working on drafts and things too

anonymous asked:

I read really quickly, so when I read my own things they all seem terrible, but if I read them out loud they sound good because I'm reading it slowly. Any tips on making sentences and paragraphs longer without straying too much from the story?


My prerogative on making paragraphs needlessly longer is don’t. The whole goal of editing is to shorten your draft, not because a completed work is necessarily supposed to be short, but because a completed work is supposed to be as tight as it can be – that means no plot events that shouldn’t be there, no characters who shouldn’t be there, and no extra words clogging up the works. However, if you mean that your scenes don’t seem rich enough in detail or are flat and uninteresting, then make sure you’re using all five senses at least once to describe the setting (that means location and people around your narrator). But don’t add words just to add words – you’ll be worse off.

As for your dilemma of reading too quickly, your story’s probably fine. I wouldn’t worry.

I hope this helps! - @authors-haven

Writing Advice For The Rest Of Us

This post is my message to everyone else who also reads a lot of writing advice lists and feels frustrated and broken as a writer because so much of the near-universal advice doesn’t seem to work. 

1. Don’t write if you don’t feel like writing. Some writers thrive on forcing themselves to crank out words they hate. Uh, bully for them? Every time I try to write when I don’t feel like writing, I end up not only deleting all the crap I spew but also staying in a don’t-wanna-write mood for a lot longer than normal. If forcing the words doesn’t work for you, don’t do it. Give yourself time.

2. Editing before you start writing is fine. “Don’t do it!” they holler. “Make new words, don’t get stuck rewriting forever!” Fuck you, Hemingway reread every time he wrote and so can I. Even if you do wind up editing the whole time and not writing any new words, so what? Improving what you’ve got is perfectly worthwhile.

3. It’s okay to be a perfectionist. Sometimes it takes an hour to write a sentence. That is fine. Wordcount is not the end-all be-all of productivity; quality matters too. The “your first draft is just gonna be shitty, accept it” attitude doesn’t work for everyone.

4. Procrastination is good. Man, I seriously cannot tell you how much less stressful writing has become since I decided procrastination was a crucial part of my process and stopped feeling guilty about it. It gives you time to work through things subconsciously, and sometimes you get a whole lot of housework done in the process. Or a whole lot of Netflix-watching. Whatever. It’s okay. You’re okay.

5. Writing advice is a pile of bullshit. Yep, even this writing advice. The only writing advice you should really listen to is the stuff that comes from people who know you and your style and your flaws well. Everything else is a suggestion, and anyone who thinks their advice is a magical exception that applies to every writer is not worth your time.

You are not alone, and you are not broken, and you are not a bad writer just because your process is different from others. Hang in there.

parent trap au?

  • where Marcus and Oliver are single dads
  • Currently rivals, had a kid with someone else but the relationship didn’t work out for either of them
  • and lo and behold, they send their respective child to the same summer camp
  • Quidditch camp per se
  • these kids hate each other on sight because that rivalry of flintwood rubbed off onto their kids
  • sabotage shenanigans
  • being forced to share the same cabin
  • maybe at one point, someone’s like, “how do you not know about the time your dads dated???”
  • and as they ask around, they find out their dads used to be pretty in love with each other and they wonder what happened, hearing all these great stories
  • why do they hate each other now?
  • so the kids decide to get the dads back together when they’re done with camp
  • Begging their dad to take them to see their new best friend
  • and when the kids meet up, it’s instant ‘oh hell no’ from Marcus and Oliver, but they put on a face for the kids
  • we can have the potential evil fiance that hates kids if you guys want lol
  • anyways
  • family camping trip???
  • Marcus and Oliver falling back in love???
  • One family chasing after the other for a happily ever after???
  • pls

rnanlvnch  asked:

I have a problem with writing dialogue and that is I write too much of it, in other words my dialogues are too long. How do i make them seem long and good and important without it lasting through 20,pages? Also, how do i say, rather than show, some of the dialogues,but in a way my readers dont feel like they missed out?

