seeing gray | more proof for ris cuz i write too much /lh
ok so i was hoping i wouldn't have to share this bc i do not like my ending, its really abrupt and makes like no sense but its fine haha

—

The light was golden, and it followed you everywhere.

In all of his five years of inexperience, Sunny has learned that there are three types of people: nice people, quiet people, and cranky people.
The city is filled with them- mostly quiet and cranky people, but you’d meet a nice person if you were lucky. Sunny isn’t very lucky most of the time, but maybe that’s because he keeps accidentally mismatching his socks in the mornings (but he can’t afford to do that today). His boss always tells him to get up earlier, but Sunny just doesn’t think about it (but he has to think about it today).
Sunny hopes. Most people in the city don’t hope anymore. It’s dulled to a monotonous gray, like the rest of their lives have. Eventually, they just follow the same path. Out of the apartment, into the subway, off at 59th street, into work. Work, work, work, and back the way you came. They don’t really pause to think about it. They just do it like robots, because their regrets pull them down to the ground, and eventually they become rooted to the floor.
But Sunny is different. He pauses to think. What would happen if he took a different subway train? What would happen if he decided to order a different latte at the coffee shop every morning instead of his usual? He wanted something different, but he didn’t know what.
He is staring out the window again, he knows (but the view is breathtaking every time). So he goes back to counting the change in the cash register (but he isn’t very good at math) before his boss yells at him. It is his last day, so he needs to make it the best.

—

There were shadows, tons of them, and I felt them closing in on you.

Violet is somewhere between a quiet and a cranky person.
She isn’t a “people” person, she knew, because she would rather be holed up in her cubicle all day, hunched over her computer screens, than talk to her coworker Remi (they were a nice person, and Violet hates nice people).
Violet wants to leave the city. It’s too loud, too busy, too gray for anything interesting to happen. She wants to move back with her parents in the quiet, quiet countryside, but they keep insisting that her future is here, in the middle of everything (literally).
Violet checks the clock. Seven a.m. on the dot. A siren wails in the distance, gradually growing softer as it grows farther away. Violet grabs her purse, its bright red color long faded away to gray (or at least, that is what she sees), and rushes out the door. Seven thirty a.m. She arrives at her first destination: the coffee shop (perhaps her most important stop). Violet orders her usual and waits. It’s a long wait, but the coffee shop is well-decorated; motivational posters, plants (she can’t tell if they’re fake or not), and pretty window booths that no one sits at.
Violet grabs her order from the person behind the counter. His name tag reads “SUNNY” (yes, in all caps) and is very enthusiastically written. She mumbles a quick thank-you (he probably couldn’t hear her) and rushes out the door. Seven forty-five a.m. She was going to be late.
Eight eleven a.m. Eleven minutes late. She plops into her cubicle, exhausted, once-neat hair strewn and tangled, makeup slightly smudged (she hopes no one notices). Violet ignores the cheery greeting from Remi and turns to her computer (well, she has two), whose screen flickers to life with a few quick taps of the keyboard. It’s time to settle in for the day.

—

The light will stay until you tell it to go away.

Sunny meets another cranky person today. Typical. He isn’t lucky today (but he mismatched his socks again), but that’s okay. He isn’t usually lucky.
Another thing Sunny notices is that quiet and cranky people tend to only see things in shades of gray- everything is the same, everything is boring, everything is the same old, same old. They look down at the ground-the boring, gray ground- and don’t look up. In this way, the world moves quickly, like it’s a blur, until the world ends.
The nice people notice the beautiful things- the talking flowers, the singing, the light breeze on a warm day. And so the world moves slower, giving them time to enjoy what’s around them.
Sunny isn’t working at the coffee shop anymore. He has a bigger, more tedious job now, in a skyscraper that reflects the light of the sun. He’s excited, but nervous. A million and two “what if”’s run through his head, but he shakes them off. It’s a fresh start, right?
Then he sees the cranky woman from earlier and sighs.

—

The shadows are tangling up, rooting you in place, and it’s too late to stop it.

When Violet had first seen gray, years ago, she knew it was bad.
It meant that her regrets were weighing her down and rooting her to the floor. Literally. It started out small, just a few wispy tendrils that crept up her legs after she pushed her greatest enemy into the path of a subway train (okay, it wasn’t that small). But then it became a bigger problem. Shadows that crept up her legs, her arms, her chest, her neck, whispering promises of solidifying into something real. And it would, she knew it would. Her days were numbered.
Violet had seen the trees; everyone had. Trees with swirling bark that held something far more important inside: the person whose regrets had weighed them down. People didn’t think much of the random trees at first. Then someone had heard a heartbeat, faint but there, and seen the tendrils, and they put it all together.
Violet hears someone plop down into the cubicle next to her. She peeks (she isn’t proud of that) and is surprised to see “SUNNY” from earlier. She wishes she could see color, but his hair looks pretty dark to her. She ducks as “SUNNY” sees her and smiles a bright smile.
“SUNNY” is a nice person, she knows. She doesn’t have to see color or let go of her regrets to know that.

—

The golden light shines on you and stays there, and of you I am envious.

Sunny wishes there was some way he could help the tree people.
There really wasn’t a name for them, so he just called them tree people in his head. But he wishes he could help. And he wishes he could help that cranky woman next to him, too. She has regrets; he can see the shadowy tendrils. Everyone can (they just don’t want to talk about it because it isn’t a good thing to talk about).
The woman bumps into him during break that day. She looks surprised to see him, even though she had obviously noticed him earlier.
“I’m Sunny,” he introduces himself enthusiastically.
“I know that,” she mumbles. Then, seemingly reaching the understanding that nothing bad would happen if she told him, she adds, “I’m Violet.”
“You’ve seen it before, right?” The words burst out of him before Sunny can stop them.
She looks up at him (she’s so much shorter than him). “What?”
“Colors.” He gestures around him, his arms wild. “Sunlight. The colorful flowers.”
She looks at him like he has eight heads (he checks to make sure he only has one). “Yeah. I have.”

—

I wish you could understand, but it’s too late to tell you.

Violet finds Sunny extremely weird.

—
1288 words
like no
what is this
this was going to be my writing comp entry but like
no

3rd weekly -

ATMOSPHERE

part one - 434 words

This weekly would explore the atmosphere and details of a world. Spoken not through words but through the emotional tone carried through setting, language, texture, color, and even silence, it encompasses the differences between a glowing neon city and a quiet, moss-covered ruin. Both settings can be described in just a few words, but instantly create different feelings that shape how we interpret the story. Exposition is good in healthy doses, but I think atmosphere is better conveyed through a few heavy words at the beginning as a world blossoms before you and then slowly opens up to you as you write more, explore more, and create more. To show what kind of world your characters live in, what they value, and what they fear before they’ve even spoken a word is the aim of the atmosphere and worldbuilding of your writing. One of the most important things in writing fiction, in my opinion, will always be the world and the feelings and the overall look, mood, and sensory atmosphere. Oftentimes, it's these that make me feel pity, awe, or immersion in a story. It can be the smallest or the biggest of things- clothing, architecture, color palettes, lighting, even just the songs that will play on the radio (if one exists) or the common handwriting. Not how the world exists, but how it pulls you in and immerses you. I'm also a huge fan of miniscule details- they're how I get best immersed in my characters and my worlds- and they're just incredibly fun to come up with. Style is substance and what you choose to destroy and what you choose to create at the core of your world. Cyberpunk worlds that lack cursive or elaborate signatures because longhand writing is obsolete or a fantasy one where dim or no lighting is the norm because of how common darkvision is. To describe the decadent scent of pastries in a bustling city would indicate modern whimsy, or to describe dandelions growing through shattered pavement beneath a flickering street lamp would indicate tragedy and rebirth, this weekly would encourage the illustration of an image using a thousand words and the usage of implication to create a world beyond even the author’s reach- it’s one thing to have a world, but it’s another to paint it out on your canvas. Think about how aesthetics, atmospheres, and details can carry narrative weight. How can the mood of your world reflect its history? How do the textures, sounds, or colors of a place hint at emotion or theme? And our main question- can your setting speak for itself?

part two - 784 words

For the first part of our weekly, write out 150 words describing your world- but here’s the catch: you can’t describe it as it would look, how it would feel, how it would smell, or anything of the sort. Instead, I want you to create a color palette- it doesn’t necessarily have to be colors commonly seen in the world (but that’s okay too!), but it can also be colors you associate with it! This can hepl you visualize the atmosphere and mood of your world- is it in dark, moody colors, or bright, vibrant colors, or a mix of both? Describe how these colors are associated with your world- does it have emotional significance? Is it sentimental to a character? Is it just a color you’d see a lot, like the azure of Earth’s sky? No stretch is too big or too small as long as it makes sense for your world! Make sure to either provide hex codes or basic descriptions of your chosen colors!

For the second part of your weekly, put yourself into the shoes of a brand-new reader who’s just been plunged into your world! Write 250 words describing your new world from the perspective of a newcomer- what would be overwhelming, or what would be underwhelming? Would it be scary or exciting? What would they fear first, find first, or fall in love with first? Describe it with vivid sensory language- make sure the reader of your story describing this newcomer feels the same fresh excitement as your newcomer does! If you’d like, you can add another 150 words describing how these fresh new experiences pertain to your world’s values, conflicts, secrets, and flaws!

For the third part of your weekly, I want to hear some details about your world! Envision any character in your world- or make a new one! They can be anyone in your world- a hermit, a citizen, a child, an anarchist, a member of the government, a god, a deity, a prophet, whoever you choose, as long as they’re a member of this world you’re creating! And then create them a wardrobe- specifically, what’s in their everyday outfit? In this part of the weekly, your clothing tells the story! Is it ceremonial, rebellious, mystical, or casual? Once you’ve envisioned an outfit for them, write 300 words about their outfit- what’s it made out of? Is it comfortable? Too big? Too small? Is it new, or is it ripping at the seams? Expensive? Cheap? Made themselves, by a friend, bought, or picked up from the side of the road? Is it practical, or is it performative- does it serve any purpose other than everyday clothing? Answer as many of these questions as you’d like, or more if you’d like, and then unpack that. What does it say about your character? What does it say about your world? Does it fit your world’s atmosphere, or rebel against it? Feel free to draw it out as well! Use this part of the weekly to explore how a character’s personal style would fit into the larger atmosphere of a world.

Now you’ve explored your world’s color palette, new experiences, and wardrobe- they might seem like small details, but that’s because they are, since it’s what they imply that really expands your world. First, go to this weekly’s workshop to learn more about using detail and atmosphere to tell your story, then compile everything you’ve learned and created about your world to write out at least 500 words describing your world’s atmosphere. But of course, as almost everything does, it comes with a catch. You are allowed one single room. It can be a person’s room, maybe the same character whose wardrobe you designed, maybe it’s the room of a department store, the closet of a school, the ballroom of a palace, or a clearing in the forest- the restrictions on the word “room” here are pretty loose. Maybe your room is abandoned, maybe it’s brand-new. Maybe it’s a college kid’s new dorm or maybe it’s the treehouse for a couple of kids. Feel free to take as much creative liberty as you need. Introduce it however you’d like as well! This room can have tons of people, just one, or none. Five hundred words for a single room is a bit of stretch- so try to make the reader feel something through your words! Grief, nostalgia, bittersweetness, whatever you want! And of course, dialogue is totally permitted- as is everything you could possibly want, as long as you form atmosphere. Whatever you choose, make it an undeniable staple of your world- make sure that your atmosphere is fitting of something that belongs to the setting you’ve created!

part three - 1142 words

Telling Stories Through Atmosphere -

Hi there! Welcome to this workshop on Telling Stories Through Atmosphere, where we’ll explore how writers can use mood, sensory detail, and visual style to tell a story- even before a plot begins. Whether you’re writing cozy slice-of-life or grungy cyberpunk rebellion, your setting, tone, and style speak volumes. In this workshop, we’ll break down what atmosphere really means in writing, how it affects reader perception, and how you can use it to build stronger, more immersive worlds and characters.
Let’s get into it!

Part One - What is Atmosphere, and How Does it Shape Your World?

Atmosphere, at its most condensed, is the vibe™. It’s the emotional flavor of your world. The color palette of your scenes. The texture of your tone. It’s what makes your world speak and feel like a character would. A neon-lit alley that smells like soy sauce and sadness? That creates an atmosphere. A pink bedroom with wilted flowers and a single cracked mug? That creates an atmosphere. To create the mood of sorrow, nostalgia, grief, or memory, is the very essence of
atmosphere. For example:

I stepped into the room, and the air hit me before the sight of the room did- old, dusty, almost bitter. The room was barren, the wallpaper crumbling at the edges. A lone window was unopened, a moth fluttering against the windowpane, feebly trying to get in, the faint flutter of their wings the only noise cutting through the silence. Golden light seemed to seep in through the edges- but it did little to illuminate the room, already lit up by a strong, yellow light that flickered every so often as the lightbulb drained. It smelled faintly of vanilla, from a flickered-out candle on a desk, pushed against the edge of the room, the desk almost seeming to sag under heaps of paperwork, yellowed in the crude lighting. The blankets on the bed were rumpled, and a pillow was pushed against a toppled bookshelf. From the bookshelf, books were haphazardly splayed around, spines reaching upwards as pages were torn or folded, and the books lay facedown on the floor. Shards from a chipped teacup lay nearby, the teacup ringed with old dried bits of coffee.

