Haven’t posted in a while. Did some quick doodles. Not thrilled with any of them, I fell out of practice or hit a art wall or something. Nothing was turning out like I wanted and these are the sad results.

1. Evangeline and Elane. Gotta say that Evangeline’s POV chapter surprised me. I thought for sure it was going to be one of the boys, but I have enjoyed her chapters so far. More than I did Cameron’s. Cameron is one of my fav characters, but I can’t get into her head. I know now that the character description for Elane was “flawless skin” and when I wrote it down for reference later I read “pale skin”. So now I want to edit it. I tried some different styles for Evangeline. Not particularly fond of either, but eventually I’ll find something I like.

2. Morrey and Cameron. I originally drew it with the braid style I had in my first sketch of Cameron but as I was reading it, it mentioned Morrey braided her hair into two braids. Could just mean he fixed 2 of her braids, but I took it to mean he rebraided her hair into 2 braids. Those braids could have been made of multiple braids…but that’s too much work for my poor hands to draw right now.

3. Ella! Couldn’t find much about her online, and I couldn’t remember any descriptions from the book aside from the blue hair, so I just went with what I thought she might look like. I may rework and release a different version later.

Anyway, almost done with the book. More later.


Some character descriptions for my novel-in-progress, entitle Tales From White House, alone with a personal fan cast (people who I might want to play my characters if it ever made it to film or television).

Take a read and ask me about my characters. My ask box is always open.

  • someone: you can tell a lot about someone from their favorite fictional characters!
  • me, nervously shoving all of my sarcastic trashbag characters with daddy issues and poor decision-making skills out of sight: um
MTV’s Season 2 Character Descriptions for Shadowhunters


This season, Clary finds herself at crossroads between her mundane life and her new Shadowhunter life. “In a way this season is about finding where your true home is,” Swimmer told MTV News.


The Institute is on lockdown when Shadowhunters returns — but Clary isn’t going to sit around and do nothing while her friend, and maybe brother, Jace is still under the merciless Valentine’s thumb. Things aren’t looking for great for this Shadowhunter. 


Poor Simon. Someone so pure shouldn’t have to endure this much pain, but it wouldn’t be Shadowhunters if Simon wasn’t suffering somehow. “There’s something that breaks your heart about Simon,” Slavkin said. “We have this great moment where he tries to go home again, but he can’t … It’s hard for him to let go of that because it’s his mom, and he loves his mom, and he loves his sister. It’s devastating.”


Watching Clary and Izzy develop a friendship in Season 1 was one of the show’s strengths. This season, however, something happens midway through the first 10 episodes that causes some serious friction between the two Shadowhunters.


Expect Alec to struggle with the fact that The Clave, the institution he’s built his entire life around, might not actually be the good guys.


At the end of the first season, Magnus and Alec shared their first kiss, and Season 2 picks up right where they left off. Meanwhile, the High Warlock of Brooklyn will also take Simon under his wing and show him what life in the Shadow World is all about, and we’ll learn more about his colorful history with Simon’s sire, Raphael.


This season, Luke is finally part of the action. His history in Idris will be explored through a series of flashbacks, and bits and pieces of his life before he was a werewolf are revealed.


Descriptive words for characters: personality traits (pt 1)

for studying, creative writing, book reviews, essays, fanfiction & other things

Nervous / scared easily

  • startled
  • afraid
  • spooked
  • tense
  • high-strung
  • on edge
  • fidgety
  • overwrought


  • bashful
  • in high spirits
  • elated
  • contented
  • joyful
  • overjoyed
  • jubilant
  • gleeful


  • sullen
  • down
  • peeved/peevish
  • cantankerous
  • querulous
  • dissatisfied
  • irritable

cold/doesn’t care

  • impassive
  • (wilfully)ignorant
  • coldblooded
  • unfeeling
  • apathetic
  • unsymphatetic
  • cold-hearted
  • blah
  • flat
  • unmoved
  • deadened


  • dramatic
  • enraged
  • heated
  • offended
  • inflamed
  • provoked
  • irrated
  • livid
  • scornful
  • splenetic
  • cranky
  • belligerent
  • acerbic


  • collected
  • unwavering
  • certain
  • composed
  • steady

has a lot of fantasy/lighthearted/playful

  • whimsical
  • light
  • blithe
  • eccentric
  • quirky
  • joyful
  • sympathetic

sudden changes/moodswings

  • impulsive
  • any way the wind blows
  • capricious
  • vagarious
  • unstable
  • volatile
  • changeable


