She/Her, 22
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CHANGBIN ♡ ULTRA dominATE WORLD TOUR IN SEOUL (240825) | © nutrainy_23
Different Ways to Describe Eye Colors
↳ a masterpost for writing prompts that describe eye colors
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Natural Eye Colors:
Brown Eyes
Blue Eyes
Green Eyes
Hazel Eyes
Hazel Green Eyes
Gray Eyes
Black Eyes
Heterochromia Eyes
Unnatural Eye Colors:
White Eyes
White/Silver Eyes pt 2
Red Eyes
Reddish-Brown Eyes
Pink/Magenta Eyes
Gold/Yellow Eyes
Unusual Eyes (Silver, White, Purple, Pink, Red, Orange, Yellow)
Seasonal Eyes
List of 120 unique fantasy jobs to give to your fantasy characters. Writers save this!
1. Spellscribe: Weaves magic into ink, creating enchanted scrolls and spellbooks.
2. Dreamweaver: Shapes dreams, ensuring a peaceful slumber for all.
3. Star Cartographer: Maps constellations and celestial paths.
4. Potion Alchemist: Brews elixirs, love potions, and invisibility brews.
5. Whispering Wind Courier: Carries messages on ethereal zephyrs.
6. Crystal Harmonist: Plays melodies on gemstone xylophones.
7. Arcane Librarian: Guards forbidden tomes and ancient grimoires.
8. Stormcaller: Commands lightning and tempests.
9. Shadow Weaver: Manipulates shadows for stealth or illusion.
10. Fey Ambassador: Bridges the gap between humans and fae.
11. Time Tinkerer: Repairs temporal rifts and broken clocks.
12. Soul Gardener: Tends to souls in the afterlife.
13. Dragon Whisperer: Communicates with fire-breathing beasts.
14. Labyrinth Architect: Designs mazes with shifting walls.
15. Aetheronaut: Pilots airships through the skies.
16. Cauldron Chef: Cooks magical stews and enchanted pastries.
17. Goblin Negotiator: Haggles with mischievous goblins over stolen treasures.
18. Wisp Shepherd: Herds glowing wisps across moonlit meadows.
19. Constellation Painter: Dips brushes in stardust to create cosmic art.
20. Swordsmith of Destiny: Forges blades with prophetic properties.
21. Oracle of Riddles: Answers questions through cryptic puzzles.
22. Moss Whisperer: Encourages moss-covered stones to share their secrets.
23. Harvest Moon Dancer: Leads celestial dances during lunar eclipses.
24. Chimera Veterinarian: Cares for mythical hybrid creatures.
25. Lore Bard: Sings epic sagas of forgotten heroes.
26. Stardust Prospector: Mines cosmic minerals from fallen meteors.
27. Mistwalker: Guides lost souls through foggy moors.
28. Enchanted Cobbler: Crafts shoes that grant extraordinary abilities.
29. Celestial Clockmaker: Constructs timepieces powered by starlight.
30. Gargoyle Sculptor: Carves stone guardians with hidden sentience.
31. Wandmaker: Whittles wands from ancient tree branches.
32. Mermaid Translator: Deciphers underwater songs and sea whispers.
33. Nightshade Apothecary: Harvests moonflowers and midnight herbs.
34. Serpent Charmer: Mesmerizes serpents with haunting melodies.
35. Skyship Navigator: Charts courses through floating islands.
36. Frostfire Sculptor: Shapes ice and flame into ephemeral statues.
37. Cursed Cursebreaker: Lifts hexes and breaks enchantments.
38. Goblin Archaeologist: Digs up lost goblin civilizations.
39. Sylph Perfumer: Captures the essence of zephyrs in fragrances.
40. Mystic Cartographer: Maps hidden ley lines and magical nexuses.
41. Moonstone Miner: Extracts shards of moonlight from caverns.
42. Gryphon Trainer: Raises and trains majestic gryphons.
43. Candlemaker of Lost Hopes: Creates candles that reveal forgotten memories.
44. Starwhisper Cartographer: Maps cosmic phenomena—comets' paths, shooting star trails, and celestial alignments.
45. Gloomsmith: Crafts melancholic artifacts—music boxes that play haunting melodies, mirrors that reflect lost loves, and inkwells that pen tear-stained poetry.
46. Siren Songstress: Sings enchanting melodies by moonlit shores, luring sailors toward rocky fates or guiding them safely through treacherous waters.
47. Astral Weaver: Spins threads from stardust, creating cloaks that grant glimpses of alternate realities or tapestries that depict forgotten legends.
48. Cryptobotanist: Studies otherworldly flora—glow-in-the-dark mushrooms, singing vines, and moonblossoms that bloom only during eclipses.
49. Soothsayer: Reads the future in tea leaves, cloud formations, or the patterns of fireflies. Their predictions shape destinies.
50. Stormglass Sculptor: Carves intricate sculptures from stormglass—frozen lightning, raindrop chandeliers, and thunderstorm dioramas.
51. Wispkeeper: Tends to wisps—tiny, glowing spirits that flit through forests. They bottle wisp-light for healing potions.
52. Eidolon Portraitist: Paints portraits of ghosts, capturing their essence before they fade into oblivion.
53. Moss Oracle: Listens to moss-covered stones, deciphering their murmurs to reveal lost histories.
54. Labyrinth Minstrel: Wanders through shifting mazes, singing songs that guide lost travelers to safety.
55. Frostbite Healer: Extracts shards of moonlight from caverns.
56. Gryphon Trainer: Raises and trains majestic gryphons.
57. Candlemaker of Lost Hopes: Creates candles that reveal forgotten memories.
58. Starwhisper Cartographer: Maps cosmic phenomena—comets’ paths, shooting star trails, and celestial alignments. Their charts guide explorers to hidden constellations.
59. Gloomsmith: Crafts melancholic artifacts—music boxes that play haunting melodies, mirrors that reflect lost loves, and inkwells that pen tear-stained poetry.
60. Siren Songstress: Sings enchanting melodies by moonlit shores, luring sailors toward rocky fates or guiding them safely through treacherous waters.
61. Astral Weaver: Spins threads from stardust, creating cloaks that grant glimpses of alternate realities or tapestries that depict forgotten legends.
62. Cryptobotanist: Studies otherworldly flora—glow-in-the-dark mushrooms, singing vines, and moonblossoms that bloom only during eclipses.
63. Soothsayer: Reads the future in tea leaves, cloud formations, or the patterns of fireflies. Their predictions shape destinies.
64. Stormglass Sculptor: Carves intricate sculptures from stormglass—frozen lightning, raindrop chandeliers, and thunderstorm dioramas.
65. Wispkeeper: Tends to wisps—tiny, glowing spirits that flit through forests. They bottle wisp-light for healing potions.
66. Eidolon Portraitist: Paints portraits of ghosts, capturing their essence before they fade into oblivion.
67. Moss Oracle: Listens to moss-covered stones, deciphering their murmurs to reveal lost histories.
68. Labyrinth Minstrel: Wanders through shifting mazes, singing songs that guide lost travelers to safety.
69. Frostbite Healer: Treats frostbitten extremities with salves made from frost sprites’ tears.
70. Chalice Enchanter: Carves runes into crystal goblets, infusing each sip with memories or emotions.
71. Goblin Archaeologist: Digs up lost goblin civilizations, unearthing rusty gadgets and cryptic hieroglyphs.
72. Sylph Perfumer: Captures the essence of zephyrs in fragrances—dawn mist, thunderstorm ozone, and moonrise musk.
73. Mystic Cartographer: Maps hidden ley lines and magical nexuses. Their charts reveal portals and ley-gates.
74. Moonstone Miner: Extracts shards of moonlight from caverns, which can be used for enchantments or as lantern fuel.
75. Gryphon Trainer: Raises and trains majestic gryphons for aerial patrols or epic quests.
76. Candlemaker of Whispers: Crafts candles that flicker with spectral flames, allowing communication with the departed.
77. Stardust Prospector: Mines cosmic minerals from fallen meteors—star iron, comet opals, and nebula gems.
78. Golem Animator: Breathes life into clay and stone constructs, imbuing them with purpose.
79. Wraith Whisperer: Communicates with restless spirits, negotiating unfinished business.
80. Celestial Navigator: Guides ships by star charts, steering vessels through astral currents.
81. Chaos Theorist: Predicts chaotic events using butterfly-wing equations, preventing or exploiting chaos.
82. Fairy Ring Dancer: Enters mystical circles to converse with fairies, striking bargains or seeking wisdom.
83. Banshee Lullaby Singer: Soothes grieving souls with haunting songs, easing their passage to the beyond.
84. Goblin Diplomat: Negotiates peace treaties between realms, balancing goblin mischief and human interests.
85. Veilwalker: Steps between dimensions using shimmering veils, exploring parallel worlds.
86. Moonshard Weaver: Threads moonstone shards into cloaks that grant moonwalking abilities.
87. Gryphon Whisperer: Communicates with gryphons through empathic bonds.
88. Cursed Curator: Collects cursed artifacts, safeguarding them in hidden vaults.
89. Sphinx Riddler: Poses enigmas to travelers seeking wisdom, granting answers in exchange for riddles.
90. Bard of Echoes: Sings songs that echo through time, preserving forgotten tales.
91. Goblin Inventor: Constructs whimsical gadgets—umbrellas that predict rain, shoes that dance, and hats that translate squirrel chatter.