The paragraph did not do much other than describe the room, but it probably still seemed to give off at least some vibes, right? Old. Nostalgic, maybe. Forgotten. It’s bittersweet; happy memories can be found in its corners, perhaps, but it’s a tired room. There’s no backstory given, but there is a pretty obvious mood- that’s what atmosphere is. And when utilizing atmosphere, you’re not just decorating. You’re communicating. It creates a setting that is meaningful to the characters and the readers. It’s similar to how every person would set up their house a different way- in order for it to feel cozy and yours, it has to fit your preferences.

Part Two - Setting the Mood

Circling back to our first point, your setting is not just a backdrop- it’s a mood machine. You want your reader to feel cozy? Make the world wrap them in a metaphorical blanket. You want them to feel anxious? Let the walls sweat. You want them to feel like something is off? Drip water from the ceiling even when no pipes are visible. The world is your oyster. The atmosphere in the setting is like music in a movie- it’s hard to focus on specifically, but it adds to the mood and tension so much you’d miss it badly if it were gone. Here’s an example of a setting without atmosphere:

I entered the house. It was quiet. The walls were white. There were some boxes. I went upstairs.

Cool. You entered a blank PowerPoint slide. The reader feels nothing. The vibe is absent. Don’t get me wrong, not everything has to be dressed up in lots of metaphors and pretty words, and it’s always best to be concise, but this house is also telling you near nothing. Yes, you know where the character is, but you don’t know the mood- a movie scene lacking music.
Now imagine it with a bit more character:

The house creaked like it had been holding its breath for too long. The air tasted like rain-soaked wood, and mildew clung to the corners of the stairs. Boxes sat untouched by the door. I went upstairs, hands warily clutching the handrail.

Now that’s a mood. It’s damp. It’s heavy. It’s maybe haunted. It tells us: something is off, and we should absolutely be concerned. This shouldn’t be something that’s done all the time- but it’s good for an opening scene, to set the tone of the following and let you know if something is right or wrong.

Tips:

- Smells do so much work. Blood, vanilla, or something rotting instantly sets the tone.

- Light is a free emotional filter. Harsh white light = tension. Warm afternoon sun = nostalgia. Flickering neon = “something bad is going to happen, but it’ll look cool.”

- Sounds make silence louder. Is there a clock ticking? A floor humming? No birds at all?

= Textures do the emotional heavy lifting. Is the world velvety, cracked, sticky, polished, mossy?

- When in doubt, ask: What does this place want the reader to feel? Because every hallway, forest, or bedroom is more than physical space- it’s an emotional stage. Make the world feel something before the characters ever do.

Part Three - People Live Here, You Know

One important thing to remember about your world once you’ve constructed it is that this is a place where, generally, lots of things are going to live. People, fantastical species, animals, etc. This world is not solely inhabited by your main character (unless it is, which is lowkey kind of cool). Atmosphere does not stop at scenery. It stops nowhere. No person in your world is a walking, blank slate, a carbon copy of every single other citizen. They’re all breathing moodboards, if you will. How they dress, decorate, live, pay, write, it’s all the tiniest little additions to your atmosphere that turn a picture into a painting, or a sketch into a finished piece. For example, one of my favorite examples that I bring up constantly every day because I will die for this manga is Gachiakuta by Kei Urana, where the world is quite literal trash, and that's where I bring up the example of clothing. It's got this incredibly unique upcycled garbage clothing that feels both incredibly casual and fitting. You don’t need to try especially hard to give character to everyone, but how you make an atmosphere feel full and complete will speak through the people if you’ve finished with everything else.

Conclusion:

Thanks for reading! I hope this workshop helped your atmosphere in some way and improved your understanding of your world and how it all ties together! Have a lovely day! <3

total : 2361 words

part four - @goflirk

For this weekly, I’ll be creating a language for my fantasy world- Veiyanu, the word of the prophets.
Sha esya. Kavi’elnu talon’va. Ona’esya, ona’vei.
This would roughly translate to “Silent spirit, we offer devotion in exchange for eternal tranquility. Let there be silence, let there be peace.”
This language is very limited- it’s used mainly, if not only for, rituals, worship, and prophecy, and it’s very loosely connected, since it doesn’t see much use and the gods they intend the message toward will understand anything. Sha means spirit or breath, and esya means silence, meaning “silent spirit.” Kavi’elnu means to offer devotion, with kavi meaning to offer and elnu meaning devotion, with the apostrophe to indicate the link between the two. An apostrophe can also indicate exchange, or equal value, like in talon’va, where talon means eternal and va means tranquility. Va is a recent word, derived from vei, which means peace, after the new prophet believed eternal peace to be undesirable to the gods. Finally, Ona means to let exist, and once again, the apostrophe indicates the link between to let exist and esya, which is silence, and in the second part, vei, which means peace.
As for why I, or rather, the prophet, chose these words in particular, “Silent spirit” is referring to one of nine select gods- the god of serenity. This title would indicate reverence and restraint. Offering devotion indicates sacrifice- the citizens of the world often give much and take much, and to offer complete devotion, as opposed to offering praise or love, is a sign of total yielding within the world. Referring to how the citizens give much and take much, they also frequently ask the gods for exchanges, thus why the commonly used apostrophe also indicates exchange and equal value, although the apostrophe has also expanded out into bartering within shops and the like. Why they ask for eternal tranquility as opposed to peace, and the origin of the word “va” has already been explained, as the new prophet created the word “va” to align with the god’s interests. Finally, they ask for silence and peace because such would be in the interest of the god of serenity- the prophet aims to please, which is why they chose specifically the god’s two trademark concepts. This indicates emotional surrender, giving up their voice in exchange for the god to take hold.

For part two, I chose Kēlen, the alien language constructed by Silvia Sotomayor, and Ithkuil, constructed by John Quijada. Whereas Ithkuil is a precise language, aiming to minimize vagueness and ambiguity within the language, has complex grammar, and is used for fields such as art, philosophy, or science, where more profound and insightful thoughts need to be conveyed, Kēlen is unique in completely erasing verbs. Instead, relationships between nouns are made up of one of four relationals- La, to express existence, Ñi to express coming into existence, Se to express giving and receiving, and Pa, which is the same as La, except with a passive meaning. Both of them minimize word count, but Kēlen does it out of minimization, while Ithkuil does it out of conciseness. For example, while even just a two-word statement in Ithkuil can be translated into a sprawling sentence, Kēlen creates short sentences through something similar to simplification. Instead of eating the apple, you are existing with the apple, for example. Ithkuil is hyperspecific and incredibly difficult to grasp, even by the creator, while Kēlen is completely alien because it goes against the linguistic universal that a human language has verbs, but is still moderate in difficulty. They’re both deeply philosophical and incredibly out there, exploring what human language could be by completely warping it. Both are admired by the community for different reasons- Ithquil due to its intense, complex nature, and Kēlen for rejecting a linguistic norm. In summary, Ithquil focuses on encoding exact meanings, putting dozens of meanings into a single, long word that is filled with tons of accents and creating something wholly unknown to the human language, incredibly difficult to grasp,is incredibly cognitively demanding, and is meant for hypothetical “superhumans” instead of us, where even the creator struggles to wholly grasp the language, Kēlen is for reimagination- the structure of the human language is turned on it’s head as it completely expells verbs, unfamiliar but easier to pick up, especially with it’s smaller vocabulary, and is designed for an alien species. While Ithquil is a scalpel- precise and requiring a steady hand to even grasp, Kēlen is a lens, completely reshaping how you see.

For Veiyanu, the sound system is designed to feel airy, smooth, and flowing, evoking a spiritual, half-sung tone that reflects its mystical roots and emotional resonance, and it’s serene reverence toward the gods. The language uses mostly of common sounds found in English, such as l, f, sh, and v, to ground it in familiarity.
One central sound is ɬ (voiceless lateral fricative), found in Welsh and Zulu. It creates a whispery, ethereal effect, fitting Veyanu’s reverent and dreamlike mood.
Another sound is the apical alveolar tap, or ɾ, creating a rhythmic quality that is mostly present in chants. Using this letter in place of the letter r would also indicate opposites- for example, “tara” means light, while “taɾa” means shadow.
Veiyanu also intentionally excludes harsh, guttural sounds like g or k, except in borrowed or corrupted words, or words that have warped to become everyday use, as these are associated with aggression or imbalance in its myths. Voiced stops like b and d are used sparingly to maintain a gentle rhythm. The glottal stop ʔ appears in short sacred phrases, creating a pause or space for reflection, and is often pronounced where an apostrophe would be, although such a practice is usually only used when bartering. While experienced prophets would pronounce more of a sharp staccato on the word preceding the apostrophe, apprentices and everyday folk would simply pronounce a ʔ instead of an apostrophe.
Vowels are soft and musical- a, e, i, o, u, with diphthongs like ai and ei used for emotional emphasis. Nasalization is common in endearments and mourning phrases (e.g., “vēn” with a nasalized vowel).
Altogether, Veiyanu’s phonology is sculpted to reflect emotional nuance, spiritual depth, and a connection to breath and balance- every sound is chosen to feel meaningful and reverential.

1058 words in all

Weekly: 3

Part 1:
Word Count: 224

My weekly is going to be on creating titles. Titling is when you give your chapter, book, poem or other writing work a name.(Or giving things a title) As someone who does read a lot of books, something is that not a lot of books (That I read) have are chapter titles. But, titles are important because they kind of give you a main starting point on what things are about. If I told you that the story you’re about to read is called - A Magical Adventure. You would know at least 2 things:
There is magic in this book (Or it is magical and out of this world for the main character)
And then they go on an adventure.

And that is exactly why titles are important. In that you were given a simple definition of what you will be reading. Creating your title can happen before or after your writing - if you write it before it kind of works like a prompt to tell you what to write since you already have your title. If you are writing something like a novel though and it’s going to be really long then while working on it you might think of your title in between writing. The point is - titles can be what helps people know about what they are about to read.

Part 2:
Word Count: 253

My 4 parts of the weekly:

Part 1: What about what makes a good title? Is it how it conveys the message of the book, chapter, or poem? Is it how it makes you feel when you first read it ? Think about any story or book you’ve read and what the title was, and then how exactly that title fits into the story. Then write 200 words about how that title fits the story.

Part 2: So you have thought about how exactly a title fits into the story of your choosing. Now, you are going to be writing about how you should correctly create a title. You will be writing 200 words on exactly how to create a title - correctly. For example: you want your title to be easy for people to remember as a tip in what you are writing for Part 2.

Part 3: And after completing Part 1 and 2 you know what makes a title fit into a story and how to correctly write a title now, you will be writing a minimum of 200 words into a short story and titling it to fit the plot of your story. You can title your story before, after or during your writing process.

Part 4: And now, the end of this weekly - write a 300 word story that you can only add the title after. This is harder to do in my opinion since you have this story and have to make sure that your story actually fits it.

Part 3:
Word Count: 563
Workshop title: {Crafting your perfect title}

Welcome to this workshop! This workshop is about creating titles for your stories or chapters. It should give you a brief understanding of why titles are important and how to correctly create yours.

Titles give you a simple description of what you are about to read whether it is a book title that tells you what you're about to read, for example a book called - The Sorcery of Plants and Flowers. This title can tell you a bit about the book itself.

Here’s a simple breakdown of that:

The Sorcery - This tells you a bit about the magical aspect of this book. Whether that will be the book will tell you a story about magic or if it might be about history in magical plants which is where the ending ties in.

Of Plants and Flowers - This directly tells you that there are going to be plants and flowers. Since you read the sorcery part first you should know that it will have magic too. That could be the magical properties of plants in history or it could be a fantasy book where the main characters learn more about magic and plants along the way or a story where the main characters have plant names and learn magic.

After looking at that analysis of a title you should be able to understand a bit more about deciphering a title when you look at it. But, what exactly makes your title good? Time to pull out the bullet points:

• You want your title to be analyzed like the one above and the story with the title to make sense. Make sure that the title fits the story by using words that describe it and can give someone an idea of what it is.
  

• You also want your title to be easy to remember. People aren’t going to be remembering : The day the world ended and how James Rudolphos Alexander Willam Eduard Henry Fredrick Pomfos Survived the Apocalypse.
  

• that doesn’t sound like a title that makes sense, you should fully list your characters full name if it is that long as a title.
  
  

• It’s way too long for any person to be able to remember - attempt to make your titles around 1-6 words long so that people can easily remember the title.
  
  
  

• You want your title to give a glimpse into your story, not just dump your main character's full name on the person.
  
  
  

• Plus, before making your title completely over complicated - think about how it would look on a book spine. This may seem stupid if you are writing a short story but, think about it. It isn’t going to fit if it’s insanely long.
  

• Remember that no idea is a bad idea. If you have any idea for your title write them down, with a few tweaks they might be a great title, you just have to look at them with a fresh mind
  

• Make sure to make your title to match the overall mood of your story - it shouldn’t be something like “The Darkness of the Angels Soul” and it’s all about how the Angel is the perfectly good person who pets puppies and dreams of rainbows. Your story mood and title should work together to tie the story together.
  

And that was a simple workshop on titling and how to create your title. I hope it helped! Happy Writing and Titling!

link to the masterpiece ;D

(please note that I am not much acquainted with poetry and have never tried writing free verse myself, so please do consider that when reading this critique. (aka my advice might not always be good ahaha~))

Okay, first of all- wow. Your piece is magnificently fantastically incredibly well written. Really. The word choice is simple and down to earth, which makes for a mature yet still growing and/or learning narrator. I feel like this simplicity of words also contributes to a nostalgic feeling found throughout the poem - something that embellishes the piece and intensifies the reader’s empathy for the narrator.