  • cunning
  • clandestine
  • two-timing
  • insidious
  • fraudulent
  • deceptive
  • shady
  • surreptitious
  • wily
  • devious

you can trust this person/honest

  • reliable
  • loyal
  • respectable
  • solid
  • safe
  • responsible
  • true-hearted

different from most common/different from norm/strange(some positve, some negative,some neutral)

  • divergent
  • non conforming
  • atypical
  • heteroclite
  • peculiar
  • odd
  • bizarre
  • weird
  • anomalous
  • ludicrous
  • cooky
  • absurd
  • daft
  • bananas

After rereading a few descriptions of Brienne for artwork reference, I decided to calculate her actual weight and physique to see where she would stand in size compared to Jaime Lannister, just for the heck of it. I included Bobby B. and the Hound for frame-of-reference, and was surprised by the results.

GRRM has stated that “Brienne is taller than Renly and Jaime and is significantly heavier than either.” He states in that same paragraph that she is “a bit shorter than the Hound” and “roughly the same height as Robert [Baratheon].”

The first book states that Robert is “six-and-a-half feet tall”, and his height remains consistent. So Brienne stands at about 6'6" give or take an inch. The Hound is “a bit” taller than her, so I’d put him at 6'9". Brienne is also “a hand higher” than Renly (and presumably Jaime). A hand as a unit of measurement is 4 inches, so Renly and Jaime are roughly 6'2".

Renly Baratheon is described as lean, broad-shouldered, and muscular; large compared to most men, but still “lithe and lean” compared to his older brother (in his heyday, at least). Jaime (prior to his imprisonment) had a similar build. I’d imagine the difference between Renly/Jaime and Robert’s builds is similar to the difference between a quarterback and an offensive lineman. The Hound would have similar proportions to the latter.

The average NFL quarterback is 6'2" and weighs approximately 225 lbs. The average NFL O-lineman is 6'5" and 310 lbs. If we scale the O-lineman down to Jaime/Renly’s est. 6'2" (same as the Q-back), we get 274 lbs. If we scale him up to Sandor’s est. 6'9", we get 360 lbs. This would make Sandor 35 lbs lighter than Hafþór Júlíus Björnsson, the world-class strongman/actor who plays the Mountain in GOT. Since Sandor is “huge” and “muscled like a bull”, it’s not too much of a stretch to assume he actually is HJB’s weight.

Brienne, in addition to being unobjectively large and having a masculine-shaped body, also has low body fat. Her large, visible musculature (“her thick muscular chest”) and lack of (noticeable) female secondary sex characteristics reinforces this. Logically, the “significant” weight difference between her and Jaime comes from muscle and bone mass, not fat.

Even assuming Brienne is lighter than Bobby B. and we give her the 274 lb mark for the scaled-down O-lineman despite the height difference, that would make her 50 lbs heavier (“significantly heavier”) than Renly and Jaime and put her on par with an average D-linebacker. It would certainly be enough for her neck and shoulders to be distinctively thicker than the latter’s own, and make her large enough to overpower them (and the majority of men) in brute strength while still having good stamina and agility.

So, to summarize:

Renly/Jaime: 6'2" 225 lbs. Has a quarterback’s build.

Robert: 6'6" 310 lbs (in his heyday). Has an offensive lineman’s physique.

Brienne: 6'6" 274. Has a defensive linebacker’s physique. Possibly heavier, considering that she shoved a “boulder the size of a cow” over a cliffside.

The Hound: 6'9" 360-400 lbs. Has either an offensive lineman’s or a strongman’s physique.

anonymous asked:

I'm an amateur author who has absolutely no idea how to introduce characters. When I try to, it always ends up sounding really wooden and out of place, even though it's a (very) important part of the story. Do you have any advice on this?

So, here’s the first question: Is this a character who your narrator or other characters already know? Because unless this person literally doesn’t know anybody else in the story from Adam, I’d say dispense with introductions completely. If you have a first person or even third person close narrator and the best friend just walked into the room, there’s no reason to go, “My best friend, Charles, walked into the room. He’s six feet tall and has curly blond hair and a tattoo of a tomato on his left shoulder that he got when he lost a bet to his sister in 1995.” Just go, “Charles barged in with a box of busted light bulbs and said ‘Jim, I need you to help me hide these, fast.’” Character description is like description of anything else: give it to us as it becomes necessary. Nobody’s going to sit there going WHO IS THIS CHARLES PERSON AND WHAT BUSINESS DOES HE HAVE IN THIS STORY? Let it come to light naturally. Tell us about Charles’s tattoo when he takes his shirt off to staunch the bleeding when he cuts his hand open on one of those lightbulbs. Tell us he has a sister when the phone rings and it’s her. Tell us he used to have a drinking problem when someone offers him a beer and he turns it down. You don’t need to give us a character’s whole personality at a jump. 