cleverly asked:

hi! been following for a year or so and i’m so grateful for this blog. you’ve helped me and others out a ton. i find that when i write, my first draft is very dialogue-heavy. when i go back and edit it’s mostly to fill in the spaces between spoken word, but i always feel like i don’t have enough detail for others to see what i see. what are some ways i can improve on adding more detail? i’ve been practicing by journaling/freewriting, but this style doesn’t really find its way into my WIP. thx!

secretkeeper007 asked:

Hello! I’m writing a novel and I feel like I have a lot of dialogue. Is that okay? (It’s in 1st person POV).

Wow, a lot of synchronicity here! 

Nothing makes me close a page of fanfic faster than Wall O’Dialogue. And it’s not just fanfic: I have actually photocopied pages from a professionally edited and published book so that I could go through and write down (it was a library book) who was talking. 

Thank you all for realizing it’s an issue and looking to deal with it. 

Relentless dialogue is just as frustrating to your readers as an unparagraphed wall of text or reams of irrelevant infodump. 

tl;dr: You don’t have to kill your darlings. You do, however, have to stuff a sock in them sometimes. 

Dialogue should be like any other part of your story – essential to plot and characterization. 

If you’re writing a story in novel format, you don’t want it dominated by dialogue. That’s called a screenplay. But you’re writing a narrative; you’re struggling with things like plot and point of view. Too much dialogue can mean too little action.

Then again, your characters reveal themselves to the reader through conversation. And you might just need to slow the action down for a minute, so you have them talk. How do you sort it all out? 

Ask yourself: Is it necessary? 

Your first task: Make sure your dialogue is advancing the story or revealing character. If it’s not necessary, cut it out. Save the file … it might be useful later, but remove it from your working draft. 

Next: Break up the dialogue you still need if you haven’t already. Your four main tools for breaking up (necessary) dialogue are:

1. dialogue tags: he said, she asked, they replied. Be specific, use the character’s name if you have to, try to avoid fancy words like “he articulated.” 

2. action beats: “I’m not going,” he said, dropping the book on the floor; or 

                        Xander tossed the book on the bed. “I’m not going.”

3. inner monologue: “I don’t care what you think,” Tamsyn said. 

                             Juno was tired of her bullshit. She knew T cared. Juno was tired of her own anger. This was no way to have a relationship. But T wasn’t in a place to listen, and Juno had no other way to explain it.

                            “OK, if that’s how you feel, I’ve got nothing else,” Juno said as she turned to leave. 

Inner monologue is an excellent device for replacing dialogue that you cut out. Instead of having your characters go back and forth, put the reactions into the inner, real-time thoughts and reactions of your POV character. Sometimes, what your character does NOT say out loud is far more revealing and interesting.

4. actual action: Nothing wrong with interrupting your blathering lovelies with plot- or character-revealing action. Someone bursts into the room with news … something is happening on the TV news that’s relevant … one of your characters gets a phone call or text that is disturbing, etc… 


Another reason we resort to too much dialogue is that we are covering for a lack of description, also known as underwriting. We don’t want to insult our readers by being obvious, because part of the fun of reading is connecting the dots. It’s up to you, the writer, to make sure there are just enough dots. 

Don’t jump to conclusions without presenting the evidence first. Nobody changes their life simply because of one conversation – although one conversation can spark a series of interim changes that will have life-altering and story-altering effects.  

Maybe you need to do more research on the setting. Maybe you need to interview your characters to find out more about them – do a questionnaire or other character building exercises. 

Ask your beta readers what they think is lacking. Remember, your first draft is going to need work, so don’t get too bogged down trying to make everything perfect on the first pass. 

You can find more help here. An author shares her struggles with description here

More resources

There are additional tips in these articles here and here

If you want to learn good dialogue, read good dialogue, as recommended here and here.