I also love love love the sensory details you added here and there - like “tastes like coins,” “cathedral of ribs,” “fox-fur turned vapor,” “saplings in straight rows / like lines in a poem,” “the sky bruises. /
Purple-brown.” (I can’t add all of them or else I’d basically be pasting the entire poem here, but there are tons of incredible imagery <33)

The personification of the trees is also /beautiful/ <3 It makes me feel that the narrator truly considers the trees as his closest friends, which makes losing them all the more difficult. Lines like “I think they whisper back. /
Whispering in a language older than fire” are so so so amazing :star-struck:

Then the change of the length of the verses (do you even call it that? pfft-) in the “Burning” part (especially part 3) intensifies the sense of panic and distress. I also really like the formatting of “Burning” part 4 as it refers to ash falling from the sky. The metaphor comparing ‘ash’ with ‘snow’ is also really well written :00

—

Now onto parts that I had some trouble to understand (IT IS PROBABLY JUST ME SO FEEL FREE TO INGORE, but I’ll state them anyway):

- Part 4 of ‘Before’. I… don’t really understand the formatting here? If I could see (I think? lol) the formatting purpose in Part 4 of ‘Burning’, I don’t really see the purpose here. But apart from that I love how this is written - with just a few words, you really got me attached to the father in the story.
- Part 3 of ‘Burning’. I’m a little puzzled by the two columns here… perhaps it has a meaning I haven’t quite grasped? (it probably has ehehe, I’m just sort of helpless with poetry I suppose xD) But anyway I think it could be okay to move the right column so that it is below the left one? Because then the note you added wouldn’t be needed ^^
- Part 6 of ‘Burning’. This is really a tiny detail, feel free to ignore bwahaha~ I just thought this symbol ‘⏹’ seemed too… conspicuous? Like when everything is in black and white and suddenly we have grey it puts me off aesthetically? ^^” Perhaps replace it with something black and white (I think you call it a pictograph? xD)? Something like these? ◼︎ ◉ ❏ ☑︎ ☒

—

Now, here are my thoughts about the notes you added. Because the collection of poems has very specific formatting, I feel like these notes break the visual aesthetic(?) of the poem - like post-its plastered on a painting, if you get what I mean? I feel that, though the second note (part 6 of ‘Burning’) isn’t needed and can be removed, the first note (part 3 of ‘Burning’) is rather helpful to the reader. Considering what I said earlier about formatting… maybe you could format this passage differently and delete the note? Just maybe, totally up to you ;D

—

Final thoughts:

So that’s… basically all I have to say! Your piece is totally incredibly and I still I feel like I haven’t complimented it enough ^^” I really love the tone (and atmosphere…?) of the collection, and I feel like every single word is chosen for a specific purpose - not a single one is wasted. Congratulations! This is definitely a masterpiece.

(648 words)

Maybe it's the way her crystal-blue eyes stare into yours, or the way her skin looks as soft as silk.
Maybe it's her soft, flowing, dark hair, that she never bothers to put up, or the beautiful smile painted onto her face. Not a perfect one, a cracked one, a flawed one. But the flaws just make it even more beautiful. The one that feels like she just really knows what you're going through, and that she's just there, trying to fix it. Trying to tell you everything is alright when she knows it isn't. You know it isn't.
Maybe it's the way she seems so utterly simple from the outside, a girl like the rest. She fits right in like a puzzle piece. Until you realize it's in the wrong spot. And you're sitting there, wondering why on earth you would put it there, because now you see her. And you see that her shade of green is slightly different from the pieces surrounding her. It might take a microscope to see it, but when you do, everything makes sense. Maybe you did it because it was easy. You shoved her in there, hoping she would adapt… and she did. Of course she did. Maybe you did it because she needs to fit somewhere, everyone does, right? And you just hadn't found her place yet. She hasn't found her place yet.

And with great sincerity, I'm quite sure I hope her place is next to mine.

23.07.25 ⟢ 645/300 words - Duolingo Daily
Prompt: “Our friendship started in Spanish class.”

Our Friendship

It's getting late and I rummage through my bookshelf, skimming through the spines to find the textbook I need. Sighing, I stick my arm through to the back, dipping nails into the dust. Maybe it's here? My fingertips brush a spiral binding of a notebook and I pull it out, curious. I realise, with a sudden fondness, that it's my old diary- from middle school. My assignments can wait. Flicking it open to a page, any page, I sit down on the edge of my bed and read, re-living the memories. I turn to the next page, then hesitate.

September 1st, three years ago. It was the first day back to school and I was stalling at the school gates, looking around for someone I could walk in with. “Hi,”said my only friend Jiya, walking up to me. I smiled, glad to see her. She paused a few metres away from me, drink in hand, fiddling with her nails. I remember tilting my head, knowing something was wrong. “Sara, do you remember how we first met?” To that, I nodded.

Our friendship started in Spanish class, laughing at the teacher's accent, struggling through verbs, whispering through presentations. Notes we would leave each other on our desks, scratches of pen still remaining, tests we undertook in silent laughter. The walk to the next lesson, the parting of corridors, the ringing of the bell.

Our friendship grew in Art class, smudging charcoal, studying expressions, carrying projects home. The late night calls and sketching stressing, the hanging out after school. I didn’t know it then, but our friendship would strain at the school entrance, Jiya sipping her smoothie as I watched her walk away, stunned. That’s when the second-guessing began. Jiya’s not oversensitive: Did I text something wrong? Jiya has other friends: Did she ever like me? Jiya wouldn’t put the fault on me: Does she think I’m below her?

A familiar ache grows in my stomach as I notice the tear splatters on the diary page. The repetitive scrawling. ‘Too quiet.’ ‘Too studious.’ ‘Too outdated.’ The list on how to improve. ‘Different clothes.’ ‘Different interests.’ ‘Different personality.’ Back then, all I wanted to do was be better, be popular, be well-liked. I changed myself so much I didn’t really know who I was anymore. The sleepovers, gossiping and dating made my shield become a mask as I wasted money on coffees I threw in the bin, wasted energy trying to prove myself to Jiya, wasted a year on fake nails and fake laughs and fake friends just for it to all come crashing down.

I still hear those words echoing in the lunch hall.
The laughter infecting my thoughts.
The sound of my trainers on the ground as I ran away.
The smudged mascara as I stared into the mirror, horrified.
I still remember the panic.

Who had I become? I’d jumped in so deep it’d be easier to drown than swim out.
Who was I before? The old me is the real me but also the new me.
Who was I to care what they thought? It’s not them who mattered, it was Jiya.

My happiness, or the latest trend?
My future, or skipping school?
My life, or their choices?

That was when I knew it was time to let go of a friendship I’d treasured for so long. People grow. People change. Some stay the same. I tried my best, and it wasn’t enough to keep my friend. It may never be, and that’s alright. Now that I think about it, I ended up dropping Spanish- and Art.

If I had anything I could say to my past self, I’d tell her that good things will be waiting for you, right around the corner. The best direction to look is forward, and friendships will be made because you’re worth it, just the way you are.

weekly number 3

2184 words

Part 1: Intro
Hi everyone! In my weekly about weeklies, I’ll be talking about character development. You’ve probably heard this term before, and if you like books or movies, you definitely have seen it in action. It’s when that nerdy little geek in the first book becomes an unstoppable ninja in the third book. It’s when the goody-two-shoes rich girl becomes a hardened warrior. According to the internet, the most common definition for character development is how a character changes throughout the story. Unless you’re reading a book of folktales, almost every fictional story has character development, it has to or else it would be a very boring book/movie. Characters can develop in negative ways too. Take Coriolanus Snow for example, in the beginning of the Ballad of Songbirds and Snakes he’s just a teenager in the Capitol. By the end, he’s a maniac and a murderer. He still developed, just in a… less than preferred way.
Sometimes, characters develop after a specific event happens, others just develop over time. No matter the way, characters are always developing, whether in abilities, personalities,or preferences. No character is entirely undeveloped, despite how static their personalities may seem. Now, let’s go on to the exercises where we’ll start developing your characters!

Part 2: Exercises
Part One:
Choose an original character that you made. It can either be a completely original character or a character from a fanfic. First things first, give them a good backstory. Then explain how their backstory shaped their original personality. Name a few faults that they used to have. Optional: You can describe how their backstory contributed to their faults. For this exercise, you should write at least 200 words.

Part Two:
Your characters are developing now! Is your character developed because of a specific timeline or events or has the time and pressure just changed them? Do they have a new personality? New beliefs? New powers? Describe their developed-self in 200 words or more!

Part Three:
They’ve changed so there’s got to be some pros, right? WHat are some benefits of their development? What faults did they previously have that they have improved? You need at least 200 words for it to count!

Part Four:
No one’s perfect. What new faults have come up with their new developments? Are there any specific reasons why?

Part 3: Workshop

Hi SWC-ers! Welcome to my workshop on character development! We’ll be exploring many examples of character development and explain what BAD character development looks like.

A bit of a recap from my introduction, character development is how someone’s character develops over time. To explain it, I’m going to be using the movie ‘The Incredibles’ to help me. (Major spoilers ahead)
We start with Mr. Incredible saying that he only ‘works solo’ and you can definitely see that in his actions. He likes to save the day all by himself. This is mirrored in his disdain for Incrediboy– his superfan turned sidekick-wannabe. Years later, he’s no longer a superhero but he’s still the same. He is employed in a mission disguised as one to take down a robot without telling his wife (Elastigirl), clearly thinking he can do it by himself. Only he can’t. He gets in trouble and his family has to go bust him out.Throughout this experience, he gets more humble and learns to depend (at least a little) on other people. This is great character development. He is depicted as shallow but then he is forced into a situation which forces him to rely on others and be humble.

That’s an example of great character development but sometimes things don’t end up going well and you get poorly-written character. For this example, I don’t want to throw J.K. Rowling under the bus– who am I kidding?! J.K. Rowling has amazing character development but guys Harry Potter in the Cursed Child was TERRIBLE. I know, this poorly developed self helped Albus develop but he was terrible. Here are some reasons why:
His actions and beliefs seem to go against everything he believed in the original books.
He says things to Albus in the beginning that he suddenly goes against in the end
He just wasn’t himself.
The biggest mistake was telling Albus that it was okay with him being Slytherin and then making Albus think he wasn’t enough later in the book. He should’ve been really supportive like he said he would. Going against what he said just isn’t what Harry would do.
To summarize it all up, make sure your characters change, but don’t have them go against all their own beliefs. Don’t make your changed character someone your unchanged character would hate, okay?

Part 4: swapped weeklies

swapped with emily's weekly which is right here

(210 words-)
My chosen theme for this story is going to be a recently-high-school-graduated girl reminiscing and longing for a broken farm that was in middle school.
There was once a girl named Haley who lived in Sacramento, California. Haley used to have a best friend named Clarissa. They were best friends from first until seventh grade. In eighth grade, they got in a fight because Haley learned that Clarissa had been hanging around a few girls that had been bad-mouthing Haley. Clarissa didn’t stick up for Haley and even continued to bad-mouth her. When Clarissa’s friends bully Haley (Clarissa didn’t partake in the bullying, but stood by as they did it), Haley confronts Clarissa and Clarissa can’t defend herself. After fighting about this, they decide to end their once-cherished friendship. Haley found a new group of friends, as did Clarissa, but things continued to be tense between them and it stayed this way until the ninth grade. Halfway through their freshmen year, Clarissa’s father got a better job all the way across the world in Massachusetts. Clarissa moves away without her and Haley ever being able to reconnect. Throughout my story, Haley will suddenly be reminded of her friendship with Clarissa, and start longing for their friendship and regretting never reconnecting.

(200 words-)
Some potential symbols-
Old framed photograph of Haley and Clarissa
Friendship bracelet that Clarissa gave Haley
A note (on the phone notes app) that was venting about Clarissa
I’ve chosen the friendship bracelet one! It is a beaded brace with the color scheme orange, pink and yellow. Throughout the story, Haley will also see these colors that will make her remember Clarissa. The friendship bracelet will say H *heart bead* C then there will be a smile-face bead. After the smiley-face bead there are the letters ‘BFF’. The bracelet was given to her by Clarissa when they were in fifth grade, for Haley’s eleventh birthday. Haley would wear it every day and when she and Clarissa got in a fight, Haley buried it in her junk drawer, thinking that she’d never see it again. When she was cleaning out her desk she found the bracelet. As for the colors also being a symbol, she will go out and her neighbor will be in their backyard, watering flowers that are orange, pink and yellow. Throughout the story, she will continue to have flashbacks of her and Clarissa. She will also see two little girls giving each other friendship bracelets, triggering memories.

(213 words-)
Originally, Haley first sees the bracelet while packing up for college a week or so after her high-school graduation. She later sees the color of the bracelet again while walking outside and seeing her neighbor watering roses the same color as the bracelet (orange, pink, yellow). Later, she is walking where she sees a yellow school bus which is where she remembers Clarissa giving her the bracelet on her birthday. After that, she notices girls about aged nine giving each other friendship bracelets, which brings her back to more memories of Clarissa. She comes home and finds her younger sister, Gail, painting her nails orange, pink, and yellow. Later, a relative who lives in Massachusetts and recently met Clarissa’s father comes and asks about Clarissa, mentioning the friendship bracelet that Haley had unconsciously slipped on.after finding it. Haley goes to her bedroom that night and tries to recreate a friendship bracelet she had made Clarissa for her twelfth birthday with pink, purple, and blue beads with the words Haley *heart bead* Rissa. All of the reminders are really overwhelming for Haley, who hasn’t given Clarissa a second thought until recently. After being haunted by all the memories, Haley is about to call Clarissa when she is amazed because Clarissa just texted her.

