what that does to a person. Think in terms of
boundaries rather than set standards. Explore how your character reacts
and feels about what she has done, to capitalize on the human
experience.
Other Examples: In Lord of the Rings, Boromir as well as a number of other characters experience moments of weakness when confronted with the Ring. These are great examples of individuals dealing with limits–the edge of their boundaries and capacities.
Another perhaps particularly powerful redemptive character is Severus Snape in the Harry Potter series. In fact, he was so redemptive that a lot of people seemed to forget what a total jerk he actually was. Snape dabbled in the dark arts when in school and actually even invented lethal spells. While he is a rather gray character, I think we can all agree he was once a “bad guy”–Death Eater and supporter of Voldemort, et al.
… until that journey became particularly personal in that Voldemort was going to kill the love of his life.
It may have been all about Lily, but ultimately Snape was true to the Order of the Phoenix, to Dumbledore, and to Harry.
In this type, the character is intentionally doing wrong. It may be that they are a villain or a “bad guy,” or it may be that while once goodhearted on page, they went down the wrong road, but whatever the case, they are committing sin left and right and purposefully. If we had the power to grant one person absolution, I think most of us would pick someone of the other two types before we considered this one. In fact, in the story, this type may not even seem like she is going to get a redemptive arc at all.
In some stories this character may be an anti-hero, in which case they will be handled a little differently than a bad guy or villain.
Unlike the other two types, we may not relate to this type as easily, at least not until later–likely when they begin the redemption process, or at least when we get a better understanding of why they are the way they are. Snape, for example, was easily hated by most people for most of the Harry Potter series. A slight exception to this is that in some cases, this type may do things that people privately wish they could do–wouldn’t life (seemingly) be easier if we didn’t care about doing wrong things? They may also have a cool factor because of it.
However, if they are a redemptive character, at some point they will realize, that in some ways, wickedness was never happiness. In some cases these types embody more of a theme or a lesson than a relatable emotional experience, like the prior two.
An important part of this character type is validation. The audience needs to see–have it validated to them–that this character truly does evil things. Then during, or after the redemption, the audiences needs it validated that they are truly a changed person.
The contrast between how wicked the
character is and how much redemption she receives can create a very
powerful storytelling effect. Often in highly powerful examples of this
trope, the character sacrifices his life–either literally in death or
figuratively in how he chooses to live out the rest of his life.
Watch out for: Glorification
of wrongdoing in the overall story; failure to validate wickedness and
redemption; flat redemption where the redemption isn’t “earned,”
developed, or adequately explained.
Consider: What
led the character to choose wickedness, what caused them to change, how
that change will affect their circle of relationships and whether the
change will be accepted by others (will they be tolerated or forgiven?).
Also watch the breadth between their bad deeds and the extent of their
redemption. What of their life is sacrificed?
Other Examples: In Star Wars Anakin Skywalker turns to the dark side but ultimately dies saving his son from Emperor Palpatine. In How the Grinch Stole Christmas, after trying to destroy Christmas, the Grinch learns to appreciate it, and his heart grows two sizes.
In the future, I may expound on these three types and talk about writing the story arcs.
“This is your daily, friendly reminder to use commas instead of periods during the dialogue of your story,” she said with a smile.
“Unless you are following the dialogue with an action and not a dialogue tag.” He took a deep breath and sat back down after making the clarifying statement.
“However,” she added, shifting in her seat, “it’s appropriate to use a comma if there’s action in the middle of a sentence.”
“True.” She glanced at the others. “You can also end with a period if you include an action between two separate statements.”
Things I didn’t know
“And–” she waved a pen as though to underline her statement–“if you’re interrupting a sentence with an action, you need to type two hyphens to make an en-dash.”
You guys have no idea how many students in my advanced fiction workshop didn’t know any of this when writing their stories.