92. Serpent Astronomer: Studies cosmic serpents—constellations that writhe across the sky.
93. Wisp Choreographer: Stages ethereal dances in moonlit glades, captivating forest creatures.
94. Lorekeeper of Lost Languages: Deciphers ancient scripts, unlocking forbidden knowledge.
95. Mistral Cartographer: Maps winds—trade winds, storm fronts, and zephyr currents.
96. Harbinger of Eclipses: Predicts solar and lunar eclipses, foretelling cosmic shifts.
97. Grimoire Illuminator: Adds luminescent runes to spellbooks, making incantations glow.
98. Nymph Whisperer: Listens to water nymphs’ laughter, translating it into healing melodies.
99. Celestial Harvester: Gathers stardust for celestial events—meteor showers, comet arrivals.
100. Goblin Mechanomancer: Constructs clockwork creatures—mechanical squirrels, steam-powered beetles.
101. Sylph Skyweaver: Spins cloud silk into airy garments that grant flight.
102. Oracle of Shifting Sands: Reads desert dunes, predicting sandstorms and mirages.
103. Moonmoth Keeper: Tends to moonmoths—luminous insects that guide lost travelers.
104. Gryphon Herald: Announces royal decrees from the backs of majestic gryphons.
105. Cauldron Seer: Gazes into bubbling cauldrons, glimpsing past, present, and future.
106. Whisperwood Arborist: Nurtures ancient trees that whisper forgotten secrets.
107. Stardust Cartographer: Maps cosmic phenomena—supernovae, black holes, and quasars.
108. Goblin Clockmaker: Constructs timepieces with peculiar quirks—watches that run backward, hourglasses that pause.
109. Sphinx Scholar: Studies riddles, deciphering their hidden meanings.
110. Wisp Guardian: Protects sacred wisps from curious wanderers.
111.Labyrinth Keeper: Guards labyrinth entrances, ensuring only worthy seekers enter.
112. Frostfire Forger: Crafts weapons that blaze with icy flames.
113. Goblin Meteorologist: Predicts weather using enchanted barometers and cloud crystals.
114. Sylph Windwhisperer: Converses with gusts, learning their secrets.
115. Dreamcatcher Artisan: Weaves dreamcatchers that trap nightmares and release sweet dreams.
116. Celestial Herald: Announces cosmic events—comets, eclipses, and planetary alignments.
117. Grimoire Binder: Assembles spellbooks, binding them with dragonhide and phoenix feathers.
118. Nymph Songkeeper: Records water nymphs’ melodies, preserving them in enchanted shells.
119. Goblin Tinkerer: Repairs broken gadgets—flying broomsticks, talking teapots.
120. Starforged Smith: Hammers star fragments into celestial armor and swords.
🎉 WOOHOO, YOU MADE IT TO THE END! 🎉
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"I'm not gay, I'm just pathetic"
she just like me fr
+Bonus
THE NANNY S03E07 "Oy Vey, You're Gay"
When A Character Is in love they…
can't stop thinking about the other person.
smile for no reason.
feel nervous and excited around their crush.
go out of their way to do nice things for the person.
get lost in daydreams.
blush at the mention of their crush's name.
feel a warm, fluttery feeling in their chest.
constantly check their phone for messages.
have trouble focusing on anything else.
write or doodle the person's name absentmindedly.
feel a surge of happiness when they see their crush.
replay their interactions over and over in their mind.
When A Character Is experiencing profound grief they…
cry frequently and uncontrollably.
have trouble getting out of bed.
lose interest in activities they once enjoyed.
feel a deep, aching emptiness.
withdraw from social interactions.
experience waves of intense sadness.
have difficulty concentrating or remembering things.
feel a sense of numbness or detachment.
struggle with feelings of guilt or regret.
find it hard to eat or sleep.
hold onto mementos and memories.
feel as though life will never be the same.
words to use instead of ________
"Mad"
aggravated, angry, annoyed, boiling, cross, enraged, exasperated, fuming, furious, heated, incensed, indignant, irate, irritable, livid, offended, outraged, riled, steamed, storming, upset
"Nice"
amiable, charming, cordial, courteous, delightful, favorable, friendly, genial, gentle, gracious, helpful. inviting, kind, lovely, obliging, peaceful, peachy, pleasant, polite, swell, sympathetic, tender, welcoming, well-mannered, winning
"Pretty"
alluring, appealing, attractive, beautiful, charming, cute, delightful, desirable, elegant, eye-catching, fair, fascinating, gorgeous, graceful, intriguing, lovely, pleasing, striking, stunning, sweet
"Said"
alleged, argued, asked, asserted, babbled, bellowed, bragged, commented, complained, cried, declined, demanded, denied, encouraged, expressed, giggled, growled, inquired, moaned, nagged, rebuked, rebutted, replied, rejected, retorted, roared, scolded, shrieked, shrugged, stated, taunted, vowed, warned, whined, whispered, yelled
"Went"
avoid, bolt, bound, depart, exit, escape, flee, fly, hike, hop, jaunt, jolt, journey, leap, leave, lurch, march, mosey, move, pace, parade, pass, progress, retreat, saunter, scoot, skip, split, step, stride, stroll, tour, travel, vanish
more words to use instead other words to use instead another list of words to use instead
The Mini Guide to Crafting Compelling Royal Characters for Fiction Writers
Creating royal characters can be both exciting and challenging. These regal figures often play pivotal roles in stories, capturing readers' imaginations with their power, privilege, and the weight of responsibility they carry. Whether you're writing historical fiction, fantasy, or contemporary novels featuring monarchs, this comprehensive (mini) guide will help you develop authentic, multi-dimensional royal characters that will resonate with your readers.
Understanding the Basics of Royalty
Before diving into character creation, it's essential to have a solid grasp of what royalty entails. Royalty typically refers to members of a ruling family, including kings, queens, princes, princesses, and other nobles within a monarchical system. These individuals are often born into their roles, though some may ascend to power through marriage or other means.
Key aspects to consider:
Hierarchy and succession
Royal duties and responsibilities
Protocol and etiquette
The concept of divine right (in some cultures)
The relationship between royalty and their subjects
Remember, while these elements are common in many royal systems, you have the creative freedom to adapt or reimagine them for your fictional world.
Developing Your Royal Character's Background
Every character, royal or not, needs a rich backstory. For royal characters, this background is particularly crucial as it shapes their worldview, values, and decision-making processes.
Consider the following:
a) Lineage: What is your character's family history? Are they from a long-standing dynasty or a newly established royal house?
b) Upbringing: How were they raised? Were they groomed for leadership from birth, or did they have a more sheltered upbringing?
c) Education: What kind of education did they receive? Was it formal, focusing on statecraft and diplomacy, or more well-rounded?
d) Relationships: How do they relate to their family members, courtiers, and subjects?
e) Personal experiences: What significant events have shaped their character and outlook on life?
Crafting a Unique Personality
Avoid the trap of creating one-dimensional royal stereotypes. Your character should be as complex and nuanced as any other well-developed protagonist or antagonist.