(786 words-)
“Haley, have you finished packing yet? We’re dropping you off tomorrow!” To be honest, no, I hadn’t been packing. In fact, I had been doing anything but. I was texting my best friend, Eloise, who was going to be going to the same college as me.
‘Gtg pack lol, bye!’ I type before quickly shutting it off!
“Not yet!” I yell back, “I have my desk to clean out!”
I decided to start with my junk-drawer. I had been throwing things in there for the past few years, never bothering to clean it out. I open the drawer and… the first thing I see is a friendship with the words ‘H ❤️ C ⭐BFF’. I gasp, pulling it out, it was my old friendship bracelet from middle school. I had forgotten all about it but now, staring at the sunset colored beads, I suddenly remember everything.
Clarissa was my best friend from elementary school all the way up until middle school. In middle school we had a… falling out. Clarissa started hanging out with girls who bad-mouthed me and bullied me and she never once stood up for me. Looking back now, it was all sort of stupid. Us breaking up our friendship because of some silly eighth-grade drama. I would’ve reconciled with her if I could but in ninth grade, she moved to Massachusetts. Which is the farthest state from my town in Sacramento, California. Slipping it on, I think about our eight-year friendship. We had out highs and lows but we always stuck together. Well, up until the end.
I walk down the stairs to see my mom stirring a pot of who-knows-what.
“Hey, mom?” I say, “My room’s a little stuffy. Can I take a walk?”
My mom looks up and smiles. “Sure, sweetie, be back soon, though.”
I nod and make my way out of the front door. As soon as I step out, an old woman’s voice rings out.
“Haley! Over here!”
I walk over to Ms. Lindley, a 70-year-old bachelorette and possibly the spunkiest old woman to ever exist.
“Hey, Ms. L!” I say, “What are you doing?”
“Watering my roses!” She replies, “Aren’t they beautiful?”
I look at her roses and almost freeze. They are orange, pink, and yellow roses.
“Yeah!” I tell her, after a few seconds,”They’re gorgeous!” Oh gosh, I came out to get away from Clarissa’s ghost or whatever. Not to keep reminiscing.
“Gotta go!” I say, “I need to get my steps in!”
Ms. Lindley nods sagely. “Alright, Haley, go do whatever you need to do alongside getting your steps in.”
I smile and walk off. I start humming a popular song that I hear all the time on the radio. I stop at the crosswalk and wait for a school bus to pass by me. Clarissa gave me my bracelet on our school bus. It was in fifth grade, on my eleventh birthday. Just as I’m about to cross the street I hear.
“I made this for you!” I turn to see elementary school kids, two girls that are probably eight, and in their hands are friendship bracelets.
“Oh shoot.” I mutter, deciding that it’s better to stay in my stuffy room where the only reminder was a single, too-small bracelet. I head back inside the house where my sister, Gail, is painting her nails.
“Hales!” She says, “Come and see my nails!”
I look over and… they are painted orange, pink, and yellow.
***
“Haley! Your uncle is over for dinner!” I had made significant progress on my desk and pocket my phone, heading down and smiling at Uncle Ricky. He had been in Massachusetts for the past twenty years and we rarely see him.

“Hey, gal, where’d you get that bracelet?” He asked, taking a sip of soup.
I look down at my bracelet. I had forgotten that it was there. “Oh, uhm, Clarissa Levoe gave it to me. A while back.”
“Levoe, you say? I know a Levoe. Is she the daughter of Bill Levoe?”
I gulp. “Yeah.”
Uncle Ricky grinned. “I work with her dad!”
Oh. great.
***
I made Clarissa a bracelet one year, too. A pink, blue, and purple bracelet with the words ‘Haley ❤️Rissa’. That was my nickname for her. Rissa. Now, even though I should be packing or sleeping, I’m recreating that bracelet. All of these signs are too much for me. I need to call her, ask her how she’s doing. But she beats me to it. Because when I open my phone at the top I see a notification from ‘Clarissa’.
‘Hey, Haley? Remember me? I was such a jerk to you in middle school. I can’t stop thinking about you. Wanna catch up sometime?’

321 words
Pride and Prejudice fan-fiction kind of:
Eliza looked up, being careful to sit up straight and properly. She looked carefully in a mirror, sighing, her features saddened. The door behind her opened, and she turned to see the familiar features of her sister, Jane.
Jane was wearing a simple floral dress in a pale blue.
It suits her greatly, Elizabeth thought.
“He won’t speak to me,” Eliza said, randomly. She trusted Jane to be kind. After all, that was all Jane was. She blinked, and buried the thought, lest it show on her features.
Jane looked at her, her blue eyes soft with sympathy.
“Oh, dear Lizzy,” she said gently. “Perhaps you could request a—“
“He refuses to see me,” Elizabeth said, and then realized she had interrupted her eldest sister. “My apologies, Jane, for the interruption.”
“Apologies accepted,” Jane said. She furrowed her brow. “I must apologize, in haste as well,” the tender-hearted girl said. “I was too oblivious to see your pain, and too foolish to realize you do care for him, despite his pridefulness and self importance. I was not careful and wise enough to see the truth.”
Elizabeth gazed at her sister, and said, “O, Jane, must you not see? You are the wisest and most humble of us all! If you cannot see it, none of us can, for we are too stubborn to admit our flaws!”
Jane ducked her head, embarrassed. “Oh, Eliza.. I do appreciate the sentiment, but what you say is not truth. About Mr. Darcy, though, I shall have to think. I will find a way for you to meet, despite his stubborn ways. Perhaps I can ask Mr. Bingley.” She flushed a little, at the last words. “I must retire.”
“Very well,” Elizabeth said. “I truly do appreciate your efforts.”
Jane left the room, and Elizabeth found herself staring at nothing at all, lost in thought. “Oh!” She said to herself. “Whatever will I do with myself!”

hi here’s my weekly. for gothic 1725 words!

PART 1 : 242 words
So what if there was a weekly about fanfiction???
I know there are *tons* of different types of fanfiction and it’s a really broad genre, but what I want to focus on is I guess sort of the beforehand of writing one—researching, making (or choosing) characters, and just figuring out the plot world that you’re writing about. Also, I know a lot of fanfics might include more than one universe or fandom, but for this I would just focus on writing a fanfiction with only one world. I also want to make it so it includes both creating your own characters or using canon ones, so that someone who was hypothetically doing this weekly could choose because I know both options (or a mix of them) are pretty common.
The first part of this weekly would obviously be choosing the universe you’re basing your fanfiction around. You would have to do a bit of research about the world it’s set in so that you can understand it enough to be able to write about it. The next part would be about choosing your characters, and the person doing the weekly could either make up their own characters or use canon ones (or both), but with the way I tried to write this part it would be basically the same no matter which you chose to do. And for the last step before actually writing, you would just have to brainstorm a plot.

PART 2 : 187 words

- *Research the world(s) of your fanfiction! Do they have governments? Are there certain languages the people there speak? Any magical creatures or elements? What cultures are present in this world? Look at and write down any information like that that would be helpful to you.
- *Design (or describe, if you’re using canon characters) your characters! What do they look like? What are their motivations and goals? Is there anything else world-specific that a reader would need to know about them? Try to think of things that you would notice about real people and work with that for your character. (workshop is for this step!)
- *Now that you have your research and characters, brainstorm a plot for your fanfiction. This can include things like canon characters and events or popular tropes, or you can make up your own! There’s no set plot or structure for fanfiction, so let your imagination go wild.
- *The only thing left that you have to do is bring all of your brainstorming together into your fanfiction! Use the plot, research, and characters you chose to write your own piece.

PART 3 : 383 WORDS
Are you ready to start designing your own characters? Well, step right up into our Characterdesignomatic 3000 (patent pending)!

First, we need to create a base to build on for this character. When I’m designing my OCs, I like to start with a basic description: hair, eye color, height, and any major clothing related things. For clothing, try not to go into detail here: only include things that would really pop out if you saw them in person. For example, a plain silver necklace wouldn’t be that noticeable, but a neon orange puffer jacket and checkered leggings definitely would be. Also include a bit about their personality and character; for example: pronouns, and two or three positive and two or three negative traits that they have. I also sometimes include gender and/or sexuality here, but usually only if it’s an important part of the story (for example if the fic is about them coming to terms with their identity—there, it would definitely be important) otherwise, it isn’t really relevant.

Next, let’s expand on their personality. Remember those four traits you decided on? Try to expand on those, such as how they affect the character or how you might want to tie them into the story. What do they make them do—or not do? Now, take a look at their motivations and goals. What are they trying to do in your fanfic, and why is this important to them? Character motivations don’t always have to just be black and white, either. Think about it: a real person is probably going to have more than one reason for doing or wanting something. You’re trying to make your characters feel real, so really think about what you want for them as a person!

Finally, we can tie it all together with a more detailed description of them. Go into detail about their clothing and appearance! Do they wear specific jewelry? What about tattoos? What kind of hairstyle do they have? Bring your character to life!

Now that you’ve explored who this character is as a person, you should be equipped to be able to write about them. And not all of these details you’ve identified always have to be included in your fic: this step is purely for you to understand who you’re writing about better!

PART 4 : 913 words

PART 1
She lived on a boat, yet the water had never spoken to her as it had her mother. It answered her calls, twirled elegantly around her fingertips and molded itself into sculptures with a simple flick of her hand. Elio had tried for years to call it to her, to make it answer, but she had never heard a response.
“Give it some time,” her mother had told her one day after a particularly long session of attempts. “I’m sure you’ll get it to respond eventually. Calm that firey impatience.” But everything about her seemed to repel the water: it avoided her, and she so wanted to get away from it but she kept herself planted on the edge of the boat every afternoon. The fire only seemed to burn brighter.
*
It had been years since she had set foot on the boat. Her mother still sailed the seas, she knew, but she had resided on the island for more months than she could count.
“Fire is a disgraced element. It will chase the unworthy forever until they give in.” Elio knew the words she whispered softly by heart.

The flame sparked on her fingertip as if it had been waiting.

PART 2
“For you,” Caspian said, holding out a single white lily to him. Its petals folded out into the sun and it was beautiful in an almost tragic way. His fingers folded gently along the stem as he took it. Why hadn’t he noticed how the setting sun hit Caspian’s blond hair before and lit it up, or how his brown eyes had those little flecks of gold around his pupil in them that made them sparkle? He had seen more eye colors than he could count, more brown eyes than any other, but how did these seem so quite beautiful? And why had he never seen them quite like that before?

He reached out to take Caspian’s hand, but his fingers met only the warm summer night air. He looked up again, searching for those shining chestnut eyes that he knew so well, but the only thing in front of him was the blazing sun resting beneath the horizon. It was beautiful, too, with its painted reds and oranges, he supposed. The lily crumbled in his hands and he watched as its ashes drifted away in the wind.

Oh, what he wouldn’t give to see that smile just one more time.

PART 3
Harley hesitated at the doorway as they ran, leaping onto the train. Will turned back, confused. “Harley! What are you going? Come on!” Harley seemed conflicted. “I know the capitol people did some bad things, but…are you sure? We should do this? I mean…they also did a lot of things for us. If they hadn’t taken us, where would we be now? We had food, and clothes, and a place to sleep. I think…we should stay.”

Ruka stared at her. “Are you crazy? They WIPED OUR MEMORIES. They REPLACED THEM TO MAKE US THINK THEY WERE GOOD. Jump on right now or I swear to the sun we are LEAVING you.” they said, reaching out to the train platform. Harley reached out and took it, her hand shaking slightly, but still seemed hesitant.
**
“No. I’m staying.”

They all stared at her. Even Plank, who was almost always fidgeting, was like a statue. “What do you mean, you’re staying?” he said softly. “We’re your friends. Right?”

Harley looked up at them, and for a moment, she desperately wished she could take it back, that she could go with them.

“You are. But they were right. Rebels never succeed.” she said, and turned to walk away as the last train pulled away with Will, Ruka, and Plank on it.

PART 4
Even when he fell, he was laughing, not because he was unafraid, but because he had flown. His wings, though melted, were as light as a butterfly’s and he felt as if not even Death herself could catch him. He could only hope that whatever afterlife came next was as beautiful as the sky he had long dreamed of.

Icarus had been falling only a moment ago. He had seen the deep blue ocean swallow him up and watched the sun go dark, so why did he feel as though he should open his eyes? Was he in Asphodel? His limbs were heavy and even just lifting his eyelids felt like a great effort.

Was the Underworld really this beautiful?

He was in a cavern filled with brilliant colors. Gemstones studded the stone walls, and blue and purple moss draped down from outcrops where streams of crystal water cascaded down elegantly in waterfalls. He had never seen something quite so exquisite in the land of Gaia. Icarus suddenly remembered that he still needed to breathe.

He stood up shakily, eyes still wide with wonder. If he was really dead, he would have no qualms with spending eternity in this heaven.

“Do not be afraid, Icarus, son of Daedalus. You have nothing to fear here.” a voice echoed around him.

The voice was something Icarus was certain he would never be able to describe properly: it was so soft and smooth, like silver threads. It was a delicate beauty, like a stained glass window waiting for a stone to be thrown. He glanced around quickly, trying to locate the noise.

“Do not be afraid, Icarus,” the voice repeated. “Only the sky can reach you here.”

Daily: Sally's Rambling
Word count: 809 | 07/23/2025
I’m sure all of us have at least heard of them before…whether it be in passing or if you partake in their lessons yourself…Of course, I’m talking about that green owl Duolingo! If you take those language lessons, complete it now, choose one of the sentences and comment it in the main cabin! After that, claim another comment, (whether it be your own or someone else’s!) to write a story of at least 300 words for that prompt! This daily is 250 points with an extra 100 for sharing proof!

(A girl walks into her room. Her body is on fire, yet it doesn’t burn anything, not even her clothes. She has small horns barely visible underneath the flame. She appears to talk to the wall. No one is in the room with her.)