– Aliya, currently feeling your pain with a dialogue-heavy section of her fanfic

Drafting: Four Methods For Highly Anxious Individuals

(This is a revised version of an old post you might have seen elsewhere.)

Is writing really fucking painful for you? Do you finish a draft of a story maybe once every forty years? Is your computer littered with outlines and abandoned beginnings? Maybe you’ve been told to “write a shitty first draft” but have no idea how to do that because writing takes so much out of you that you can’t do it without at least trying to make it goodbut when you do, you inevitably give up and hate yourself.

Chances are, you’re drafting in a way that doesn’t respect the way your mind works. You’re either 1) forcing yourself to deal with too many things at once, or 2) you’re stifling the free, imaginative, playful part of your mind with premature critical evaluation. Or, most likely, both. But you can’t just make yourself stop doing this spontaneously. You need a method of writing that interferes with those habits. Think of it as mental ergonomics. If your back is sore and your neck is stiff, you need a different chair. Similarly, if writing is agonizingly painful, you need a different drafting method.

Here are four methods you can try—or adapt, experiment with, and combine. (Nobody practices a pure version of any method.) For simplicity’s sake, I’ll talk as if you’re faced with drafting a single scene:

1) The Pitch Meeting Method

Don’t write the scene in the actual narrative voice of the story. Instead, write as if you’re describing what happens to somebody you know, somebody who’d be interested and excited about it. You could, in fact, actually address it to someone. Or write as if you’re writing a really long headcanon post.

Write the way you talk. Use your usual slang and vocal rhythms, and get all of your enthusiasm in there, everything you envision, everything you want for this scene. You could even do this out loud and record it, if that’s easier.

Let your desires run wild, even if you don’t yet know how you’re going to fulfill those desires. Say stuff like “and this part is really emotional!” without worrying about how you’re going to make it emotional.

When you’re done, go back and find parts you can elaborate on. Make the description as detailed as you can.

Once you’re happy with this description of what you’re going to write, start writing it. Translate your “sounds like you” prose into a voice more appropriate to the story. But don’t change it too much. Don’t kill the energy your own voice adds.

2) The Expanding Outline Method

This one’s similar, but it works better for folks who like to think structurally.

Make an outline of the scene. Maybe it starts with only a couple of items: two very general things that happen in the scene.

Now take one item and break it down into several items. Then break those items down into several items. Zoom in closer and closer to the action, breaking actions and events down into their constituent parts.

You can include non-event, non-external items like “Character feels [x].” You can even include things like “The reader feels [x].” But go back later and add detail to those where you can. Just keep making your outline more and more specific.

Now, following your outline, draft a prose version of the scene.

3) The Anatomy Textbook Method

For this one, you start with the scene itself, not with a plan for the scene. But don’t try to write the entire scene fully fleshed out in one go. Rather, start with a single element you’re most comfortable with. The dialogue, for instance. Or a description of the action in a bare-bones, stage-directions sort of way. Lay down a skeleton of the scene, and don’t worry if it looks a little…sparse.

Now go over it and add another element on top of that skeleton. Description, maybe. Or more details that flesh out your bare-bones description.

Keep doing this until you have a complete scene.

If you think you tend to leave a certain element out, dedicate a “layer” to that. I’m often quite sparing with characters’ emotional reactions, for instance. So I might go over the scene and do nothing but add in my character’s internal reactions to what’s happening.

You can divide the scene up however you like. The point is, each time you go over it, only focus on one element at a time.

4) The Sourdough Starter Method

This is probably the weirdest, and it might sound like the hardest, but it’s quicker and easier than it sounds. You just have to get comfortable with making a mess.

Start writing the scene, in all its nonsensical, inarticulate glory. Feel free to hate both the form and the content; just keep your head in the scene, walking your mind carefully through what happens, even if you think what happens is stupid. Don’t worry if what you write is boring or wrong or irrelevant, because you’re not actually going to use most of this.

Now read through what you’ve got. It may help to print it out. Go through what you’ve written and mark anything you kind of like or that seems promising. And if rereading what happens has given you new ideas about what should happen instead, write those ideas down too.