Consider these aspects:
a) Strengths and weaknesses: What are your character's admirable qualities? What flaws do they struggle with?
b) Motivations: What drives them? Is it a sense of duty, personal ambition, or something else entirely?
c) Internal conflicts: What personal struggles do they face? How do these conflicts affect their rule and relationships?
d) Hobbies and interests: What passions do they pursue outside of their royal duties?
e) Sense of humor: How do they express humor, if at all? Is it dry wit, sarcasm, or something else?
Balancing Power and Vulnerability
One of the most intriguing aspects of royal characters is the juxtaposition between their immense power and their human vulnerabilities. This balance can create compelling internal and external conflicts for your character.
Consider:
The weight of responsibility and its impact on their personal life
The isolation that often comes with a royal position
The constant scrutiny they face from the public and court
The struggle between personal desires and duty to the crown
Creating a Believable Royal World
Your royal character doesn't exist in a vacuum (I hope not). They're part of a larger royal ecosystem that includes family members, advisors, courtiers, and subjects. Developing this world adds depth and authenticity to your story.
Key elements to consider:
Court dynamics and politics
Relationships with other noble houses or kingdoms
The role of advisors and how they influence decisions
Traditions and customs specific to your royal setting
The economic and social structure of the kingdom
Addressing the Challenges of Royal Life
Royal characters face unique challenges that can drive your plot and character development. Some common themes include:
a) Succession disputes b) Balancing personal happiness with duty c) Navigating political alliances and conflicts d) Managing public opinion and maintaining legitimacy e) Dealing with threats to their rule or life
Use these challenges to create tension and drive your story forward while revealing more about your character's personality and values.
The Impact of Historical Context
If you're writing historical fiction or a fantasy inspired by real-world monarchies, it's crucial to consider the historical context. Research the time period and culture you're drawing from to ensure authenticity in your character's behavior, beliefs, and challenges.
Key areas to research:
Social norms and expectations of the time
Political systems and power structures
Technology and its impact on governance
Religious beliefs and their influence on royalty
Gender roles and how they affect royal duties and succession
Avoiding Common Pitfalls
When creating royal characters, be mindful of these common mistakes:
a) Making them too perfect or too villainous b) Ignoring the realities of royal life (e.g., lack of privacy, constant duties) c) Overlooking the impact of their decisions on their subjects d) Failing to show growth or change over the course of the story e) Relying too heavily on stereotypes or clichés
Incorporating Royal Etiquette and Protocol
Royal characters often adhere to strict codes of conduct and protocol. While you don't need to become an expert in royal etiquette, incorporating some of these elements can add authenticity to your story:
Forms of address (Your Majesty, Your Highness, etc.)
Court ceremonies and rituals
Dress codes and regalia
Rules of precedence in social situations
Diplomatic protocols when interacting with other royals or dignitaries
Exploring Different Types of Royal Characters
Remember that not all royal characters need to be ruling monarchs. Consider exploring other royal roles, such as:
The rebel prince or princess who rejects their royal duties
The reluctant heir thrust into power unexpectedly
The exiled royal fighting to reclaim their throne
The royal spouse adapting to life in the palace
The illegitimate child discovering their royal heritage
Each of these archetypes offers unique storytelling opportunities and challenges for character development.
Balancing Historical Accuracy and Creative License
If you're writing historical fiction featuring real royalty, you'll need to strike a balance between historical accuracy and creative interpretation. While it's important to respect known facts and timelines, you also have the freedom to explore the inner lives and motivations of these historical figures.
Tips for balancing accuracy and creativity:
Thoroughly research the historical figure and their time period
Clearly differentiate between historical fact and fictional interpretation
Use author's notes to explain any significant departures from known history
Focus on filling in the gaps in the historical record rather than contradicting established facts
Developing Royal Character Arcs
Like any well-rounded character, your royal protagonist should undergo growth and change throughout your story. Consider how their experiences might challenge their beliefs, alter their perspective, or force them to confront their flaws.
Possible character arcs for royal characters:
From naive idealist to pragmatic ruler
From reluctant heir to confident leader
From isolated monarch to connected leader who understands their subjects
From power-hungry tyrant to benevolent ruler (or vice versa)
Remember, character growth doesn't always have to be positive. Sometimes, the most compelling stories involve characters who face moral decline or tragic falls from grace.
Remember, while the trappings of royalty may be grand, at their core, your royal characters are still human. They love, fear, hope, and struggle like anyone else. It's this humanity, set against the backdrop of power and responsibility, that makes royal characters so fascinating to read and write about.
Happy writing, - Rin T
Hey fellow writers! I'm super excited to share that I've just launched a Tumblr community. I'm inviting all of you to join my community. All you have to do is fill out this Google form, and I'll personally send you an invitation to join the Write Right Society on Tumblr! Can't wait to see your posts!
How to Write a Character
For creative writing to have as deep an impact as possible, you need to give the reader strong characters they can relate to on a personal level.
By borrowing from tried-and-true character archetypes and giving them your personal spin, you can create heroes, villains, and sidekicks that will affect your readers as if they were real people they knew.
Come up with a backstory
Crafting a backstory can help you flesh out an interesting character profile.
“When I’m dealing with characters,” says legal thriller author David Baldacci, “and I’m trying to explain somebody's situation and motivations, you have to look into their past, because [the] past always drives motivations.”
Ask what experiences your character had in elementary school or high school that shaped who they are today. Your character’s backstory can greatly inform your plot.
Develop a character arc
A character must evolve throughout a story.
“The character has to change,” insists crime fiction writer Walter Mosley. “The character doesn’t have to become better. The character doesn’t have to become good. It could be the opposite. He could start good and become bad. He could start off hopeful and end up a pessimist. But he has to be impacted by this world that we’re reading about.”
Plan out your storyline based on your character's goals and how achieving or not achieving them will change them as people. This sort of template can help anchor your narrative.
Do research
If you plan to set your story in a specific locale or period, do enough research to make your characters seem true to life and believable.
“What does it mean, for instance, in the Tudor era to be a male person?” asks Margaret Atwood, author of The Handmaid’s Tale. “What does it mean to be a female person? What do those things mean when they’re at different social levels?”
Empathize with your characters
No matter what the type of character you’re developing, try to find some reason you and your reader can relate to their internal conflict.
“You’re living with these people every single day for months at a time—in some cases, years at a time,” says acclaimed children’s author Judy Blume. “You had better feel for them. So, for me, yes, I have great empathy for them.”
When people can empathize with characters, they’re more likely to find them compelling.
Experiment with different approaches
If you usually write characters from a particular point of view (or POV), change things up to challenge yourself.
“Write about someone entirely through the eyes of their friends and family,” suggests journalist Malcolm Gladwell. “So do a profile of someone where you deliberately never talk to the person that you’re profiling.”
There are plenty of ways to craft compelling character descriptions—free yourself up to try new alternatives.
Give your characters flaws
To craft believable characters, you need to give them flaws.
“One, it makes the characters human, just by default, because everybody recognizes that we all have flaws and mistakes,” David says. “But two, it gives you plot elements and plot opportunities because somebody makes a mistake. Why? Because they’re flawed.”
Learn from real people
Pay attention to real people’s mannerisms, personality traits, body language, and physical appearances.
Do research, and be respectful, when you want to write characters with backgrounds that you are not familiar with. Become familiar with different people's cultures, sexual orientations etc.
Talking to people about their experiences will help form your character’s personality.
Let your characters surprise you
Character development can proceed down a host of different avenues.
“Spend a lot of time with your characters and getting to know them,” Judy suggests. “And the way that you get to know them can be different from the way I get to know them. But my way is: They don’t come alive until I write about them, until I put them down on paper.”
As you write, your character’s motivation or perspective might change from what you originally planned.
Play characters off each other
Ask yourself how a secondary character’s personality might thwart the main character’s motivation.
“One of the best ways, as I said, to develop a character is to put that character in relationship to another person,” Walter says. “So as they talk, as they fight, as they work together, we find out more about who they are and what they are.”
The character’s close friends, adversaries, and acquaintances might all have different effects on their behavior.
Take an organic approach
Over the course of the story, be ready for your characters to surprise you as much as the people you know in real life might, too.
Your characters may take on a life of their own.