Hello there. It’s Sally. Sally Auburns? I don’t know if anyone’s listening, but if there is, I don’t expect you to remember this story. Don’t worry. I just wanted to say something.

Today, I met an interesting girl– brown-haired with fuzzy dog ears, and a pitch black mask. She wore blue-and-white cartoony-looking clothes, complete with big round boots and massive gloves. She was carrying shoeboxes.

Not any normal amount of shoeboxes. She probably had fifty shoeboxes stacked up in her arms, and she moved slowly up the stairs, eyes fixed on the steps before her. Fascinated, I followed her upstairs and to the west dorm hall.

When she stopped, I asked her, “Why are you carrying so many boxes?”

“Of course! I’m just doin’ my part, you know!” Her voice was squeaky and filled with energy. “Today’s newest dreamfarer has a hundred legs, and someone had to deliver all these new shoes to their room. Seems like they should be right down this hall…”

She glanced away from me, and it happened– a burst of light appeared behind her eyes, and she walked away a bit dazedly. She was back to normal in no time. When she passed me on her way out seemed to be smiling brightly. I could tell, even through her mask.

Later on, I saw her again. This time she was sweeping up the tech club’s workshop. When I looked into the room there was a great big mess everywhere, with scorch marks and debris all over the floor. She was humming a song. I swore I’d heard it in a commercial somewhere before.

“Hello, can I come in?” I asked.

“Yes, of course!” She didn’t seem drained at all. “The cleaner spirits are busy in the library, so I’m helping them out. Just doin’ my part, you know?”

“Can I help out?”

She lifted up a big pile of what appeared to be broken artificial limbs. “Oh, no need! You don’t need to tire yourself for little ol’ me.”

A metal hand fell from the pile. I picked it up before she could turn around. “But you don’t need to either. You helped deliver some shoes a while ago. Why do it?”

“Well, it’s helpful, and I like that. Like I always say, there’s nothing more important than a happy customer! Anyways–” –she nabbed the hand I was carrying in a fraction of a second– “How did you know that? I’ve never met you before. I’m Eunice Bell, and by the way, I love your cardigan.”

Before I could answer her, she unloaded the pile into a waste bin. “And I’m done. Great work!” The same burst appeared behind her eyes again and she walked off without a second thought.

I saw her one more time in the evening. It was dinnertime. I’d already finished my meal earlier, but she was sitting in the small corridor outside the mess hall, sewing a smiley-face patch into a pair of jeans.

“You again. Eunice. Haven’t you eaten?” I said.

She looked up at me a bit confused, but otherwise still bubbly and happy. “I’m still fixing up these pants! I’ll probably get a bit hungry in a while but this’d sure make my friend Bailey very happy. Just doin’ my part, you know!”

I knelt down in front of her. “You really love being charitable. But do you want to know what I think?”

“Of course! I’d love to hear it.”

“You should be more selfish.”

She looked taken aback. “Aww, but that’s so mean!”

“Not in that way,” I added, shaking my head. “I meant that you should help yourself too. Take care of yourself and do the things you like. You’re very kind to others. Not so much yourself.”

“Well… that sounds good. I think–”

But she didn’t finish the sentence. She’d looked down at the jeans, and I saw that familiar flash behind her eyes and she wordlessly got up, took her things, and wandered into the mess hall.

I went up too after a moment, and that’s why I’m here now. Talking to… a wall. Yeah. Just a girl on fire talking to no one.

But I’d like to think that I changed her mind a little bit.

Even if, in her mind, she just randomly thought of having a little time off. But it’ll be good in the end. No one could ever possibly hope to care for others if they can’t care for themselves.

As for me, well, I’ll say I did my part today.

I think I deserve a good book.

return to the pit where the horrors dwell

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INVESTIGATION FILE #3

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◇ PART ONE ◇

All weeklies start out as simple topics that they will be based on! To start off this weekly, choose a topic that interests you- it can be about anything, from a weekly about plot twists to non-fiction. Write 200 words describing your idea to complete the first part of this weekly!

My idea for my weekly is that it’s all about foreshadowing and how to use it in writing. Foreshadowing often plays an important role in storytelling, giving hints at the main twist before it’s revealed. This makes the twist feel intentional, it makes it feel real, and not like something you randomly put into the story for shock value. The first three parts could be different ways to foreshadow, as there are different ways to foreshadow something happening in fiction. My ideas were a character slipping up, color and/or object symbolism, and the last one could be a character’s actions. For the last part of the weekly, it could be using all 3 of these to foreshadow at a plot twist in a piece of writing. I know that foreshadowing was already part of a weekly sometime in the past, but I think having an entire weekly on foreshadowing could be neat considering how important it is in storytelling. Each part would probably have you write a short excerpt foreshadowing at an event that’ll happen at the end of the story, and in the final part you use a slip-up, symbolism, and actions to foreshadow at a future event.

♖ | 200 words


◆ PART TWO ◆

Now that you’ve got your weekly topic, it’s time to break your topic down into 4 parts! Come up with different word based activities, whether it be brainstorming, researching and utilizing concepts, or putting a twist to things! These will usually build off of each other in one way or another, and will incorporate everything together in the final part. Your four weekly parts should be at least 150 words total.

Part One: Slip-up

Characters say things all the time in stories, dialogue often is the very core of a story and what gets the story moving. This is also why foreshadowing is often hidden in dialogue! Perhaps you can hide the twist in an off-hand comment, a slip of the tongue, or a comment. At the time, the reader will chalk it up to just regular dialogue, it’s not until later that they realize it was a hint to what’ll happen in the future. For this part of the weekly, write xx words of a story where a character’s dialogue foreshadows a plot twist.


Part Two: Symbolism

More often than not, an object has a certain meaning attached to it, whether you realize it or not. If you look around you, chances are some item near you has a hidden meaning often linked to it, which is why these are often good choices for foreshadowing! The readers will see it at a surface value, only seeing it as an object, and won’t realize the symbolic meaning it represented. For the second part of this weekly, write xx words using symbolism as foreshadowing.


Part Three: Actions

Similar to the first part of this weekly, characters do things all the time, which is debatably more important than dialogue. This shows us that hiding hidden messages in a character’s actions can be another good choice for foreshadowing. This action might seem like a quirk or something of the sort, but in reality it was the key to the ending all along. For this part of the weekly, write xx words using a character’s action to elude to the future.


Part Four: Putting it all Together

Now that we’ve explored different ways to foreshadow a plot twist, it’s time to put it all together. Come up with a short story, and an idea on what the plot twist will be. After you’ve decided, begin writing your story planting little hints of what’s to come with the three ways of foreshadowing listed above. This should be xx words to count, good luck!

♜ | 332 words


◇ PART THREE ◇

You've got your topic, you've split it up, and now you're done, right? Haha, nope! We're still missing an important part: a workshop. Workshops guide writers through what may be a new aspect of writing for them (such as a certain form of poetry, or even how to write a workshop), and provide a nice refresher to those who are already familiar with the technique. First, head over to Lora’s workshop on workshop writing here, then create your own in at least 350 words. Good luck with your workshop!

Did you know that crows symbolize death? Or that blue is often representative of sadness? Symbolism is when you use symbols to represent a different idea, which is often used in fictional writing to portray ideas without outright saying it, and also can be used to foreshadow future events. In this workshop, we’ll learn how to utilize symbolism and how it can be used in storytelling!

In order to use symbolism, you’ll first have to think about what exactly it is you want to elude to, what it is you want to symbolize. Do you want to foreshadow a character’s death? Perhaps how they’re currently feeling? What about symbolizing their motivations? Once you have an idea of what is going to be symbolized, it’s then that you’ll be able to use symbolism in writing.

Now that you’ve figured out what you’ll be symbolizing, it’s now time to think about what your symbol will be. For example, if we want to foreshadow a character’s death, we can pick out an item or animal that symbolizes death. However, depending on how subtle you want your foreshadowing to be, you may want to avoid being too on the nose with your foreshadowing. For example, a crow can symbolize death, but it’s a very well-known symbol and may seem too obvious to the reader. Instead, you can go for a more subtle approach, like a monarch butterfly, which is sometimes seen as a connection between the living and the dead. Of course, your symbol can be obvious, it depends on what type of writing you’re going for.

Now that you’ve decided what it is you’re symbolizing, and what your symbol will be, it’s now time to incorporate your symbol into your writing. Again, most of the time you’d probably want to be subtle about it. If you wave the symbol right in front of your reader’s face, they’re going to know it’s something important, and they’ll probably know that it symbolizes something. That’s why you want it to be there, but not in their face. You should try to make your symbol blend in with the rest of your writing, so they don’t think much of it until later.

DON’T:
Put more attention than needed on your symbol, don’t make it obvious that it represents something important.

Example:
Rylan smiled, walking away from the bridge until he was out of sight. A monarch butterfly landed on my hand, its orange wings flapped up and down. I stared at the butterfly, watching it perch on my hand. I eventually flicked it off and continued with my day.

If the butterfly doesn’t serve a purpose, readers are going to be suspicious of why a butterfly is there, the amount of description makes the reader know it represents something important.


DO:
Try to disguise your symbol as a sensory detail, make it seem like the only reason it’s being mentioned is to be a descriptor. Of course, you can put slightly more emphasis on your symbol but try your best not to make it stand out too much.

Example:
Rylan smiled, walking away from the bridge until he was out of sight. The leaves in the tree fluttered, falling gently. The sun shone, and water flowed. A monarch butterfly flapped by me, I ignored the nature around me and continued with my day.

Here, the monarch butterfly is disguised as just being a sensory detail due to the fact it’s sandwiched between other descriptors. This makes it so it’s not obvious that it’s symbolizing something.


There you have it! You should’ve learned how to use symbolism in your writing. Don’t make it too obvious, and try your best to make it blend in.

♖ | 616 words


◆ PART FOUR ◆

Amazing work on creating your own weeklies, writers! Now, time to see what some of your fellow SWCers have dreamt up– go to this studio and trade weeklies with somebody. Make sure that you write 200 words per part of their weekly, which should amount to 800 words total to complete this part. Good luck and happy writing <3

@Natt519's Weekly - https://scratch.mit.edu/discuss/post/8645598/

Overall, Detective Conan’s world is fairly similar to our own, which makes sense since this is a detective show and not a fantasy or sci-fi show. The creator has also stated that they try and make things as realistic as possible besides the APTX-4869 which can technically be considered sci-fi since it shrinks people. However, there are still some other aspects that feel unrealistic and should probably be kept note of.

I think one of the things I should keep in mind is that Beika has a freakishly high crime rate. This is joked about in Detective Conan’s spin-off show, and even without it it’s pretty obvious that there is an abnormally high crime rate. I mean, we have over 1000 episodes of Detective Conan, him solving a crime in each one, and yet the show takes place in only the span of a year. To be fair, not all of it is happening in Beika, but a good amount of it is.

Another thing is just the fact that teenage detectives exist. There’s like 4 of them and we all know that in real life if a teenager attempted to be a detective they probably would not be able to and would probably be stopped if they attempted to. It seems in this world they’re chill with teenagers playing detective.

I think there’s also the fact that the police are a lot more lenient because I’m no police officer but you probably shouldn’t have the suspects just…there at the crime scene. They also let Conan, a 7 year old, wander the crime scene and, sure, they tried to stop him at first but even now they haven’t done it in a while. I think the police are just a lot more lenient then they should be in the world of Detective Conan.

—

His name is Adrien Moreau, he’s a police officer in France who came to Japan for a business trip. He’s working with the police in Beika whilst here, but is not accustomed to the fact that high school detectives exist in Beika and the fact that the police really don’t care too much about the 7 year old on the crime scene.

He’s 25 years old, and became a police officer when he was 23. He’s above average height and is fairly athletic due to police training. He has dark brown hair and brown eyes. He has pale skin and is overall average looking besides his build. He wears black glasses but wears contacts while he’s working.

He has a strong sense of justice, which is part of what influences him working as a detective and he’s also intelligent as he investigates cases. However, while he typically remains composed, if you manage to make him angry it will take a long time for him to calm down. He can also be insensitive at times, but not completely on purpose. He doesn’t understand other people’s emotions very well and can sometimes accidentally be insensitive. While he does try his best to keep everyone happy, but he doesn’t particularly know how to read the room at times which can cause him to accidentally do something insensitive.

—

The general plot I had in mind was something similar to Detective Conan’s spin off show, The Culprit Hanazawa in the sense that they’re making fun of what doesn’t make sense in the series. My main idea was that our main character, Adrien, is a foreign detective from a different country which operates differently from how Beika does, seeing as the police there are much more lenient than they are in other countries.

My idea was that it would poke fun at the parts of Detective Conan that don’t make sense, like the weirdly high crime rate, the strange ways people commit murder there, and also the fact that they’re allowing literal children on crime scenes.

The story would mostly be about Adrien going through Beika on his business trip and being incredibly confused on how Beika’s police force operates and he’s also still mostly questioning the fact they allowed a 6 year old on set. Basically, Adrien would be incredibly confused due to the fact that France’s crime rate is much lower and they’re also usually not setting up complex ways to commit the crime, since a lot of the cases in Detective Conan use complex plans and unique weapons instead of just being the usual ‘they stabbed them and disposed of the weapon’.

—

Adrien sighed, rolling his head after a long 13 hour flight from France to Japan. He acted annoyed about having to leave the country, and to one not even still in Europe, but he was really excited if he were to be honest. He had always wanted to go to Japan for the culture, and he also thought that he’d be able to pick up a lot more anime merch than he could in France (Despite the fact that he seemed like the last person to watch anime, he did every day after work, it was a guilty pleasure of sorts).