I wish I had this when I was critiquing my classmates stories so I could show them all the different examples.
there’s going to be a difference sometimes between the stories that you find masterfully crafted and the stories that mean a lot to you personally and those two things don’t have to overlap completely or even at all to make that story worthwhile
and that’s a good thing to remember as a reader/viewer/etc but also as a writer because even if whatever you ultimately write is full of mistakes, someone out there is gonna take it so to heart that it fundamentally changes them as a person. and that is. Huge.
Like! I made a list of the top ten stories that have influenced me as a human being and only 2 or maybe 3 of them are things I would hold up as examples of narrative mastery. But I cannot imagine who I would be without the other 7!!
Please write your story and share it with the world! Someday someone will not be able to imagine a world without your story in it and they’ll be so grateful you brought that wonderful, meaningful thing into their life
Also while I’m on a roll, a story doesn’t have to have some deep hidden meaning or philosophical theme for it to be meaningful. Sometimes a story is meaningful to someone because it was fun and made them happy at a time when they really, really needed that. Or because it was an incredibly intriguing world that inspired them to dream. Maybe they’re another writer, and they see in that thing you wrote the exact kind of story they want to tell someday.
There are many ways to be meaningful
I know I said that this post would be in a video format, but I’ve just started school again and I have a completely useless computer tech class that I needed something to do in. So here I am reflecting on Own Voices and coming out with an opinion so apathetic it might be controversial.
Here’s the thing, I don’t care about an author when I’m choosing to read the book outside of “Have they said something terrible or how bad have there previous have been.” I do not spend time researching the traits and personal life of an author before I start their book because most of the time, with a few exceptions, I don’t think it matters. Do I think the quality of books like Trials of Apollo is lowered because it features queer characters written by as far as we know a straight cis male? No, and I don’t think any queer person could have written this book any better. In short the author of the book matters less to me than the quality of the book itself which is why it bothers be that certain people interpret #OwnVoices not as one of many contributing factors to whether they support a book, but instead as the only factor. If a book is #OwnVoices they read it and it’s okay for other people to read, but if its not its exploitation trash and if you read it and like it you’re also exploitative trash. Which is ridiculous and unfair on an incredible amount of levels.
I don’t believe in limiting creativity by telling people what they can and cannot write, which means that to an extent I believe that it is alright for straight authors to write gay characters. To an extent there are stories about marginalized communities that should only be written by those communities. I would not be okay with books like The Hate U Give being written by a white person or books like the Miseducation of Cameron Post being written by a straight person, but there is a difference that people either forget or ignore between writing a story featuring a minority character and writing a story about being a minority. It is a case of representation versus reflection. Representation is self explanatory. It is a display certain identities or races within a narrative. While reflection is a person of an identity or race looking at experiences common to them and people who are of the same identity or race to tell a story of a unique experience to them.
If a writer like Rainbow Rowell wants to write a story about an evil force that threatens the world of magic the protagonist just so happens to be bisexual person. I don’t see a problem with that. Granted there is a gray area in representation that depends on intent. If you throw a minority character in a story for the sake of diversity without caring about the way you represent that minority you often end up with stereotypes or if an author use a minority character like a gay or lesbian person for the sole reason of their identities being “sexy” thats in no way okay. The former situation is the sole purpose for the porn clause on our policy page. However, not all authors are going to do that, some people are going to be respectful and work to create real characters with a personality outside of their identity and just because some people do shitty work doesn’t mean other people should have their work discounted.
On the other hand, when it comes to reflection, a non minority person isn’t going to be able to do it. A straight author could not write a book about the horrors of conversion therapy or dealing with abusive unaccepting parents because they cannot reflect on their own experiences. You cannot look back on something you’ve never experienced and if they did it wouldn’t be reflection it would be idealism and to an extent exploitation because they are profiting on things they never had to go through. So in cases like this I totally agree with #OwnVoices.