Avoid static characters by letting yours have their own lives and personalities. Let their stories take you where they lead.
words to use instead of ______
"Very"
Mild: clearly, decidedly, distinctly, markedly, considerably, notably, largely, recognizably, especially, indubitably Moderate: especially, surprisingly, substantially, uncommonly, chiefly, incredibly, obviously, unmistakably, considerably, awfully, wonderfully, particularly Bold: profusely, unequivocally, strikingly, astonishingly, exceedingly, absolutely, exceptionally, extremely, unquestionably, vastly, incontestably
"A Lot" (time)
Mild: often, oftentimes, sometime Moderate: frequently, usually, various, generally Bold: regularly, recurrent, persistent
"A Lot" (size)
Mild: many, much, several Moderate: numerous, bountiful, considerable Bold: multitude, profuse, vast
"Big"
Mild: sizable, ample, large, considerable, great, above average, important Moderate: ponderous, significant, crucial, vast, copious, magnificent, substantial Bold: enormous, immense, colossal, extensive, endless, paramount, boundless, prodigious, imposing, gigantic, voluminous, limitless, essential
"Small"
Mild: slight, limited, trivial, minor, light, puny, superficial, undersized, dinky, negligible, faint Moderate: scant, petite, inconsiderable, microscopic, dwarf, unsubstantial, minimum, miniature, tiny Bold: insignificant, minute, meager, infinitesimal, ineffectual, undetectable, inconsequential
"Good"
Mild: acceptable, favorable, agreeable, pleasing, satisfactory, satisfying, super, able, relevant, accomplished, efficient, reliable, ample, useful, profitable, adequate, adept Moderate: great, honorable, admirable, commendable, sound, splendid, superb, valuable, wonderful, worthy, clever, proficient, qualified, apt, skillful, thorough, wholesome Bold: excellent, exceptional, gratifying, marvelous, reputable, stupendous, superior, exemplary, virtuous, expert, solid, advantageous, flawless, extensive, perfect
"Bad"
Mild: cheap, dissatisfactory, faculty, off, mean, wrong, unpleasant, unwell, low, grim, sour, regretful Moderate: careless, defective, inferior, imperfect, deficient, rough, ill-suited, inadequate, unsatisfactory, delinquent, sinful, unruly, wicked, rancid, grave, harsh, terrible, downcast Bold: awful, unacceptable, corrupt, dreadful, putrid, erroneous, detrimental, ruinous, vile, villainous, diseased, adverse, evil
more words to use instead other words to use instead even more words to use instead
How to Write Strong Dialogue
(from a writer of ten years)
So you’re back in the writing trenches. You’re staring at your computer, or your phone, or your tablet, or your journal, and trying not to lose your mind. Because what comes after the first quotation mark? Nothing feels good.
Don’t worry, friend. I’m your friendly tumblr writing guide and I’m here to help you climb out of the pit of writing despair.
I’ve created a character specifically for this exercise. His name is Amos Alejandro III, but for now we’ll just call him Amos. He’s a thirty-something construction worker with a cat who hates him, and he’s just found out he has to go on a quest across the world to save his mother’s diner.
1.) Consider the Attitude and Characteristics of Your Character
One of the biggest struggles writers face when writing dialogue is keeping characters’ dialogue “in-character”.
You’re probably thinking, “but Sparrow, I’m the creator! None of the dialogue I write can be out of character because they’re my original characters!”
WRONG. (I’m hitting the very loud ‘incorrect’ buzzer in your head right now).
Yes, you created your characters. But you created them with specific characteristics and attitudes. For example, Amos lives alone, doesn’t enjoy talking too much, and isn’t a very scholarly person. So he’s probably not going to say something like “I suggest that we pursue the path of least resistance for this upcoming quest.” He’d most likely say, “I mean, I think the easiest route is pretty self-explanatory.”
Another example is a six-year-old girl saying, “Hi, Mr. Ice Cream Man, do you have chocolate sundaes?” instead of “Hewwo, Ice Cweam Man— Chocowate Sundaes?”
Please don’t put ‘w’s in the middle of your dialogue unless you have a very good and very specific reason. I will cry.
Yes, the girl is young, but she’s not going to talk like that. Most children know how to ask questions correctly, and the ‘w’ sound, while sometimes found in a young child’s speech, does not need to be written out. Children are human.
So, consider the attitude, characteristics, and age of your character when writing dialogue!
2.) Break Up Dialogue Length
If I’m reading a novel and I see an entire page of dialogue without any breaks, I’m sobbing. You’re not a 17th century author with endless punctuation. You’re in the 21st century and people don’t read in the same way they used to.
Break up your dialogue. Use long sentences. Use one word. Use commas, use paragraph breaks. Show a character throwing a chair out a window in between sentences.
For example:
“So, you’re telling me the only way to save my Ma’s diner is to travel across five different continents, find the only remaining secret receipt card, and bring it back before she goes out of business? She didn’t have any other copies? Do I have to leave my cat behind?”
vs.
Amos ran a hand over his face. “So, you’re telling me the only way to save my Ma’s diner is to travel across five different continents, find the only remaining secret recipe card, and bring it back before she goes out of business?”
He couldn’t believe his luck. That was sarcastic, of course. This was ironically horrible.
“She didn’t have any other copies?” He leaned forward over the table and frowned. “Do I have to leave my cat behind?”
The second version is easier to digest, and I got to add some fun description of thought and action into the scene! Readers get a taste of Amos’ character in the second scene, whereas in the first scene they only got what felt like a million words of dialogue.
3.) Don’t Overuse Dialogue Tags.
DON’T OVERUSE DIALOGUE TAGS. DON’T. DON’T DON’T DON’T.
If you don’t know what a dialogue tag is, it’s a word after a sentence of dialogue that attributes that dialogue to a specific character.
For example:
“Orange juice and chicken ramen are good,” he said.
‘Said’ functions as the dialogue tag in this sentence.
Dialogue tags are good. You don’t want to completely avoid them. (I used to pride myself on how I could write stories without any dialogue tags. Don’t do that.) Readers need to know who’s speaking. But overusing them, or overusing weird or unique tags, should be avoided.
Examples:
“I’m gonna have to close my diner,” Amos’ mother said.
“Why?” Amos growled. “It’s been in the family forever.”
“I’ve lost the secret recipe card, and I can’t keep the diner open without it!” she cried.
“The Bacon Burger Extreme recipe card?” Amos questioned.
“Yes!” Amos’ mother screamed.
“Well, that’s not good,” Amos complained.
vs.
“I’m gonna have to close my diner,” Amos’ mother said, taking her son’s hand and leading him over to one of the old, grease-stained tabletops with the ripped-fabric booths.
Amos simply stared at her as they moved. “Why? It’s been in the family forever.”
“I’ve—” she looked away for a moment, then took in a breath. “I’ve lost the secret recipe card. And I can’t keep the diner open without it.”
“The Bacon Burger Extreme recipe card?”
“Yes!” She still wouldn’t meet his eyes, and her shoulders were shaking. “Yes.”
Amos sat down heavily in the booth. “Well, that’s not good.”
The first scene only gives character names and dialogue tags. There are no actions and no descriptions. The second scene, however, gives these things. It gives the reader descriptions of the diner, the characters’ actions, and attitudes. Overusing dialogue tags gets boring fast, so add interest into your writing!
So! When you’re writing, consider the attitude of your character, vary dialogue length, and don’t overuse dialogue tags.
Now climb out of the pit of writing despair. Pick up your pen or computer. And write some good dialogue!
Best,
Sparrow
How to Make Your Writing Less Stiff Part 3
Crazy how one impulsive post has quickly outshined every other post I have made on this blog. Anyway here’s more to consider. Once again, I am recirculating tried-and-true writing advice that shouldn’t have to compromise your author voice and isn’t always applicable when the narrative demands otherwise.
Part 1
Part 2
1. Eliminating to-be verbs (passive voice)
Am/is/are/was/were are another type of filler that doesn’t add anything to your sentences.
There were fireworks in the sky tonight. /// Fireworks glittered in the sky tonight.
My cat was chirping at the lights on the ceiling. /// My cat chirped at the lights on the ceiling.
She was standing /// She stood
He was running /// He ran
Also applicable in present tense, of which I’ve been stuck writing lately.
There are two fish-net goals on either end of the improvised field. /// Two fish-net goals mark either end of the improvised field.