That excitement was short lived at the sound of screaming coming from ahead. Adrien ran forward immediately, something coming from his long-honed police officer instincts. Arriving at the scene he can see exactly what the situation was.

Someone had just dropped dead.

Luckily, I could already hear police sirens, which was likely due to the fact an officer from the TMPD was here, since I was informed someone from the TMPD was to pick me up. I looked to the side at the sound of footsteps and sighed in relief. It was Inspector Megure, who from what I was told was an inspector for the TMPD.

“Megure!” I called out, he looked over to me, confused at first, until it clicked.

“Moreau!” He exclaimed, walking over to me. “Sorry that your first impression of Beika is, well, a crime scene, though I’m sure you can help us solve this case.”

“O-Oh! Can I really?”
“Sure, I don’t see why not.”

I did see why not but I decided to go with it.

Crouching down next to the body, there were obvious marks of strangulation on the victim’s neck.

“Ah, strangulation.”

“Are you sure?” It was a higher-pitched voice, but I assumed it was another officer. “There’s foam at her mouth. I think she was poisoned.”

I nodded, “Ah, good point, the strangulation marks were probably just to throw us off then.” I looked up to the voice next to me, “Thanks—” I paused.

Because the person who just talked to me looked no older than 7.

“Woah, woah, woah, what are you doing here! This is no place for a child!”

The kid was taken aback at this, as if the fact that children shouldn’t be at crime scenes was surprising, which was concerning. Megure then approached me, and I stared up at him.

“Whose kid is this? Why is he wandering around crime scenes?”

Megure laughed, he /laughed/ and promptly explained to me that Conan was under the care of one of the officers in the TMPD and was apparently really smart, so he helped on cases. It was not reassuring that a literal 7 year old was seeing dead bodies on a regular basis.

I paid no mind to it, I guess Japan works differently from France, and continued investigating.

Once we were about to arrest a suspect (though I was pretty sure it wasn’t them), some guy in a suit and tie sat down, talked without moving his mouth, and explained that the culprit used some complex method to commit the murder and it was actually the pilot of the plane.

What.

Why couldn’t the crime have just been they poisoned their food.

It did not need to be that complicated.

I voiced my complaints to Takagi, another officer in the TMPD as we got into the car to go to the station.

We promptly ran into another body on our way there.

“…What’s the crime rate here?”

♜ | 1334 words

Critique for Vicky!!

Hi! Nooooooooo, I promised myself that I would finally help you and actually do something useful! But you're making it so haaaarrrddddd. Anyway, YOU'RE JUST MAKING ME EVEN MORE HAPPY I'M DOING THE WRITING COMP WITH YOU (Well… speedrunning the writing comp with u). AAAAAA, I love the format, the metaphors, the backstory… basically EVERYTHING. I'M SO SORRY I'M NOT CRITIQUING WELL!!! AAAAAAAA.

Anyway, ur amazing
Eabha

Weekly #3

˚ ₊ ‧ ꒰ ა ໒ ꒱ ‧ ₊ ˚

Part 1:
Hey everyone! This weekly is about Structure and Playing with Forms of Writing. When I say ‘forms of writing’ i mean changing the colour, italics, small, big etc. Structure and forms of writing are very important aspects when writing stories, poetry, songs, but today we're going to focus on stories and slightly shifting into poetry. I've chosen this topic because it's something I'm very passionate about and LOVE it when I see people write with good structure and when i see them play with forms of writing. It's looking pretty vague right now so let me properly explain.

Structure can drastically change the impact, style and view of your writing. In this weekly i will show you how to adapt your writing into different structures to suit the vibe of your writing. This means a formal essay would be written in chunky paragraphs, whereas a playful diary would be where the words dance playfully around the page like in Liz Pichon's ‘Tom Gates’ but more about that later.

Forms of writing can really take your writing up a notch and it's really important to make sure whilst trying to vary forms of writing, you're not overdoing it making it difficult to read and in a whole too ‘funky’. The perfect balance is needed to enhance your writing, but not dominate, and i will show you how soon!

229 words

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Part 2:

Part 1: Structure in poetry
In poetry, structure is basically how the poem is organized — the “blueprint” that shapes how we read and understand it. Let's break this down into 6 parts:
1) Form - Whether the poem follows a set pattern (like a sonnet, haiku, limerick) or is free verse. e.g: A Shakespearean sonnet has 14 lines, iambic pentameter, and a rhyme scheme ABAB CDCD EFEF GG.
2) Line Length & Stanzas - How long or short the lines are. How the poem is split into stanzas (verses). e.g: Short lines can create a fast rhythm; long lines feel slower and more thoughtful.
3) Rhyme Scheme - The pattern of rhyming words at the end of lines (ABAB, AABB, etc.).
4) Meter/Rhythm - The beat or flow of stressed and unstressed syllables. e.g: Iambic pentameter (da-DUM da-DUM da-DUM da-DUM da-DUM).
5) Repetition & Patterns - Repeating words, phrases, or structures for emphasis.
6) Visual Layout - The shape of the poem on the page. e.g: Concrete/shape poems form pictures with their lines.

Now go write a poem of minimum 200 words that clearly shows at least three structural elements we have studied (e.g., rhyme scheme, stanza layout, repetition, rhythm). Choose a structure to follow, such as a set rhyme scheme (ABAB or AABB) or free verse with repeated phrases.

Part 2: Structure in story writing
Look at the workshop in part 3 of my weekly. Now go write at least 350 words in an ‘interesting’ structure.

Part 3: Playing with form in writing
Things that want to be emphasised can go in italics. i dont personally like using bold but whatever floats your boat right? Colour can also be played with, and font. These are all aspects of writing to be used. For example in this piece https://scratch.mit.edu/projects/1137695416/ by my good friend @Eabha2023 uses different fonts for flashbacks and italics for emphasis and innocent questioning. Now go play with form in your writing of a minimum of 300 words.

Part 4: Putting them both together
Now that you know how to use structure and play with form in writing, put it all together in a piece of a minimum of 500 words! Good luck!

368 words

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Part 3:

Structure in story writing

Heyyy! Welcome to my wonderfully structured workshop in how to structure when story writing! By the end of this workshop, you'll be writing in all sorts of structures set for the write vibe of your writing. So, what are you waiting for? Let's get started!

Structure in story writing is something that is constantly overlooked but those who implement the right structure in their writing outshine so many who don't think about such things.

- Formally: In letters, emails, essays and formal writing, a specific structure is needed to show seriousness. It's normally just boring paragraphs and medium-length sentences.
- Playfully: In Liz Pichon's ‘Tom Gate’ words are scattered across the page in a playful way, words like big are written very BIG or words like long are written very l o n g to show it's written by a very creative child. This can be a very fun form of writing in which you can try and vary the actual meaning of words to the way you portray them.
- Impact: This can mean things like ‘drop’ are written in a
d
r
o
oping way (i gave up halfway through XDD) to show the feeling of tears falling from your eyes. An example of structure used for impact is used in one of my favourite pieces of writing by @SnowdropSugar “to every ghost that lives eternal (and all the ones that haunt me)” which can be found here –> https://scratch.mit.edu/projects/983908613/ Snowy uses structure to show internal voices and impact the reader in a way that hits different. Furthermore, in my own writing, i have used contrasting structure here–> https://scratch.mit.edu/discuss/topic/808229/?page=24#post-8449919 where in the first part long winded sentences in big blobby paragraphs are used to show wistfulness; being caught up in their own emotions; speaking to no one and droning on an on, whereas in the second part short cutting sentences show sharpness, awareness, matureness.

As you can see, structure of writing can completely set the tone and formality of your writing, from informal diaries, to formal essays or recounts.

Now that you've been exposed to all the different structure in writing, i hope you can go out now and pay more attention to the structure of your writing.

379 words

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Part 4:

weekly #3 – weekly weekly || word count

part i. 200 words
An idea that always continues to fascinate is the topic of writing well and correctly. You could call it editing, but it’s deeper than writing right, it’s writing well. You can be technically correct with something and still churn out terrible writing. Your spelling, your punctuation, your sentence structure – they can be flawless, but if the writing itself is bland, they won't do much for you. (Although all of these are essentials, in my opinion, and when neglected can damage even the most brilliantly colorful ideas. More on that later.)
Although the subject of writing itself might be an ambitious topic, and certainly a broad one, how you write can make or mar your story. I've seen brilliant ideas ruined by poor expression countless times, which does the opposite of what writing's supposed to do. While it would be impossible to cover all the bases when writing about writing (that sentence feels as though there should be a paradox hidden somewhere, doesn’t it?), I intend to select what I consider a few essential topics and briefly overview them, hopefully leaving you with some new or useful ideas to consider next time you put pen to paper (or fingers to keyboard).

part ii. 264 words
- Weak words: These are flabby, bland words that water down your writing. Some examples are “very,” or “really” (“just” is another one that often creeps in) “suddenly,” and other such diluting words. Instead, find stronger alternatives to bolster your writing and eliminate weak words. For this part, write something without pausing to edit, then go back and refine your word choices. Try looking for synonyms.
- Colorful descriptions: Being able to describe things in fresh, bright ways can draw your reader in and capture their attention. For this part, read through the workshop below, then take a look around you for something to describe. Try not to use too many cliches or stale metaphors and similes.
- Cliches: When writing, we often sprinkle our work with cliches. Whether it be descriptive – “clear as glass” or “red as a tomato,” a character type (think “chosen one” or “wise old mentor”), or any other kind of cliche, it’s important to keep an eye on them. While using cliches is fine as long as it’s done wisely, used incautiously they will lead to writing that feels flat and unoriginal. For this part, choose one or two cliches to include in your writing. If you’re up for a bonus challenge, try rewriting it afterwards without the cliches.
- Short story: Great job! You’ve learned about a few writing techniques and tricks (or, if they’re not new to you, you’ve refreshed your memory), and now it’s time to use them. For this final part, write a short story or scene using the knowledge you’ve gleaned from the previous three parts. Have fun!

part iii. 392 words
How to write descriptions using similes and metaphors
. Welcome to the workshop on writing descriptions! We’ll look at some things to remember when writing descriptions, as well as some things to avoid. Let’s jump right into it, shall we?
. For this workshop, we’ll spend our time looking at ways to get your meaning across by comparing unfamiliar concepts to familiar ones. This is important, because when writing, you want your writer to be able to understand what you’re trying to describe. This is especially useful for works of fiction, where some concepts may be unfamiliar to readers. For example, let’s take a look at two different descriptions from a fantasy universe:

The creature growled deep in its throat, red eyes gleaming with malice. Its back was hunched, its gray fur matted, and spines sprouted from its back, along with rapidly twitching wings. There were too many legs and too many joints on those legs; it looked like something out of a nightmare. For all Mace knew, maybe it was.

The creature growled deep in its throat, multifaceted red eyes gleaming with malice. It looked like a demonic cross between a wolf, a hyena, and a dragonfly – it was covered in matted gray fur, and a row of spines sprouted along its hunched back, along with rapidly twitching wings. Foamy saliva dribbled from sharp white teeth to spatter on the ground, and its legs were disturbingly insectoid; there were too many of them, and they had too many joints. It looked like something out of a nightmare. For all Mace knew, maybe it was.

Not only is the first example more vague, it leaves the bulk of the creature's appearance to the imagination. While this isn't necessarily bad, the second should leave a much clearer image of what the creature looks like by comparing it to concepts the reader is already familiar with (wolves, hyenas, dragonflies). This is especially useful when clearing up details, such as what kind of wings it has. Notice that although neither example describes them explicitly, the second example's comparison to a dragonfly makes it reasonable to conclude that they look like insect wings.
Using comparisons to paint word-pictures in your reader's mind is an important tool for descriptive writing, especially when exploring unfamiliar or hard-to-grasp concepts. Hopefully you found this helpful! Now, get out there and start describing

part iv. words
sooo i don't have enough time to finish this sob, leaving this up for anyone who wants to use it for theirs lol

“i do not sleep well in the city. it's ironic, though. the one place where i'm safe, well feed, and have enough credits to feed myself is the place i can never sleep.

maybe it's the lights, bright harsh white, and the cyan and purple neons. the kind that give you spots in your vision if you stare at them too long. maybe that's why i find myself unable to sleep in the city.

or maybe it's the sounds. people walking, hurrying, because curfew is approaching faster than they thought it would. troopers marching back and forth, back and forth. if you listened, you'd think they're trying to keep someone out. but no. they're trying to keep the people in.

not because it's dangerous for the people. but because it's dangerous for them. they can't afford an insurrection right now. ka'ra, i'd love to join them, if only to cause the empire grief. but why would they accept me, an ad?

it's a fever dream, at most. besides, even if their cause is good, i don't know if they're doing a very good job. or, it doesn't seem that way, from the outer rim, far from the jewel of the galaxy.

at least it makes it easier to avoid the troopers. they're tired. bored. they want action. i'm able to give it to them, sometimes, when they're not busy tormenting the loth-cats. or being tormented by them.

maybe that's why i can't sleep. because i don't hear the loth-cats chattering to each other as they slink through yellow grasses. now, the only times i seem to hear them is when they scream and yowl at troopers who happen to get too close to their nest.

or maybe that's it. i can't sleep because i'm scared that the troopers are going to get too close to my nest - my home. it's sweeping season again, and they've started to sweep on a daily basis. i changed places almost five times today, and nearly got caught twice.

at least i've got jate'kara. the ka'ra really must've favored me, today. it was the second time i was much closer to being caught. at the last second, the trooper turned around.

vor entye, ca'trase.