Review the promising bits and the new ideas. There might not be much, but that’s okay. Now, start the scene over. Wipe the slate clean and write it all again from scratch. But this time, include those good bits you discovered in the previous version.

You’re not revising that version. You’re using it as a petri dish to grow ideas for the scene. And then you completely rewrite the scene, this time with a little more focus and a better sense of what will work.

You might only do this once, but some people do it several times. It sounds labor-intensive, I know. But remember, each time you write the scene, you’re just barfing it onto the page without much critical scrutiny. And that scrutiny is mostly what makes writing feel so hard.

So those are four methods you can try. I’m sure many more exist. If you’ve tried or know about any, please send them to me!

Next post: the theory of shitty first drafts

Ask me a question or send me feedback!

Mason - Morgan Rielly

Anonymous said: Morgan Reilly one where you have a son together from your teen years but you aren’t together and he didn’t know.

A/N: Thinking this might become a multi-part imagine, so I purposely left it open. Let me know if you think I should continue :)

Requested: Yes/No

Characters: Morgan Rielly

Words: 3,422

Warnings: None

Originally posted by glovesdropped

Keep reading

3 Billion Dollars [Part 11] - G Dragon Mafia!AU

Originally posted by peaceminus8ne

Summary: When your father owes 3 billion dollars to the mafia, he must repay his debt. Although things don’t exactly go the way he hoped.

Genre: idk for this one honestly. angst?

Warning: swearing, graphic imagery, probably incorrect medical stuff, mentions of blood, my writing in general

{part 1} {part 2} {part 3} {part 4} {part 5} {part 6} {part 7} {part 8} {part 9} {part 10} {part 11} {part 12} {part 13} {part 14} {part 15} {part 16} {part 17} {part 18}

A/N: I’m so sorry. So much stuff happened this weekend and I got barely any writing done. I swear I’ll work on more stuff I promise. I have a few request I’m working on and will hopefully be posted this week. I also have a very rough draft of like two series so yeah. I’m sorry my life’s a mess. Enjoy! Please leave me stuff in my inbox I love getting things! I kinda really need some motivation to finish my last few scenarios. 

~ Admin Brooklyn


You rushed to Ji Yong’s side, kneeling down over him. He groaned on the floor, blood pooling out of his arm. The boys quickly surrounded him. You put your hands on him, lightly holding him down too quickly look at the wound. Ji Yong clutched his shoulder, putting pressure on it as he groaned and shouted out in pain.

“Ji Yong move your arm,” you say, trying to pry his hand away from his shoulder. He glared at you, his grip on his shoulder getting tighter.

“I don’t know if you can fucking tell, but I just FUCKING GOT SHOT. NO THANKS TO YOUR FUCKING EX BOYFRIEND,” he yelled. You rolled your eyes and continued to try to pry his hands away.

“If you didn’t know, I went to medical school,” you say, pulling his arm. He shouted out in pain and you rolled your eyes. “So shut up, let go of your arm, and let me fucking heal you.”

Keep reading

zethany  asked:

I am so, so, SO very sorry if this has already been asked before. I did some digging through your tags and I couldn't find answers for my particular question... So I apologize in advance if I just didn't do enough digging. I've had a lot of issues with dialogue sequences that go back and forth between two or more characters. I find myself repeating the same phrases such as, "he snickered" and "she cried." Eventually, I just end up using very convoluted word play. Do you have any suggestions?

What you’re asking about here are dialogue tags. There are two schools of thought: Vary the verbs, or don’t fret the “saids.” This is one case where the best practice probably lies somewhere in between. How far you go with different verbs vs. said is up to you as the writer.

There’s another way to break up dialogue, too. It’s my own personal preference, and that’s the use of descriptive beats, sometimes called dialogue beats, narrative beats, etc… This article here describes the two in more depth, but essentially:

Dialogue tag: “You don’t know what I want,” he shouted.