For once, it’s a cloudless night. /// For once, the stars shine clear.
Sometimes the sentence needs a little finagling to remove the bad verb and sometimes you can let a couple remain if it sounds better with the cadence or syntax. Generally, they’re not necessary and you won’t realize how strange it looks until you go back and delete them (it also helps shave off your word count).
Sometimes the to-be verb is necessary. You're writing in past-tense and must convey that.
He was running out of time does not have the same meaning as He ran out of time, and are not interchangeable. You'd have to change the entire sentence to something probably a lot wordier to escape the 'was'. To-be verbs are not the end of the world.
2. Putting character descriptors in the wrong place
I made a post already about motivated exposition, specifically about character descriptions and the mirror trope, saying character details in the wrong place can look odd and screw with the flow of the paragraph, especially if you throw in too many.
She ties her long, curly, brown tresses up in a messy bun. /// She ties her curls up in a messy brown bun. (bonus alliteration too)
Generally, I see this most often with hair, a terrible rule of threes. Eyes less so, but eyes have their own issue. Eye color gets repeated at an exhausting frequency. Whatever you have in your manuscript, you could probably delete 30-40% of the reminders that the love interest has baby blues and readers would be happy, especially if you use the same metaphor over and over again, like gemstones.
He rolled his bright, emerald eyes. /// He rolled his eyes, a vibrant green in the lamplight.
To me, one reads like you want to get the character description out as fast as possible, so the hand of the author comes in to wave and stop the story to give you the details. Fixing it, my way or another way, stands out less as exposition, which is what character descriptions boil down to—something the audience needs to know to appreciate and/or understand the story.
3. Lacking flow between sentences
Much like sentences that are all about the same length with little variety in syntax, sentences that follow each other like a grocery list or instruction manual instead of a proper narrative are difficult to find gripping.
Jack gets out a stock pot from the cupboard. He fills it with the tap and sets it on the stove. Then, he grabs russet potatoes and butter from the fridge. He leaves the butter out to soften, and sets the pot to boil. He then adds salt to the water.
From the cupboard, Jack drags a hefty stockpot. He fills it with the tap, adds salt to taste, and sets it on the stove.
Russet potatoes or yukon gold? Jack drums his fingers on the fridge door in thought. Russet—that’s what the recipe calls for. He tosses the bag on the counter and the butter beside it to soften.
This is just one version of a possible edit to the first paragraph, not the end-all, be-all perfect reconstruction. It’s not just about having transitions, like ‘then’, it’s about how one sentence flows into the next, and you can accomplish better flow in many different ways.
4. Getting too specific with movement.
I don’t see this super often, but when it happens, it tends to be pretty bad. I think it happens because writers feel the need to overcompensate and over-clarify on what’s happening. Remember: The more specific you get, the more your readers are going to wonder what’s so important about these details. This is fiction, so every detail matters.
A ridiculous example:
Jack walks over to his closet. He kneels down at the shoe rack and tugs his running shoes free. He walks back to his desk chair, sits down, and ties the laces.
Unless tying his shoes is a monumental achievement for this character, all readers would need is:
Jack shoves on his running shoes.
*quick note: Do not add "down" after the following: Kneels, stoops, crouches, squats. The "down" is already implied in the verb.
This also happens with multiple movements in succession.
Beth enters the room and steps on her shoelace, nearly causing her to trip. She kneels and ties her shoes. She stands upright and keeps moving.
Or
Beth walks in and nearly trips over her shoelace. She sighs, reties it, and keeps moving.
Even then, unless Beth is a chronically clumsy character or this near-trip is a side effect of her being late or tired (i.e. meaningful), tripping over a shoelace is kind of boring if it does nothing for her character. Miles Morales’ untied shoelaces are thematically part of his story.
Sometimes, over-describing a character’s movement is meant to show how nervous they are—overthinking everything they’re doing, second-guessing themselves ad nauseam. Or they’re autistic coded and this is how this character normally thinks as deeply methodical. Or, you’re trying to emphasize some mundanity about their life and doing it on purpose.
If you’re not writing something where the extra details service the character or the story at large, consider trimming it.
—
These are *suggestions* and writing is highly subjective. Hope this helps!
“Oh,” They giggled, cheeks pink.
“Oh!” They gasped, hands to their mouth in horror.
“Oh,” they whined, gripping their hair in frustration.
“Oh,” they breathed, head back and lashes fluttering.
“Oh,” they mumbled, shifting awkwardly.
“Oh,” they deadpanned, arms crossed.
“Oh?” they asked, brow arched and smile bitter.
“Oh,” they chided with a smirk.
“Oh?” they asked, head tilted curiously.
“Oh!” they hissed, scrambling away.
“Oh,” they mumbled, rubbing their neck.
“Oh,” they uttered, eyes wide in awe.
“Oh,” they muttered with an ill-impressed frown.
“Oh!” They cried, throwing their arms around them.
“Oh,” they goaded, smiling mischievously.
“Oh,” they taunted, skipping backwards.
“Oh,” they snarked, hands on their hips.
“Oh,” they breathed, putting it all together.
“Oh,” they said softly, hugging themselves.
“Oh,” they whispered, holding back tears.
“Oh!” they gasped, ducking out of the way.
“Oh,” they uttered, and smacked their forehead.
“Oh,” they laughed, brows wiggling.
“Oh,” they tittered, batting their lashes.
“Oh,” they hissed, gritting their teeth.
"Oh."
Tag your dialogue.
Said is dead, and so are some other words that we writers tend to overuse. Here's a brief list to aid your brain:
01. "VERY" ☆★⋆⭒˚.⋆
Very angry -> Furious
Very beautiful -> Gorgeous
Very bog -> Massive
Very boring -> Dull
Very poor -> Destitute
Very cheap -> Stingy
Very clean -> Spotless
Very difficult -> Arduous
Very dry -> Arid
Very quick -> Rapid
Very strong -> Forceful
Very ugly -> Hideous
Very calm -> Serene
Very huge -> Colossal
Very small -> Petite
02. "WHISPERED" 🤫
Murmurd
Mumbled
Muttered
Breathed
Sighed
Hissed
Mouthed
Susurrated
Intoned
Purred
Said in an undertone
Hinted
Said low
Said in hushed tones
Gasped
03. "BAD" 😈
Corrupt
Sinful
Depraved
Contaminated
Tainted
Irascible
Atrocious
Sinister
Snide
Deplorable
Detestable
Execrable
Ghastly
Noxious
Substandard
Despicable
Contemptible
Foul, rank, faulty
04. "BEAUTIFUL" 🦋
Dazzling
Splendid
Magnificent
Aesthetic
Delicate
Glorious
Stunning
Heavenly
Resplendent
Radiant
Glowing
Blooming
Sparkling
05. "BEGIN" ▶️
Open
Launch
Initite
Commence
Inaugurate
Originate
06. "BIG" ⚡
Immense
Gigantic
Vast
Gargantuan
Sizable
Grand
Mammoth
Astronomical
Titanic
Mountainous
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🖱️References
https://www.pinterest.com/pin/2603712279594924/
https://www.pinterest.com/pin/81627811987512761/
Words to Use Instead Of...
Beautiful
stunning
gorgeous
breath-taking
lovely
jaw-dropping
pretty
glowing
dazzling
exquisite
angelic
radiant
ravishing
excellent
ideal
sightly
wonderful
elegant
bewitching
captivating
mesmerizing
enthralling
magnetic
impressive
tasteful
charming
desirable
enchanting
Interesting
stricking
unusual
appealing
absorbing
srresting
gripping
riveting
alluring
amusing
exceptional
fascinating
impressive
provocative
prepossessing
exotic
readable
refreshing
entrancing
exceptional
Good
honest
upright
dutiful
enthical
pure
guiltless
lily-white
reputable
righteous
tractable
obedient
incorrupt
respectable
honorable
inculpable
irreprehensible
praiseworthy
well-behaved
uncorrupted
irreproachable
Awesome
wondrous
amazing
out-of-this-world
phenomenal
remarkable
stunning
fascinating
astounding
awe-inspiring
extraordinary
impressive
incredible
mind-blowing
mind-boggling
miraculous
stupendous
Cute
endeaing
adorable
lovable
sweet
lovely
appealing
engaging
delightful
darling
charming
enchanting
attractive
bonny
cutesy
adorbs
dear
twee
Shy
modest
self-effacing
sheepish
timid
way
reserved
unassured
skittish
chary
coy
hesitant
humble
introverted
unsocial
bashful
awkward
apprehensive
If you like my blog, buy me a coffee☕ and find me on instagram! 📸
Writing Description Notes: Physical Pain
Updated 6th June 2024 More description notes
It was as if his bones were made of glass, shattering into a million pieces with every movement and sending waves of sharp, shooting pain coursing through his limbs.