After doing research on this topic I have come to the conclusion that that the reason I have the issues I do with #OwnVoices is because it was started as something just vague enough that I’m not entirely sure what constitutes as #OwnVoices. The author who originated the hashtag says that it is a book with an author and a main character belonging to the same minority. Which boils down to gay author + gay character = #OwnVoices. I don’t really like this though because if I, a lesbian, wrote a book about a bisexual character it technically wouldn’t be #OwnVoices. It also bars other books and authors. For example, Mackenzie Lee identifies as a bisexual woman her book, A Gentleman’s Guide to Vice and Virtue features two bisexual men, but because of an arbitrary difference in gender people count it as #OwnVoices and in a remarkable display of blindness and overt ignorance even call it fetishization or exploitation of the gay community. The problem is that the vagueness of what this movement is that leads to people being unintentionally or intentionally exclusionary.
In all honesty it’s not the sole fault of the #OwnVoices movement its more of a problem of people taking out their anger on people who don’t deserve it, because fetishization is a problem in gay literature, one that #OwnVoices can help combat. People just tend to take out their anger at people who do fetishize the gay community on people who do not deserve it and use #OwnVoices as a justification. Point being that #OwnVoices is not the core of the problem, but it is something used to extenuate and justify a problem.
In the end, I wish people would stop telling me what its okay to read, I like Carry On by Rainbow Rowell, does that make me a bad person? No, it doesn’t, and I wish people would stop pretending it does, and using an arbitrary hashtag to tell me why. People should read what they want to read and others should stop policing them on it, but agree or disagree with their choices, do it respectfully.
Thank You for Reading!
Kelsey
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Here it is requested by many of you from our end of the year and midyear review polls.
Some authors say to never use a thesaurus. But guess what? I use one all the time–every week, often every day. Sometimes it’s when I’m editing others’ manuscripts but always when I’m writing fiction, and on occasion even for my blog posts.
Why do some authors say that?
Because a lot of people in the world use the thesaurus wrong.
At least when it comes to actual writing.
The other day I was gassing up my car while the screen on the Chevron pump advertised to me. One of the features they have at these Chevron pumps is a “Word of the Day” feature–one of my pet peeves that I love to hate. You may have heard me complain about them on here. The “Word of the Day” feature is practically useless.
Why?
Because they almost always highlight words that are useless. They’re so rare, so specific, or so convoluted that they actually have no real life (or real writing) value.
Take one I’m looking at on a website right now.
Squiz
Have you ever heard of that word?
I haven’t. And I spend A LOT of time with words.
So I click on it.
First thing I notice, this is actually an informal Australian word. That’s what it says, right on the page.
So if you are one of my international followers (love you guys ;) you may have heard of this word. But for us here in the U.S. the word is essentially useless to know (unless of course we are working on something that relates to Australia)
If I use it in one of my stories, it’d be like me writing “trainers” instead of “sneakers” when the rest of my story is written in American English. It doesn’t work. It doesn’t make sense.
Okay, so let’s see what the word actually means.
to peer at quickly and closely
Great. (If you are Australian.) But instead of using a word that most of my audience (which is in the U.S.) has never heard of before, why not just use these:
scan, notice, consider, study, scrutinize, glance, inspect … or peer itself.
Sure, they don’t mean the exact same thing, but if needed, I can always add an adverb to capture it.
Angelica quickly inspected the advertisement.
Boom. Done. Now my target audience knows what’s going on.
See, a lot of people approach the thesaurus completely wrong: They use it to find rarer and more convoluted words, because they think it makes them sound smarter and like they are an amazingly educated writer. (For the record, I’m convinced this is a normal phase that writers go through when learning to write.)
But writing is a collaboration between the writer and reader. If the author is literally writing for themselves–even into the details–then the story isn’t as powerful. This is especially true when handling emotion in your story. Writers writing for themselves will try to write how they feel about that scene to render emotion, but more experienced writers know you need to instead focus on writing what will actually elicit those feelings in the audience.
Tiffy is writing a novel.
Tiffy decides to use the thesaurus to come up with “a better word.”
Tiffy replaces the phrase “facial expression” with “physiognomy.”
And “breakfast” with “jentacular”
No!