Descriptive beat: “You don’t know what I want.” He slammed the book on the table, knocking over Gena’s wine. 

Both convey anger. Both can be “the right way,” depending on your characters, your style or the needs of the scene.

I tend to write my dialogue either without any tags or just minimal tags when I get started. Often, it literally looks like this:

A: “You’re a jerk!”

B: “Yeah, but I’m your jerk.”

A: “Can’t you stop being a jerk then?”

B: “Are you saying you want to dump me?”

Then, I try to block the scene (much like blocking a stage play) so that I know what the characters are doing, where they’re standing, or other cues that can help with the descriptions. Where no description is needed, I start with said, or asked and replied if appropriate. 

Dialogue beats also help convey something I see a lot of new writers and fanfic writers shying away from, and that’s inner monologue. Your Point of View character can have thoughts during a conversation that can add insight or seamlessly add exposition to avoid infodumping. You’ll find more than a few experienced writers whose dialogue scenes have a lot more inner monologue than external dialogue. You probably just don’t realize it. [Hint: That’s a good thing.]

Favoring descriptive beats over tags means you need to make sure your readers can follow. It’s the one thing I work on the most during editing, too. Again, don’t let fretting over saids and tags and beats ruin your creative flow on your first draft. 

Here’s another good summary of the process. 

Also, make sure you punctuate your tags correctly. Not doing so can be one of those distracting mistakes that can turn readers off and I guarantee will bug the crap out of an editor. 

Now, go. Experiment. Have fun. Enjoy your characters and let them enjoy their dialogue!

– mod Aliya

How I use the keyboard on my phone to create sigils.

Okay so I love making sigils it’s super fun and relaxing for me. I also live with my phone in my hand and I love makeup so I wanted to combine the three.

I carry my face powder in my bag and I thought I’d get a little witchy with it by adding a sigil for awesome skin.

Anyway here’s how I did the thing:

I have a screenshot of the keyboard on my phone:

I open it in paint and just kinda doodle around playing with the letters that make a workable design:

(For this sigil I used “My skin is beautiful”)

Once I have the shape I like I grab some paper and a pen  so I can finalize my design(I like working my final drafts on paper, but you can totally keep the digital thing going)

I got some lines that I liked and flipped everything vertically, now it’s time to make it pretty!

This is what I came up with in the end. I’m kinda in love with it. Looks a bit like a flower. Anyway all that is left to do now is draw it on my thing and charge it. I ended up charging this under the blue moon. I realized since I took the sponge thing out there’s actually room for a spell pouch or some crystals in there too! :)

Done! Now I have a little boost of beauty every time I retouch.


Request from @lolok666can u do prompt where y/n is in class next to draco and she is trying to answer a question but dracos hand is on y/n leg or something p.s love your blog

Of course! Sorry this has been a long time in the works, I’ve had soo many requests and this has been in my drafts for a while too :/ Thank you for requesting, hope you enjoy it lovely!

Originally posted by sensualkisses

It was fourth period Transfiguration. It wasn’t your worst subject yet it wasn’t your best, either. The only good thing about this lesson so far was that you got to sit with Draco, your boyfriend of two years. You greeted him with a smile and a quick hug before pulling your books out hastily to start the lesson. Instead of being his usual chatty self, he was kind of being a bit of a tired prat. If he wasn’t doodling on his parchment, he was mumbling things that you, as his girlfriend, felt inclined to listen to. Even if it was getting really annoying really fast.

Around half way through the lesson, Draco eventually sat still for a few moments and actually began listening to what Professor McGonagall was saying. Pleased, you felt you were finally beginning to learn something; this seemed impossible these days - the content you were attempting to learn was so bloody difficult even Hermione Granger had to ask Professor McGonagall to repeat herself sometimes.