His muscles screamed in protest with every step, each movement sending jolts of electric pain shooting through his body.
The ache settled deep into his bones, a dull, persistent throb that seemed to resonate with every heartbeat.
Every inch of his body felt tenderized, as if he had been used as a punching bag in a brutal workout session.
The sensation of blood trickling down his skin was a grim reminder of the violence he had endured.
His ribs screamed in protest with every breath, each inhalation a sharp reminder of the blows he had taken.
The world seemed to spin around him in a dizzying blur, his vision clouded by the stars of pain that danced across his field of vision with every movement.
A sharp, stabbing sensation shot through his lower back, making him wince.
Her temples throbbed with a relentless, pounding headache.
He clutched his side, pain radiating from the bruise with every breath.
Her muscles screamed in protest, the soreness a reminder of yesterday’s workout.
A burning ache spread through his chest, each heartbeat intensifying the agony.
She bit her lip, trying to stifle the groan as pain flared in her twisted ankle.
His knuckles were raw and throbbing, evidence of the fight.
She pressed a hand to her forehead, a dull ache settling behind her eyes.
A searing pain lanced through his knee, nearly buckling his leg.
She gripped the edge of the table, knuckles white as pain shot through her arm.
Her trembling hands betrayed the unyielding agony in her joints, a relentless companion.
Doubled over, he fought against the relentless cramps that seized his stomach.
A sudden, searing pain in her wrist forced her to relinquish her grip, the cup clattering to the ground.
Every step reverberated through her aching feet, a reflection to the miles she had traversed.
Rubbing his shoulder provided little respite from the persistent agony that gnawed at the joint.
A sharp sting on her finger brought fresh irritation, the paper cut a small but sharp reminder of vulnerability.
His tooth throbbed incessantly, a deep, pulsating ache that clouded his thoughts.
Each movement of her stiff and sore neck elicited a fresh wave of discomfort, a constant reminder of strain.
A stabbing pain in his chest made each breath a struggle, a reminder of mortality's grasp.
The throbbing in his hand, where the door had slammed shut, served as a relentless reminder of his own clumsiness.
A dull ache settled deep within her lower back, rendering even sitting a feat of endurance.
His leaden legs protested with every step, each movement a symphony of agony.
His head spun, the pain behind his eyes making it hard to focus.
Sharp pangs in her side served as a reminder of the physical toll of her exertion, a stitch from pushing too hard.
His throbbing ankle, swollen and tender, made each step a test of willpower.
Gritting her teeth against the shooting pain, she cursed the strain from overuse that tormented her wrist.
Pressing a hand to his chest, he felt the pain radiate outward in relentless waves, a reminder of vulnerability.
Her burning shoulder protested each movement, the pain a constant reminder of her injury.
He winced as sharp pains flared in his elbow, each movement a reminder of his body's fragility.
A deep ache throbbed in her hip, a persistent discomfort that refused to be ignored.
His fingers tingled with pain, a result of gripping the tool too tightly for too long.
A Guide to Historically Accurate Regency-Era Names
I recently received a message from a historical romance writer asking if I knew any good resources for finding historically accurate Regency-era names for their characters.
Not knowing any off the top of my head, I dug around online a bit and found there really isn’t much out there. The vast majority of search results were Buzzfeed-style listicles which range from accurate-adjacent to really, really, really bad.
I did find a few blog posts with fairly decent name lists, but noticed that even these have very little indication as to each name’s relative popularity as those statistical breakdowns really don't exist.
I began writing up a response with this information, but then I (being a research addict who was currently snowed in after a blizzard) thought hey - if there aren’t any good resources out there why not make one myself?
As I lacked any compiled data to work from, I had to do my own data wrangling on this project. Due to this fact, I limited the scope to what I thought would be the most useful for writers who focus on this era, namely - people of a marriageable age living in the wealthiest areas of London.
So with this in mind - I went through period records and compiled the names of 25,000 couples who were married in the City of Westminster (which includes Mayfair, St. James and Hyde Park) between 1804 to 1821.
So let’s see what all that data tells us…
To begin - I think it’s hard for us in the modern world with our wide and varied abundance of first names to conceive of just how POPULAR popular names of the past were.
If you were to take a modern sample of 25-year-old (born in 1998) American women, the most common name would be Emily with 1.35% of the total population. If you were to add the next four most popular names (Hannah, Samantha, Sarah and Ashley) these top five names would bring you to 5.5% of the total population. (source: Social Security Administration)
If you were to do the same survey in Regency London - the most common name would be Mary with 19.2% of the population. Add the next four most popular names (Elizabeth, Ann, Sarah and Jane) and with just 5 names you would have covered 62% of all women.
To hit 62% of the population in the modern survey it would take the top 400 names.
The top five Regency men’s names (John, William, Thomas, James and George) have nearly identical statistics as the women’s names.
I struggled for the better part of a week with how to present my findings, as a big list in alphabetical order really fails to get across the popularity factor and also isn’t the most tumblr-compatible format. And then my YouTube homepage recommended a random video of someone ranking all the books they’d read last year - and so I present…
The Regency Name Popularity Tier List
The Tiers
S+ - 10% of the population or greater. There is no modern equivalent to this level of popularity. 52% of the population had one of these 7 names.
S - 2-10%. There is still no modern equivalent to this level of popularity. Names in this percentage range in the past have included Mary and William in the 1880s and Jennifer in the late 1970s (topped out at 4%).
A - 1-2%. The top five modern names usually fall in this range. Kids with these names would probably include their last initial in class to avoid confusion. (1998 examples: Emily, Sarah, Ashley, Michael, Christopher, Brandon.)
B - .3-1%. Very common names. Would fall in the top 50 modern names. You would most likely know at least 1 person with these names. (1998 examples: Jessica, Megan, Allison, Justin, Ryan, Eric)
C - .17-.3%. Common names. Would fall in the modern top 100. You would probably know someone with these names, or at least know of them. (1998 examples: Chloe, Grace, Vanessa, Sean, Spencer, Seth)
D - .06-.17%. Less common names. In the modern top 250. You may not personally know someone with these names, but you’re aware of them. (1998 examples: Faith, Cassidy, Summer, Griffin, Dustin, Colby)
E - .02-.06%. Uncommon names. You’re aware these are names, but they are not common. Unusual enough they may be remarked upon. (1998 examples: Calista, Skye, Precious, Fabian, Justice, Lorenzo)
F - .01-.02%. Rare names. You may have heard of these names, but you probably don’t know anyone with one. Extremely unusual, and would likely be remarked upon. (1998 examples: Emerald, Lourdes, Serenity, Dario, Tavian, Adonis)
G - Very rare names. There are only a handful of people with these names in the entire country. You’ve never met anyone with this name.
H - Virtually non-existent. Names that theoretically could have existed in the Regency period (their original source pre-dates the early 19th century) but I found fewer than five (and often no) period examples of them being used in Regency England. (Example names taken from romance novels and online Regency name lists.)
Just to once again reinforce how POPULAR popular names were before we get to the tier lists - statistically, in a ballroom of 100 people in Regency London: 80 would have names from tiers S+/S. An additional 15 people would have names from tiers A/B and C. 4 of the remaining 5 would have names from D/E. Only one would have a name from below tier E.