This puts the audience at a distance and disadvantage. And it does more than that. It changes the pacing and tone of the passage–and probably in ways you don’t want.
Max is writing a short story.
Max could use the word “looked,” but it’s a little vague and doesn’t capture the moment as accurately.
Max decides to use the thesaurus to find a more accurate word the reader is familiar with and that will convey more than “looked” does.
Max replaces “looked” with “scrutinized.”
Way to go Max!
1. Use the thesaurus when you can’t remember or come up with the EXACT word you are looking for.
Hmmmm something like “dance” but more happy … –> Prance
2. Use the thesaurus when you are looking for a word that carries a more accurate, more powerful, or more telling connotation or definition.
(This can be important in voice, tone, style, humor, subtext, undercurrents, and evoking emotion.)
Fat –> Plump
3. Use the thesaurus to find stronger verbs or to replace an adverb + verb combination (as long as the results aren’t unfamiliar to the reader)
Pulled hard –> Yanked
Fanfic authors: READ THE WHOLE FUCKING PAGE
THIS IS ONE OF THE MOST IMPORTANT AND VALUABLE LESSONS YOU CAN LEARN AS A WRITER. I SAY THIS AS A READER AND A PROFESSIONAL GENRE EDITOR.
This reminds me of Ann M. Martin would always designate the second and third chapters of The Babysitters Club to the characters’ bios and the history of how they started the club. And I can almost recite them from heart: Stacy is blonde, from New York, and has diabetes. Claudia is Asian and likes art and junk food. Mary Anne is shy and has a dead mom. Kristy is a bossy lesbian.
I’ve had a rough morning and I’m riled up so here’s my two cents. Repeat: my two cents. I do not claim to speak for or represent the beliefs of everyone with a disability.
[Can’t believe I’m still saying this but here we are]
No, not “disabled characters”, put your character before their disability but include it nonetheless. People with disabilities exist in real life, out in the world, living and breathing and going about their days in the same spaces as able-bodied people. No their disability does not have to further the plot because that’s not how life works. If you want realism, include characters with disabilities. We’re all around you. I guarantee you know several people with disabilities even if you don’t think of them that way.
A) Yes they can. If you’re only aware of physical disabilities that completely limit a person’s mobility, you’re not aware of the diversity of disabilities or the mobility aid options and it’s time to do some research. Peg leg, bionic eyes, arm made of gears and pneumatics-based imitation tendons for each individual finger, magic potions or holistic treatments for chronic pain management, mental disabilities, someone who has a disability but is in remission. Get. Creative. These people exist and function in the same spaces as your perfectly able-bodied soldiers/mercenaries/various badasses.
B) Let’s say they can’t. Let’s say, for whatever reason, your badasses must only be completely physically and mentally abled. Do you not have medics? Blacksmiths? Ammunition and weapons experts/providers? Pilots? Family members back home that your badasses fight for and return to once a month? What about the bar/tavern/club/restaurant/dining tent your badasses regularly visit - are there no servers or cooks or bartenders that they talk to? Hell, a prostitute with a missing arm or severe ADHD. Are you really telling me you don’t think it’d be fun, and beyond handy, to have a magic healer who happens to be paralyzed from the waist down in your crew who’s constantly cracking jokes and shutting down shitty behaviour? Sure they may not fight because your fighters are only perfectly abled, but damn are they good at the fix-up after.
Yikes. Well, good news, you don’t have to. People with disabilities can be ridiculous and funny and fun in general and it doesn’t always revolve around their condition. However, they will make jokes about their condition and, given the right people, can be joked with about it. “The right people” varies person to person, but I find for the most part it’s close friends and family members who act as strong supports and will also joke about things outside of the person’s disability. For this, you may want to talk to real life people with disabilities. Seriously, we’re everywhere. If you built rapport, many of us would be happy to tell you if a joke/situation is offensive even within the context of goofing around with a friend. Hell, some of us (ex. me) would be willing to answer questions from a total stranger if it’s in the name of providing education and support on writing a character with a disability.