If this is a brand new character nobody’s met before, here’s my rule of thumb: give the reader whatever the first thing is that you’d notice about them when they walk in the room. One or two sentences are usually enough, if you make them count, and then you can carry on doing that thing where you fill in the backstory as it becomes relevant. Here are a few examples from my current WIP, just to give you an idea what I mean. These are all the first sentences in which these characters are mentioned at all:

  • “Janet had appeared in the doorway, a tall forbidding blonde with crows’ feet deep as drainage ditches and a smile like the Wicked Witch of the West.”
  • “One of the reporters sat on Jackie’s right, a thirty-something blonde who would have been attractive if she wasn’t trying too hard to look twenty.”
  • “Mickey and Frank DeLuca were the first-stringers, called in on nights likely to be the rowdiest. Both were dark-haired, dark-eyed, and built like Rottweilers, heavy with muscle and bone.” 

Obviously a lot more information about these people will eventually come to light. But you don’t need that right away. Start with what’s obvious. Then dig. Hope this helps!

Little Witch Academia characters, a summary:
  • Looks like a cinnamon roll but could actually kill you: Akko
  • Looks like they could kill you but is actually a cinnamon roll: Diana
  • Looks like a cinnamon roll and is actually a cinnamon roll: Lotte
  • Looks like they could kill you and would actually kill you: Sucy
  • The sinnamon roll: Shiny Chariot
Dialogue Breakdown

Dialogue is an important part of storytelling. While I’m not perfect by any means, I definitely consider this to be my strength when it comes to writing. So hopefully I can shed some light on this subject and help those that want to improve their dialogue in some capacity.

Internalized thoughts:

  • I consider internalized thoughts dialogue said to oneself. Which is why I’m going to talk about it here.
  • I like to use dialogue for characterization, mostly. Since it really won’t move the story forward (since the character is only thinking it to themselves), I find it helps to create juxtaposition between what is said and thought.
  • Examples of how to use what is said vs. what is thought to create drama
    • Character is quiet or seems that way, and thinks a LOT more than what they say
    • A character is a liar, so they may say one thing, but we don’t know it’s a lie until they think it
    • A character is trying to examine someone or something else silently
    • A mute character
    • A character that reads minds—can be challenging but fun to write


  • Speech and creating personality:
    • Think about the way someone speaks: accents, if they use curse words, if they’re always “proper” or always using slang
    • Think about what they say vs. what they won’t. Are they falsely sweet? Always challenging someone?
    • Having one character have a saying they always use is a fun way to build personality. For instance, Ron in the Harry Potter books always saying “Bloody hell”. You can come up with your own creative “curse words” that aren’t actually curse words. That will definitely up the personality of the writing and characters.
  • Advice for writing dialogue
    • If you have trouble varying the speech between characters, I’d suggest 1. Listening to people around you and what they say and how. 2. To practice. 
    • Think about various emotions and how that can change the tone, words chosen, etc. Speech and dialogue will really speed up scenes. So if you feel like a chapter is paced a little bit too slowly, adding some dialogue between characters will speed it up.
    • If you’re stronger at description and find you never add enough dialogue, look through your piece and think about various areas that could be changed to dialogue instead of description OR scenes that could have a small but interesting conversation. 
    • On the same note, sometimes it’s easier to describe a conversation than write it all out. 
      • For example, conversations that happened in the past that someone is describing, conversations that perhaps are important to know happened in general but not in detail, etc. 
    • You don’t always have to write out the FULL conversation. A good example of this is phone conversations. Writing out all the pleasantries (greetings and polite “how are you”s) really aren’t necessary. Get the main “point” of the conversation. I.e. why it is important for the reader to know.
    •  Not every line of dialogue needs a dialogue tag (i.e. “she said”). If it’s between two people, and they’re really going at it (because they’re angry or they’re playfully bantering or something), the dialogue tags become unnecessary and honestly bog down the quick flow. Just clue the readers every few lines or so. 
    • Read your conversations out loud! Does anything sound awkward or unnatural? Hearing it will help clue you into those areas that could be changed or revised. 

Happy to answer any questions. Happy Writing!