- beatrice candelae”

Weekly 3

Part 1

Character development is an extremely important part of pretty much all fictional writing. It involves making your characters feel real, giving them backstory and personalities, overall making a much more interesting story. Character development is how you can make your characters have depth, make them feel relatable to the readers. It makes your readers get drawn into the story as it will make the writing even more believable, as well as informing them on the story more and can also help build the plot or theme.

So, what are some aspects of character development? A big part of character development is personality. Is your character joyful, bubbly and extroverted, shy and introverted, or are they a bit of both? Are they a Gryffindor, Hufflepuff, Ravenclaw or Slytherin? The reason that personality matters so much is because it can make the characters relatable to the readers, to keep them glued to your story. It can also contribute to the story’s narrative and make the story more believable.
Backstory is also another key aspect of character development, giving your character maybe a bit of mystery, maybe some hidden ambition, passion or trauma. It also helps your reader understand the character’s current decisions and choices, motivations and behaviour.

Like I just mentioned, motivations can also be useful for character development, showing what keeps them going. Character arcs can be an interesting addition to your story, watching this person change as they are influenced by events around them.

Part 2

1. For the first part of this weekly on character development, choose a few of your character’s main motivations, whether it be getting that nice hot cuppa at the end of the day or saving the Spiderverse, it’s up to you! Sum up these motivations in whatever format you want, whether it be a story or bullet points to complete this part of the weekly!

2. Now that you’ve gotten to know your character’s motivations, let’s get onto your character’s backstory. This can be important to giving context to your character’s decisions and behaviours within your story. In 200 words or more, write a short scene describing a big event in your character’s past. It could be as recent as the past year, or maybe it was decades ago for them. Good luck!

3. For this next part of the weekly, you’ll be focusing on your character’s personality. Although this may seem like a very vague topic, it is essential to character development. Write a small story/scene where your character meets someone else who is completely opposite to them, and see how they react. If your character is extroverted and excitable, make them meet someone who is quiet and calm. Maybe your character will discover something about themselves from meeting someone so different to them? Or maybe they’ll completely ignore this weird stranger. Enjoy <3

4. This weekly has focused on getting to know your character, finding out their motivations and backstory. Now it’s time to tie it all together in a short story or scene involving all of the aspects you’ve learnt about your character!

Part 3

(don’t judge my interesting attempt at a workshop lol)

A Short Guide to Character Development!

Hi! I’m Silvi and today I’ll be teaching all you need to know about character development and how to input these skills into your writing.

Why is character development so important?

To start off, character development is what gives your characters life. It creates an interesting person for your readers to interact with and can contribute to numerous aspects of your story, including the narrative and plot, relating to your readers and creating a more interesting story! Without this extremely important skill, all fictional stories would be the most boring books in the world!

What are some aspects of character development?

Personality is clearly one of the most important - or the most important - aspects of character development. Your character’s personality changes how they are viewed by the reader. If they are strong and brave, your reader will likely respect them, if they are malicious and vengeful, your reader might suspect them as a villain. Inputting personality is reasonably easy - you simply make the way they speak or think similar to how you would think a person of that personality would. If they were the villain, you might make them more aggressive or mysterious, if they were the protagonist, you might make them more heroic and kind.


Motivation can show slightly deeper parts of a character. Harry Potter was fuelled to protect Hogwarts and destroy Voldemort mainly by the death of his parents, so he could get his ultimate revenge. Katniss Everdeen was fuelled by her sister, Primrose, who she wanted desperately to keep safe

Similarly to motivation, fears/desires can show deeper parts to a character, like how Ron Weasley saw himself as Head Boy and Quidditch Captain meaning he felt overshadowed by his older siblings.

Character arcs are very common in lots of stories, showing how a character changes depending on different events. This can show how adaptable they can be and also how they develop through the story.

The way a character dresses can reveal a lot about them, like what sort of person they are and what status they have. If they are wearing fancy designer clothes they are likely very rich, if they are wearing torn clothing it might suggest they’ve been in a fight or live in poverty. You can also learn about their culture if they are wearing cultural clothing, and maybe about their religion depending on what religion it is.

How can you input this clearly and skillfully into your writing?

When inputting these into your writing, you need to make it as natural as possible. If you simply state ‘They felt stronger’ once in your writing, then it’s not going to be very clear or naturally inputted. Instead, you should show your character changing through actions, or describe their personality in gestures and the way they speak.

For example, instead of saying ‘Emily was a very shy person’ you could say ‘Emily hid underneath her hood and tried to avoid attracting attention’ to imply that she is shy instead of outright saying it.

And you have reached the end of this workshop! I hope you learnt about what character development is and how to use it, and find it useful for this weekly! Good luck <3

Part 4

Part 1
354 words

“Get up, Bella!”
I blinked my eyes open, light filtering in through cracks in the dorm forcing me to squint at the figure looming over me.
“Hi, Isaac,” I mumbled to my twin grumpily, hauling myself up onto my elbows, the hard parched soil rubbing painfully against them. I brushed a feather off my cheek, shuddering as it tickled my skin.
Isaac grinned at me. I knew that look…
“Will you come to the market with me?” He asked sweetly.
I sighed. “You can’t just smile at me to make me do what you want. It won’t work.”
He smiled even wider.
“OK, OK!” I exclaimed.
He smirked. “Seemed like it did work, then.”
I rolled my eyes. “Don’t push it.”

Half an hour later.

A variety of smells flooded my nose: the frying of deliciously charred onions from a nearby stall, the irresistible scent of gooey brownies, oozing chocolate through every crumb, the aroma of all kinds of spices, like nutmeg and cinnamon and star anise.
I shoved my way through the crowds of people, flinching every so often as I got shoved back. I despised how short I was.
Sweat trickled down the side of my head, surprisingly relieving against my dry cracked skin. The sweltering sun rose high above us, beating down, unbearably hot.

“Here we are!” Isaac told me happily.
He led me to a stall piled high with sticky buns.
I raised an eyebrow.
“Seriously?”
He frowned. “Yes…?”
I bit the inside of my cheek. “We barely have enough money to afford normal food to keep us going, let alone snacks!”
He shrugged. “It’s my money. And you can have a bite.”
I gave in. They did look pretty good. Their sticky glaze was glistening underneath the rays of the sun, cranberries and raisins scattered between the soft fluffy dough.

“Here you go!”
Isaac offered me a chunk of sticky bun. I immediately bit into it.
All sorts of flavours flooded my mouth immediately, the juicy fruits and the pillowy dough with the sugary glaze.
“It is pretty good.” I mumbled with my mouth full.
“I told you so!”

Part 2
250 words

‘I felt salty tears on my cheeks, and realised they were my own’

“Bella!” Noah yelled, clutching his chest and panting heavily. “Isaac… he’s gone.”
I frowned. “What do you mean ‘he’s gone?’” I asked, panic starting to surge through me.
Noah took a second to catch his breath. I tapped my foot impatiently. We had to find him now.
“H-He was right next to me… and then he wasn’t. I spent hours looking. I thought maybe he’d come back here. But he never leaves us. He hates being on his own!” he cried, his voice cracking.
Isaac had always reminded Noah of his brother who had died. Isaac had disappeared before… but only for an hour at most!
“We need to find him!” I told Noah urgently. “Where were you last with him?”
“We were just by the border - we were doing some pickpocketing.”
I swallowed a lump in my throat. “But that’s ages away!”

The doors burst open. Hope flooded through me.

But no. It was only Mara.

She was smiling widely, her eyes crinkling with joy.
“Noah, I found him!”
Tears stung in my eyes, rolling down my cheeks as Isaac slipped out from behind Mara’s back.
He laughed. “I was just going for a little walk! I didn’t realise you’d be that worried about me!”
I smiled through my tears and tackled him in a hug.
“We were worried.” I mumbled.
I released him from the hug.
“Well, I’m just glad you’re here now.”


Part 3
276 words

I collapsed onto the floor, pain shooting through my leg.

Gunshots echoed around me.

Shouts mingled in the air.

Fire licked at crumbling buildings.

Darkness, darkness, all around me.

“Hey, Bella. You’re OK,” came Isaac’s muffled voice.

But I knew I wasn’t. I tried to focus on my leg, squinting through the cloying smoke. A bullet was lodged deep in an ugly wound in my shin, a crimson river trickling, drizzling, flowing down my leg.
“I’m not OK, am I?” I whispered quietly.
Isaac shook his head. “We’re going to get you to a hospital, and you’ll be fine! You’ll see.”
I smiled brightly at him. Too brightly. “Thank you.”
He frowned at me. “What are you doing? You’re going to be fine, Bella!” He reassured me. I could hear the crack in his voice.
I widened my smile. “I’m not, though. I’m dying. Just stay with me here. Just for a bit. I’m scared, Isaac.”
I could see he was trying to comfort me.
“You don’t have to be scared! You’re not dying.”
I reached out my hand and relaxed as his fingers furled into mine.
I shifted towards him.

Torture. It felt like pure utter torture.

Spots clouded my vision. The voices around me muffled into silence. All I could see was the blurred face of Isaac peering at me in concern.

Darkness threatened to envelop me, caressing me softly.

I fought against it desperately, trying to stay awake.

The fear was crushing, a weight on my chest.

All of a sudden, I felt myself sipping away.

And I was nothing.

Darkness cradled my in their arms, dropping me

Down

Down




Down.


Part 4
226 words

I swung my legs over the rough edges of the wall, cutting into my legs painfully. The moment my eyes found the view, I forgot that pain.

The moon hung high in the inky sky, casting a silvery glow across the gently rippling water of the lake, illuminating a patchwork of vibrant houses along its shoreline. Thick dense forests stood beneath me, towering gnarled oaks and spindly pines, creaking in the warm breeze that tickled my skin.

I ran my hands along the dewy moss, sinking my fingers into its soft carpet.

Gentle footsteps sounded behind me. Noah slipped onto the wall next to me, eerily silent as we watched birds twisting, twirling through the wispy clouds.
“It’s beautiful.” He murmured softly.
I nodded in agreement.

A boat bobbed quietly on the water, its sails billowing. A silhouette could be seen upon its deck, sitting peacefully, perched atop the bow.

I sat there, letting the wind brush my skin, for what could have been vast eternities or mere seconds. Before I knew it, the sun was peeking above the horizon, painting the sky with streaks of amber and pink, fading into the soft blue. I smiled. This was what peace felt like. Like the calming moon, like the boat floating, floating on the lake, like the sun warm on my face. This was peace.

Daily #23

@CleverComment “To think is to compare.”

Comparing.
My brain is hardwired around it. Mindset fixed on it.
Always comparing. Always compared.
Maybe it's the jealousy of others coming on top,
Maybe it's the shadow i'm in that always grows longer,
Maybe it's the fact that i'm constantly reaching for something ‘better’ that's not there.

There's always someone better to crush my happiness;
because i don't get to like a life of happiness from success.
Only a life of restlessness, cuz it's never enough.
I am never enough.

'Why can't the world just accept me?'
Because i can't accept me.

My last art piece ‘I’ve been better'
My last stride ‘she did it better than me’
Frozen in second place with no escape.
At war with myself.

Why do i constantly feel like this?
Why don't i get to be satisfied?
WHY AM I NOT ENOUGH?

All that responds is my thundering breaths and the rush of blood in my ears.
Screaming at myself, because i'm the problem.

I'm the problem.

With me, to think is to compare.

I can't run away. I can't escape.

I’m sure all of us have at least heard of them before…whether it be in passing or if you partake in their lessons yourself…Of course, I’m talking about that green owl Duolingo! If you take those language lessons, complete it now, choose one of the sentences and comment it in the main cabin! After that, claim another comment, (whether it be your own or someone else’s!) to write a story of at least 300 words for that prompt! This daily is 250 points with an extra 100 for sharing proof!