[in which my best friend is a gift and figured out reassuring me I wasn’t a burden wasn’t working so she settled on calling me her favourite burden]
You. Don’t Have. To. It’s almost like, with all character traits/quirks/identifiers, it happens occasionally and within context.
____
She bowed her head low and bent her elbows at funny angles, tying her hair up quickly so she didn’t have to hold her arms up for long.
“Bad shoulder day?”
“Yeah, kept me up all night.” She dropped her hands, straightened up, and stretched her neck, rolling her head side to side. “Alright. Let’s do this.”
____
Washing bitter pills down with even more bitter coffee, he went over his tasks for the day. Dry cleaning, groceries, bank, assassination. Easy enough.
____
“They can’t take the stairs. We’re leaving them behind.”
“Or, you inconsiderate rat bastard, we could find an alternate route. You’re not getting through security without them. They’re coming.”
TL;DR, it’s not hard to throw in the realities of living with a disability every few chapters, or whenever relevant.
This, for me, isn’t really a big thing. I can understand how it is for some people, and I’m a fan of it but I don’t consider it a necessity. Some people want to see the word ‘disability’ used in order to take away its stigma. Some people want to see diagnoses named for the sake of completely being able to purely relate to a character. I understand that. I’m not bashing that. This is just my opinion. Personally, I don’t see the need, especially in fantasy settings or scifi or general other-world where conditions may not have the same names or treatments as they do in real life. If you make it clear that your character has a disability, show the symptoms and the ways in which they cope/manage/adjust to carry on with their lives, show their ups and downs and condition management, that’s enough for me.
This might be the area that you upset and offend some people. Someone might get mad that you used the word ‘disabled’, some might get mad that you didn’t. Some might get upset that you ‘made up’ your own condition, some might get upset that you named a diagnosis and didn’t portray it in a way they felt was accurate. Unfortunately, that’s the reality and your choice to make which group you want to potentially upset. Do your research, do your best to be sensitive, make an informed decision. Ultimately, I don’t think I’m alone in saying I’d rather see characters with unnamed disabilities portrayed in a positive way than not portrayed at all.
Hello everyone! I’m here to announce to you all that we’re looking to launch the 5th annual World Building June challenge! A whole month of language crafting, map making, character constructing, and concept art drafting! So strap on your jobsite safety mandated hard hats and follow me into this exciting event!
2 days left!
but seriously though i’m sick and tired of those masterposts that are like “here! A reference site on Greek mythology for all your needs! Look it has all fifteen Greek gods on it!” And I’m like. tHERE WERE LIKE HUNDREDS OF FIGURES IN MYTHOLOGY YOUR CRAPPY HIGH SCHOOL LEVEL BIBLIOGRAPHY SITE MEANS NOTHING TO ME
if you want a basic outline of Greek mythology okay sure fine??? but like. if you want an extensive fucking reference site you are looking in the wrong goddamn places
as a self-declared greek mythology snob my reference site is fucking always this fucker right here. almost every single figure ever mentioned in a Greek text is on it, it has the most obscure gods, spirits, nymphs– it’s GREAT. You really wanna extend your mythological knowledge past the basic 12 and like four others? USE THEOI. plus plus PLUS everything is cited so you can actually read the source material written about whoever it is you’re looking at.
fucking signal boost this. i’m so sick and tired of writer’s helpers blogs referring people to sites with as much information you would get from opening a third grade mythology book jesus chriiiiiist
IT’S INCREDIBLY HELPFUL AND CAN FOR INSTANCE GENERATE TOPICS AND FIRST LINES, CONTAINS LOADS OF EXERCISES AND YOU CAN FIND PLENTY OF WRITING TIPS.
BLESS YOU I LOVE YOU OH MY GODS I’VE NEEDED THIS
WHERE HAVE YOU BEEN ALL MY LIFE?
This is a really cool site…
@wolveria I have??? no excuse anymore????
Damn me neither. I feel exposed.