Women's Names
S+ Mary, Elizabeth, Ann, Sarah
S - Jane, Mary Ann+, Hannah, Susannah, Margaret, Catherine, Martha, Charlotte, Maria
A - Frances, Harriet, Sophia, Eleanor, Rebecca
B - Alice, Amelia, Bridget~, Caroline, Eliza, Esther, Isabella, Louisa, Lucy, Lydia, Phoebe, Rachel, Susan
C - Ellen, Fanny*, Grace, Henrietta, Hester, Jemima, Matilda, Priscilla
D - Abigail, Agnes, Amy, Augusta, Barbara, Betsy*, Betty*, Cecilia, Christiana, Clarissa, Deborah, Diana, Dinah, Dorothy, Emily, Emma, Georgiana, Helen, Janet^, Joanna, Johanna, Judith, Julia, Kezia, Kitty*, Letitia, Nancy*, Ruth, Winifred>
E - Arabella, Celia, Charity, Clara, Cordelia, Dorcas, Eve, Georgina, Honor, Honora, Jennet^, Jessie*^, Joan, Joyce, Juliana, Juliet, Lavinia, Leah, Margery, Marian, Marianne, Marie, Mercy, Miriam, Naomi, Patience, Penelope, Philadelphia, Phillis, Prudence, Rhoda, Rosanna, Rose, Rosetta, Rosina, Sabina, Selina, Sylvia, Theodosia, Theresa
F - (selected) Alicia, Bethia, Euphemia, Frederica, Helena, Leonora, Mariana, Millicent, Mirah, Olivia, Philippa, Rosamund, Sybella, Tabitha, Temperance, Theophila, Thomasin, Tryphena, Ursula, Virtue, Wilhelmina
G - (selected) Adelaide, Alethia, Angelina, Cassandra, Cherry, Constance, Delilah, Dorinda, Drusilla, Eva, Happy, Jessica, Josephine, Laura, Minerva, Octavia, Parthenia, Theodora, Violet, Zipporah
H - Alberta, Alexandra, Amber, Ashley, Calliope, Calpurnia, Chloe, Cressida, Cynthia, Daisy, Daphne, Elaine, Eloise, Estella, Lilian, Lilias, Francesca, Gabriella, Genevieve, Gwendoline, Hermione, Hyacinth, Inez, Iris, Kathleen, Madeline, Maude, Melody, Portia, Seabright, Seraphina, Sienna, Verity
Men's Names
S+ John, William, Thomas
S - James, George, Joseph, Richard, Robert, Charles, Henry, Edward, Samuel
A - Benjamin, (Mother’s/Grandmother’s maiden name used as first name)#
B - Alexander^, Andrew, Daniel, David>, Edmund, Francis, Frederick, Isaac, Matthew, Michael, Patrick~, Peter, Philip, Stephen, Timothy
C - Abraham, Anthony, Christopher, Hugh>, Jeremiah, Jonathan, Nathaniel, Walter
D - Adam, Arthur, Bartholomew, Cornelius, Dennis, Evan>, Jacob, Job, Josiah, Joshua, Lawrence, Lewis, Luke, Mark, Martin, Moses, Nicholas, Owen>, Paul, Ralph, Simon
E - Aaron, Alfred, Allen, Ambrose, Amos, Archibald, Augustin, Augustus, Barnard, Barney, Bernard, Bryan, Caleb, Christian, Clement, Colin, Duncan^, Ebenezer, Edwin, Emanuel, Felix, Gabriel, Gerard, Gilbert, Giles, Griffith, Harry*, Herbert, Humphrey, Israel, Jabez, Jesse, Joel, Jonas, Lancelot, Matthias, Maurice, Miles, Oliver, Rees, Reuben, Roger, Rowland, Solomon, Theophilus, Valentine, Zachariah
F - (selected) Abel, Barnabus, Benedict, Connor, Elijah, Ernest, Gideon, Godfrey, Gregory, Hector, Horace, Horatio, Isaiah, Jasper, Levi, Marmaduke, Noah, Percival, Shadrach, Vincent
G - (selected) Albion, Darius, Christmas, Cleophas, Enoch, Ethelbert, Gavin, Griffin, Hercules, Hugo, Innocent, Justin, Maximilian, Methuselah, Peregrine, Phineas, Roland, Sebastian, Sylvester, Theodore, Titus, Zephaniah
H - Albinus, Americus, Cassian, Dominic, Eric, Milo, Rollo, Trevor, Tristan, Waldo, Xavier
# Men were sometimes given a family surname (most often their mother's or grandmother's maiden name) as their first name - the most famous example of this being Fitzwilliam Darcy. If you were to combine all surname-based first names as a single 'name' this is where the practice would rank.
*Rank as a given name, not a nickname
+If you count Mary Ann as a separate name from Mary - Mary would remain in S+ even without the Mary Anns included
~Primarily used by people of Irish descent
^Primarily used by people of Scottish descent
>Primarily used by people of Welsh descent
I was going to continue on and write about why Regency-era first names were so uniform, discuss historically accurate surnames, nicknames, and include a little guide to finding 'unique' names that are still historically accurate - but this post is already very, very long, so that will have to wait for a later date.
If anyone has any questions/comments/clarifications in the meantime feel free to message me.
Methodology notes: All data is from marriage records covering six parishes in the City of Westminster between 1804 and 1821. The total sample size was 50,950 individuals.
I chose marriage records rather than births/baptisms as I wanted to focus on individuals who were adults during the Regency era rather than newborns. I think many people make the mistake when researching historical names by using baby name data for the year their story takes place rather than 20 to 30 years prior, and I wanted to avoid that. If you are writing a story that takes place in 1930 you don’t want to research the top names for 1930, you need to be looking at 1910 or earlier if you are naming adult characters.
I combined (for my own sanity) names that are pronounced identically but have minor spelling differences: i.e. the data for Catherine also includes Catharines and Katherines, Susannah includes Susannas, Phoebe includes Phebes, etc.
The compound 'Mother's/Grandmother's maiden name used as first name' designation is an educated guesstimate based on what I recognized as known surnames, as I do not hate myself enough to go through 25,000+ individuals and confirm their mother's maiden names. So if the tally includes any individuals who just happened to be named Fitzroy/Hastings/Townsend/etc. because their parents liked the sound of it and not due to any familial relations - my bad.
I did a small comparative survey of 5,000 individuals in several rural communities in Rutland and Staffordshire (chosen because they had the cleanest data I could find and I was lazy) to see if there were any significant differences between urban and rural naming practices and found the results to be very similar. The most noticeable difference I observed was that the S+ tier names were even MORE popular in rural areas than in London. In Rutland between 1810 and 1820 Elizabeths comprised 21.4% of all brides vs. 15.3% in the London survey. All other S+ names also saw increases of between 1% and 6%. I also observed that the rural communities I surveyed saw a small, but noticeable and fairly consistent, increase in the use of names with Biblical origins.
Sources of the records I used for my survey:
Ancestry.com. England & Wales Marriages, 1538-1988 [database on-line].
Ancestry.com. Westminster, London, England, Church of England Marriages and Banns, 1754-1935 [database on-line].
HOW TO WRITE A CHARACTER WHO IS IN PAIN
first thing you might want to consider: is the pain mental or physical?
if it’s physical, what type of pain is it causing? — sharp pain, white-hot pain, acute pain, dull ache, throbbing pain, chronic pain, neuropathic pain (typically caused by nerve damage), etc
if it’s mental, what is the reason your character is in pain? — grief, heartbreak, betrayal, anger, hopelessness, fear and anxiety, etc
because your character will react differently to different types of pain
PHYSICAL PAIN
sharp and white-hot pain may cause a character to grit their teeth, scream, moan, twist their body. their skin may appear pale, eyes red-rimmed and sunken with layers of sweat covering their forehead. they may have tears in their eyes (and the tears may feel hot), but they don’t necessarily have to always be crying.
acute pain may be similar to sharp and white-hot pain; acute pain is sudden and urgent and often comes without a warning, so your character may experience a hitched breathing where they suddenly stop what they’re doing and clench their hand at the spot where it hurts with widened eyes and open mouth (like they’re gasping for air).
dull ache and throbbing pain can result in your character wanting to lay down and close their eyes. if it’s a headache, they may ask for the lights to be turned off and they may be less responsive, in the sense that they’d rather not engage in any activity or conversation and they’d rather be left alone. they may make a soft whimper from their throat from time to time, depends on their personality (if they don’t mind others seeing their discomfort, they may whimper. but if your character doesn’t like anyone seeing them in a not-so-strong state, chances are they won’t make any sound, they might even pretend like they’re fine by continuing with their normal routine, and they may or may not end up throwing up or fainting).
if your character experience chronic pain, their pain will not go away (unlike any other illnesses or injuries where the pain stops after the person is healed) so they can feel all these types of sharp pain shooting through their body. there can also be soreness and stiffness around some specific spots, and it will affect their life. so your character will be lucky if they have caretakers in their life. but are they stubborn? do they accept help from others or do they like to pretend like they’re fine in front of everybody until their body can’t take it anymore and so they can no longer pretend?
neuropathic pain or nerve pain will have your character feeling these senses of burning, shooting and stabbing sensation, and the pain can come very suddenly and without any warning — think of it as an electric shock that causes through your character’s body all of a sudden. your character may yelp or gasp in shock, how they react may vary depends on the severity of the pain and how long it lasts.