Sentence: “I assume you are not aware he loves you” @CleverComment

“I assume you are not aware he loves you.”
Erik froze. “…what?”
Perry looked up from her book. “He loves you. Obviously. And yet you pace around my living room, complaining, and completely oblivious.” She grabbed a bookmark, before putting her book down. “For a spy, you truly aren’t too smart.”
Erik hesitated. “He couldn’t… love me. I’m not… he’s perfect. I’m… well, you know.”
Perry glared at him. “Erik I’d Use Your Full Name Here If Not For The Fact That You’ve Changed Your Name So Many Times To Conceal Your Identity That Even I Don’t Know It Anymore, what in the world are you talking about?” She got up. “Are you talking about the stuff that happened with the Hunt? I was in the Hunt! You’re not special and unworthy of love because you were basically brainwashed and literally raised as an assassin since birth.”
“I don’t… he doesn’t like me back. He’s just a friend of mine.” Erik began to walk towards the door.
“Now, hold up!” Perry stepped in front of him. “What’s your problem with yourself? Out of all the Hunt, you were the one who would actually resist the most! One could argue you were the best person in all of the Hunt, maybe the only good person who came from the Hunt! You’re amazing and deserve the world!”
Erik blinked, trying to process everything Perry had just said. “Huh. What’s your problem with yourself?”
“I don’t have a problem with myself, I’m super cool. Anyway, that’s not what we’re talking about.”
“How would I be the only good person who came from the Hunt if you also came from the Hunt, Perry?”
“I’m not a good person, I’m an awesome, cool, amazing person. There’s a difference.” Perry likely would’ve done an overdramatic hair flip if not for the fact that, since she was a cat, her hair was not very easy to flip. Erik must’ve been watching too many old human cartoons, if he’d thought of that comparison.
“Ah. So you’re saying that I’m good, but everyone else is better?”
“NO, OBVIOUSLY NOT, ERIK,” Perry responded, clearly annoyed. “You’re good, and I’m better. Everyone else would include Sharon.”
”Oh, evolution, not Sharon.” Erik chuckled. “She was literally the worst, though.”
“Yes! We’re all products of our environment, and sometimes the environment makes us super cool and good at fighting and sometimes the environment makes us Sharon.”
“What happened to Sharon anyway?”
“I heard she got—“ Perry stopped herself. “Ah. A distraction.” She stretched for a moment, before resuming their previous discussion. “Listen, just ask him out already! Worst case scenario, he decides he never wants to talk to you again and hates you forever!“
Erik flinched. “Yeah, I think I’d rather just suffer through a horrible crush for the rest of my life.”
“No, wait, let me finish. I know that’s not actually gonna happen, because you literally killed somebody, and he still was like, ‘oh, Erik? The guy who lied to me and was apparently a literal spy and assassin? Yeah, I forgive him, he’s my best friend!’”
“You know, that actually kinda makes me feel worse.”
“What?!” Perry was clearly shocked. “How? I just gave an example of how much he loves you!”
“Yeah, sure, but like…” Erik waved his hands around for a moment, hoping maybe he could explain his point without having to actually say it. When that failed, he sighed. “…maybe he shouldn’t. Maybe he’d be better off without me.”
Perry froze. “No.”
“…what?”
“Nope. No way. I know what you’re thinking, and no.”
“I don’t… know what you’re talking about.”
“You’re a terrible liar, how were you ever a spy?”
“Well, I usually got the info after being told where to look. Not much actual interaction with people.” He paused, concerned. “What… what do you think I’m gonna do?”
“You’re gonna try to stop being friends with him, trying to protect him or something stupid, and you’re just gonna break both of your hearts!”
“…nooooo…?” Yes. Yes, definitely, that was literally his plan.
“Well. You’re a fool for thinking that would fix anything.”
“I don’t… I’m not a fool!!” He glared. “Actually, you might be the fool, for thinking such an amazing wonderful person should have to deal with someone like me, let alone maybe even love someone like me!”
“Erik, have you ever considered that someone like you might be amazing and wonderful?” Her tail puffed up. Why couldn’t Erik see that he was a delightful being? It was super inconvenient.
Erik glared. “Have you ever considered that maybe I shouldn’t be forgiven? I’m a monster, Perry, and the fact that other monsters raised me doesn’t make that okay!”
Perry froze. “…do you think I’m a monster?”
Erik stopped.
And then it was silent.
Neither one of them had anything left to say.
If they did, they didn’t want to say it anyway.
“…I have to head home now, Perry,” Erik finally blurted out, before stumbling to the door.
“Wait, no—“ Perry wanted to reach out, to stop him, to get him to deny what the little voice in her head told her every day… but she also felt like she couldn’t move. Or, more realistically, like she shouldn’t.
“I’m sorry,” he whispered, before disappearing out the door.
Eventually, after maybe a quarter hour or two, she finally went back to her book, deciding she’d rather not have to continue thinking about the interaction.

NOTES
I love this sentence so much and I feel I did not do nearly as good as it deserves but oh well!!
Erik, Perry, and Basil (did I ever say Basil’s name? i don’t remember… he’s the guy Erik has a crush on and stuff) (also now that I’m thinking about it I’m not sure his name actually was Basil) are three characters I made a while ago but never actually used for anything. They’re actually based on a dream where I got to make a Marvel rip-off where everyone was anthropomorphic animals and stucky was canon, but after enough time, their story became a bit more distinct.
Erik is a wolf, Perry is a cat, and Basil is a mouse.

duolingo | july 23 daily

—


I have a problem with the secretary. You might say that we have problems… but they’re one-sided problems.
You see, the secretary is my dad’s uncle’s aunt’s dog’s owner’s mom’s sister in law’s brother twice removed’s niece, and we don't get along well. Or, at least, I don’t get along with her. She’s very nice and gives me donuts every day, but I think they’re poisoned. I have a reason for this, too! The other day, my coworker ate some donuts and the next day couldn’t come to the office because of food poisoning! The secretary said that she had heard from my coworker that he had eaten rosemary garlic chicken for dinner, and that was the cause, but no one else had heard from my coworker, so I assumed she was lying and covered it up.
Of course, the secretary is nice to everyone. She is that kind of person, but I think she has it out for me. After all, she is my dad’s uncle’s aunt’s dog’s owner’s mom’s sister in law’s brother twice removed’s niece, and that kind of person doesn’t like me.
(I have to admit it, the other day, I tentatively tried one of her donuts. She bought a dozen for me, and I really wanted to eat them, so I had to settle with eating one. It was… okay, it was really, really, really really… scrumptious and delicious. But I didn’t eat the rest of the box, because I still didn’t like her.)
Sometimes, I think the secretary pretends to not notice how much I don’t like her. But seriously, I don’t like her, and I think I’ve made that sort of obvious? I don’t know. She is my dad’s uncle’s aunt’s dog’s owner’s mom’s sister in law’s brother twice removed’s niece, and although we’ve never talked before, word moves really quickly through the line of people (there are group chats, you know). And so I have a problem with the secretary.

—
328 words
speedrun frfr

my last minute attempt to speedrun the weekly in an hour and a half

Part 1: Topic
211 words

My weekly is going to be about writing from different perspectives or points of view. First it'll go over the different points of view. First person is where the narrator is within the story. It uses “I” and “We”. Second person is where the narrator is addressing the reader! It will use “you”. Second person is less commonly used. Third person is when a narrator from outside the story describes those in it, using pronouns like “she” “he” or “they”. Within third person, there are two subgroups. Third person omniscient is when the narrator knows everything, including what the characters are thinking. Third person limited only tells the reader one person's perspective and thoughts/feelings, while staying in third person. Using different points of view can make your story a lot more interesting, creating suspense or irony. You can even make an unreliable narrator to make a great plot twist! So this is my concept of a weekly, where the campers have to write a bit in each perspective, and then for the end, tell a short story or scene from each different perspective! They'll get to experiment with each type and hopefully discover a new style of writing or strengthen a point of view they aren't used to writing in!

Part 2: Splitting The Topic - Weekly here!
341 words

Introduction:
Welcome to this week's weekly! Today you'll be experimenting with different points of view. Each is a different way to tell a narrative! You'll see how different perspectives can be useful in different ways. For example, what you're reading right now is written in second person! Keep reading to know more. But first, check out my workshop to learn about each kind and how you can use them!

Part 1: First Person
It's time to try out first person! First person is when the story is told from one of the character's perspectives. They'll use “I” “We” and “Me” throughout the story. Write 200 words of a story or scene in first person.

Part 2: Second Person
Great job! Now it's time for you to take that same story, but put it in second person! Second person addresses the reader as “you”. This perspective is less common, and you might find it a bit more difficult than first person. Write 200 words of the same scene or story in second person.

Part 3: Third Person Limited
As mentioned in the workshop, there are two ways to write in third person. Third person limited is where the narrator focuses closely on one character's perspective, but can still stay in the third person - but not jumping between the different characters. Write 200 words of your scene or story again in third person limited!

Part 4: Third Person Omniscient
This is the second way to write in third person! The narrator will describe what the characters see and hear as well as what they think and feel. Write 200 words of the same scene or story in third person Omniscient.

Conclusion
Great job! You've now written in every point of view. Hopefully you've discovered a new perspective you like, or improved your writing in a weaker perspective! You should have 800 words total:
- 200 words in first person
- 200 words in second person
- 200 words in third person limited
- 200 words in third person omniscent

Part 3: Workshop
610 words
aaaa i should be able to do this I've done this before why am i struggling so much

Welcome to my workshop on different points of view! Here we'll go over each different point of view, and how you can use these to your advantage.

Let's start with first person. First person is from the character's perspective. Use “I” and “We” to write in first person.

Example: I went to the store the other day with my friends. We decided we wanted to get snacks for our dorm room! We all really like popcorners and ended up getting the sea salt flavor. I think the kettle corn one is the best, but was too tired to argue about it.

Using first person can give the reader a deeper look into the character's mind. (“I think kettle corn is the best but was too tired to argue about it”) However, it is confined to what the character knows. For example, the reader couldn't tell you what the others thought of kettle corn popcorners. It can only show one character's perspective.

Next up is second person. In second person, the pronoun used is “you”.

Example: You walk into the kitchen, looking for a snack. But you find that your favorite yogurt bites are missing! That's okay, you can make them yourself. You first line a tray with parchment paper. Then, you mix yogurt, blueberries, and jam in a bowl, and place spoonfuls on the tray. You then put them in the freezer - they'll be done in three hours.

While second person is much less common, especially for novels, it does have some great benefits! It might draw the reader in more, because they feel like they're a part of the action! The story is now about them. It might also be ideal for writing that is informational but still a narrative.

Finally, there's third person. There are two different types of third person writing - Limited, and Omniscient. In both, a narrator from outside of the story is describing what happens to the characters. They use third person pronouns, like “he”, “she” and “they”. But what's the different between the two types?

Limited is often called “close third” because the narrator stays “close” to only one of the characters. Even though it focuses on this one person's perspective, it still uses third person pronouns. This can give the reader a deeper connection to the characters and scene.

Example: Addy stepped up onto the stage, nervous about what the judges might think. She worried they wouldn't like her, and would think she couldn't sing. But this is what she was born to do! She had to crush this audition. Addy stepped up to the mic, and let the music wash over her, opening up her mouth to sing.

Omniscient is still third person, but the narrator can jump to any person at any time. The narrator knows every character's thoughts and feelings. It can help the reader form their own thoughts and opinions about each of the characters, and have a connection to each one.

Example: Addy stepped onto the stage, nervous about what the judges might think. Miss Abby, the theater coach, was actually quite bored. She had sat through far too many auditions today. Addy was scared, but knew she couldn't mess this up. She stepped to the mic and started to sing. Miss Abby immediately sat up in her seat - she had finally found someone worth listening to!

Each perspective has it's own unique benefits - which one's your favorite? Whichever one it is, hopefully you can see that writing in different perspectives is a great way to spice up your novel in first, second, or third person! Sorry this is super short I'm speedrunning xD

Part 4: Weekly Trade w/ sunclaw68
ONLY WRITING 200 WORDS FOR EACH PART AS THATS WHATS REQUIRED

part 1
201 words
The setting for this story is the stage. It is a smaller stage than usual, it's just for community theater. It has big bright red curtains that still have vibrant color despite being years and years old. There are rows of seats, and halfway up through the auditorium there's a table where the lights are usually run from. Sitting at the table are two people, miss Abby, the theater coach, and John, the music director. The wooden floor of the stage was quite rickety and squeaked as you walked on it, it was all too easy to get a splinter from it. The seats were all faded brown, but they were comfortable cushioned chairs. In the center of the stage, there was a little X marking where to stand and a mic stand with a microphone in it. On the judge's table they had papers to evaluate the children, and various pens, pencils, and highlighters. They spread out different headshots of the kids they were judging. And, each judge had at least two emotional support drinks, usually coffee, and some water or an energy drink. The spotlights were quite bright shining onto the stage, but the house lights were also on.

part 2
217 words
The curtains are still bright despite being old because nobody is allowed to touch them, they're very percious. The seats, however, are worn down after years and years of audiences enjoying the shows. There's also the occasional piece of litter left over from the last show or from whenever someone in the cast decided to have a snack in the audience. The wooden floor of the stage is splintered from years of dancing - they also shared the stage with a ballet company for their yearly production of the nutcracker. Plus, the tap shoes had worn it down. The little tape X was put there by Miss Abby, after she was tired of kids standing too far back or off center. It was made with neon green spike tape. The mic stand with a wired mic was because they didn't have wireless mics - of course they had some mics for the show, but they couldn't afford extra wireless mics. They are a community theater after all, and spend all their budget on sets and lighting and paint. Much of what they do is on a super tight budget, as they rely on ticket sales and donations. Thank goodness there is a great community behind the theater willing to help make costumes and donate fabrics or lights and stuff.

Part 3
204 words
Addy cares deeply for the theater. She grew up watching the shows there and sitting in those worn brown seats. This is her first time auditioning though, so the hot stage lights shining down on her make her a bit nervous. She doesn't mind the splintered stage and loves the bright red curtains. She sees the theater through gold or rose tinted glasses since it's always been her dream to perform on this stage. She loves every bit of it, despite it's flaws. Miss Abby sees it through a more critical eye. She sees all the things that need to be fixed that she doesn't have the budget for. But once again, she loves it deeply and it's become her whole life. She loves the cast and loves seeing the community come together to perform and watch the great shows she puts on in the small town. She treasures the bright red curtains, doesn't let anyone touch them for fear they'll get them dirty. She cares for the theater a lot because she put a lot of work into it to get it to where it is today. She's very proud of it even though she sees many flaws, because it's her theater company.

Part 3
216 words
Addy stepped onto the stage, the bright lights shining down at her. As she walked across to the little neon green X in the center, the floor creaked beneath her. She stood on her mark, adjusting the mic stand to her height. It made a loud screeching noise as she did so. This made Miss Abby flinch a little. She was very nervous, but held her ground. She made sure to stare directly at the judges table in the middle of the room. She made eye contact, hoping it made her seem more confident. Or at least she tried to - Miss Abby seemed to be staring up at the catwalk, where one of the lights was broken. Oh well. She just had to do her best and sing. The backing track came on, filling the room with sound, giving life to the now dull brown seats. She took a deep breath in and started to sing. Miss Abby, she noticed, had looked back at her! She sat up in her rolly chair at the desk, scribbling something on the sheet in front of her. Something was happening here. John, sitting next to her, did too. He smiled a bit, looking to where Abby was standing on the stage. Was she doing well? She sure hoped so!