EMOTIONAL PAIN
grief can make your character shut themself off from their friends and the world in general. or they can also lash out at anyone who tries to comfort them. (five states of grief: denial, anger, bargaining, depression and eventual acceptance.)
heartbreak — your character might want to lock themself in a room, anywhere where they are unseen. or they may want to pretend that everything’s fine, that they’re not hurt. until they break down.
betrayal can leave a character with confusion, the feelings of ‘what went wrong?’, so it’s understandable if your character blames themself at first, that maybe it’s their fault because they’ve somehow done something wrong somewhere that caused the other character to betray them. what comes after confusion may be anger. your character can be angry at the person who betrayed them and at themself, after they think they’ve done something wrong that resulted in them being betrayed, they may also be angry at themself next for ‘falling’ for the lies and for ‘being fooled’. so yes, betrayal can leave your character with the hatred that’s directed towards the character who betrayed them and themself. whether or not your character can ‘move on and forgive’ is up to you.
there are several ways a character can react to anger; they can simply lash out, break things, scream and yell, or they can also go complete silent. no shouting, no thrashing the place. they can sit alone in silence and they may cry. anger does make people cry. it mostly won’t be anything like ‘ugly sobbing’ but your character’s eyes can be bloodshot, red-rimmed and there will be tears, only that there won’t be any sobbing in most cases.
hopelessness can be a very valid reason for it, if you want your character to do something reckless or stupid. most people will do anything if they’re desperate enough. so if you want your character to run into a burning building, jump in front of a bullet, or confess their love to their archenemy in front of all their friends, hopelessness is always a valid reason. there’s no ‘out of character’ if they are hopeless and are desperate enough.
fear and anxiety. your character may be trembling, their hands may be shaky. they may lose their appetite. they may be sweaty and/or bouncing their feet. they may have a panic attack if it’s severe enough.
and I think that’s it for now! feel free to add anything I may have forgotten to mention here!
Pirate Terms and Phrases
-> Pirate Lingo
-> A Pirate's Glossary
Batten Down The Hatches - tie everything down and put stuff away for a coming storm.
Brig - a prison on a ship.
Bring a Spring Upon 'er - turn the ship in a different direction
Broadside - the most vulnerable angle of a ship that runs the length of the boat.
Cutlass - a thick, heavy and rather short sword blade.
Dance with Jack Ketch - to hang; death at the hands of the law (Jack Ketch was a famed English executioner).
Davy Jones's Locker - a mythical place at the bottom of the ocean where drowned sailors are said to go.
Dead Men Tell No Tales - the reason given for leaving no survivors.
Flogging - severe beating of a person.
Gangplank - removable ramp between the pier and ship.
Give No Quarter - show no mercy.
Jack - flag flown at the front of the ship to show nationality.
Jolly Roger - black pirate flag with a white skull and crossbones.
Keelhaul - a punishment where someone is dragged under the ship. They are cut by the planks and barnacles on the bottom of the ship.
Landlubber - an inexperienced or clumsy person who doesn't have any sailing skills.
Letters of Marque - government-issued letters allowing privateers the right to piracy of another ship during wartime.
Man-O-War - a pirate ship that is decked out and prepared for battle.
Maroon - to leave someone stranded on a. deserted island with no supplies, typically a punishment for any crew members who disrespected the captain.
Mutiny - a situation in which the crew chooses a new captain, sometimes by forcibly removing the old one.
No Prey, No Pay - a common pirate law that meant crew members were not paid, but rather received a share of whatever loot was taken.
Old Salt - experienced pirate or sailor.
Pillage - to steal/rob a place using violence.
Powder Monkeys - men that performed the most dangerous work on the ship. They were treated harshly, rarely paid, and were expendable.
Privateer - government-appointed pirates.
Run A Shot Across the Bow - fire a warning shot at another boat's Captain.
Scurvy - a disease caused by Vitamin C Deficiency.
Sea Legs - when a sailor adjusts his balance from riding on a boat for a long time.
Strike Colors - lower a ship's flag to indicate surrender.
Weigh Anchor and Hoist the Mizzen - an order to the crew to pull up the anchor and get the ship sailing.
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20 Compelling Positive-Negative Trait Pairs
Here are 20 positive and negative trait pairs that can create compelling character dynamics in storytelling:
1. Bravery - Recklessness: A character is courageous in the face of danger but often takes unnecessary risks.
2. Intelligence - Arrogance: A character is exceptionally smart but looks down on others.
3. Compassion - Naivety: A character is deeply caring but easily deceived due to their trusting nature.
4. Determination - Stubbornness: A character is persistent in their goals but unwilling to adapt or compromise.
5. Charisma - Manipulativeness: A character is charming and persuasive but often uses these traits to exploit others.
6. Resourcefulness - Opportunism: A character is adept at finding solutions but is also quick to exploit situations for personal gain.
7. Loyalty - Blind Obedience: A character is fiercely loyal but follows orders without question, even when they're wrong.
8. Optimism - Denial: A character remains hopeful in difficult times but often ignores harsh realities.
9. Humor - Inappropriateness: A character lightens the mood with jokes but often crosses the line with their humor.
10. Generosity - Lack of Boundaries: A character is giving and selfless but often neglects their own needs and well-being.
11. Patience - Passivity: A character is calm and tolerant but sometimes fails to take action when needed.
12. Wisdom - Cynicism: A character has deep understanding and insight but is often pessimistic about the world.
13. Confidence - Overconfidence: A character believes in their abilities but sometimes underestimates challenges.
14. Honesty - Bluntness: A character is truthful and straightforward but often insensitive in their delivery.
15. Self-discipline - Rigidity: A character maintains strong control over their actions but is inflexible and resistant to change.
16. Adventurousness - Impulsiveness: A character loves exploring and trying new things but often acts without thinking.
17. Empathy - Overwhelm: A character deeply understands and feels others' emotions but can become overwhelmed by them.
18. Ambition - Ruthlessness: A character is driven to achieve great things but willing to do anything, even unethical, to succeed.
19. Resilience - Emotional Detachment: A character can endure hardships without breaking but often seems emotionally distant.
20. Strategic - Calculative: A character excels at planning and foresight but can be cold and overly pragmatic in their decisions.
These pairs create complex, multi-dimensional characters that can drive rich, dynamic storytelling.
Writing Description Notes:
Updated 17th July 2024 More writing tips, review tips & writing description notes
Facial Expressions
Masking Emotions
Smiles/Smirks/Grins
Eye Contact/Eye Movements
Blushing
Voice/Tone
Body Language/Idle Movement
Thoughts/Thinking/Focusing/Distracted
Silence
Memories
Happy/Content/Comforted
Love/Romance
Sadness/Crying/Hurt
Confidence/Determination/Hopeful
Surprised/Shocked
Guilt/Regret
Disgusted/Jealous
Uncertain/Doubtful/Worried
Anger/Rage
Laughter
Confused
Speechless/Tongue Tied
Fear/Terrified
Mental Pain
Physical Pain
Tired/Drowsy/Exhausted
Eating
Drinking
I'm supposed to believe that Carmen Berzatto would look at a woman who has the big brown eyes of a soulful and charismatic baby seal and be like oh yeah we're 100% coworkers and nothing else?? That his soul does not sing her favorite song???? That his yearning does not grow within the safety of her garden???? That his heart does not soften in her warmth? That he does not sway in her wind or bloom under her sun?? That he does not bask in her rays and wonder how he could have ever lived without it??????????? bffr
anytime a woman starts talking about the "bonds of sisterhood that inherently exist between all women" you just know they bullied the weird girls in high school