“Who here has actually read their textbook and can tell me about the Bird-Conjuring Charm?” Professor McGonagall asks. Surprised and overwhelmed from actually knowing what this was, your hand shot into the air. “Miss Y/L/N.” She says in a rather surprised tone. You smile. “Well,” You begin, cut short from the sudden skin-to-skin contact between you and Draco. Fuck - he’d decided to rest his hand on your upper inner thigh, gently caressing the skin under your skirt. You gasp, immediately throwing your hand down over Draco’s. Professor McGonagall cocks her eyebrow, throwing her glance between you and Draco. “Is everything okay, Y/L/N?” You nod your head, eagerly attempting to continue.

“The - uh - Bird-Conjuring Charm - it, uh, it is a spell that, erm, that casts a flock of birds from the end of the wand. It, er, also makes a loud noise, and, um,  there’s also smoke.” You could feel your cheeks burning bright red - you could hardly believe Draco still had his hand gently squeezing the delicate skin just below—

“Well done, Miss Y/L/N.” Professor McGonagall replies with a slight smile on her face (probably out of pity from your awful explanation and the fact that you seemed to be the only one to put your hand up). She begins to explain in detail what it actually is, but you zone out. “Draco what the fuck?” You whisper, feeling your cheeks burn red. He smirks and shrugs his shoulders. “I thought you needed some motivation.” You shake your head. “What I fucking need is to pass Transfiguration.” You justify, looking back to the front of the class, where Professor McGonagall appeared to be drawing a rather awry interpretation of the charm. You didn’t care though: you’d sworn that you’d get revenge on Draco.

codyswritings  asked:

I recently read your "What NOT to do with Assassin's" post, and wanted to ask you about them. I'm writing a story that revolves around a team of superpowered assassin's on the hunt from their organization because their latest target was a friend of theirs. They refuse to kill her, and the organization attempts to kill them. I don't know if this falls under the same category as "Biting the Hand that Feeds" or "The Atoning Assassin," but if it does, is there anyway I can make it sound better?

I’ll give you a piece of advice that’s going to save you a lot of trouble.

Tropes are descriptive. They’re not prescriptive.

TVTropes is helpful for analysis, or finding research materials. It’s helpful for figuring out what you have and what you want. It’s not puzzle pieces. If you get too caught up in them, they will own you. You’ll end up writing to them or find yourself stuck trying to get away from them instead of telling your story.

Your work is going to go through many drafts as it evolves, you’re going to change things, switch it around. It is the rare writer who churns out a perfect draft on every hit, and they’re the novelists who put out a book every ten years.

The first draft is often made of cliches, and it will seem like you’re holding a piece of coal. There’s insecurity, fear, worries about what we have and if anyone will ever want to read it. Everything is exciting and then it seems awful. When everything feels black, remember: you’ve got a diamond.

You’ve just got to put the work into polishing it. We must always begin at the beginning, which is one of the most crucial times in your creative life. (The other being the Middle). So, write the damn thing first.

When we get stuck on “is it good enough?” (and most of us do), we end up ignoring the part where we need to do in the storytelling. Give yourself time to think of ways to get past the cliches and flesh out your characters as you pursue your narrative.

There are plot twists behind the plot twists you haven’t even dreamed of yet. Give yourself a chance to get there.

Go to sites like TVTropes last instead of first, wait until you have a novel written and you’re preparing for other drafts. When you want to be able to describe what you have, because you know what it is rather than what its going to be.

As creatives, we’ve no guarantee that the story we envision in our heads is the one that ends up on the page. If we end up getting stuck fighting with it or running from it, then we’ll never get anywhere. Just let it out.

You’ve got plenty of time to make the whole thing sound better after the fact.

After all, draft number one isn’t the end. It’s another beginning. You’ve got miles more to go. Those miles will strip away the ugly, the cliche, the fears, and everything else in between.

Forget the tropes. Just do it.


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writedrun-k  asked:

hey sweetie! you see, idk if you could give me some tips on how to start a story, like, i know pretty much everything about it, i just have no idea how to begin it, that first scene just got me all stressed bc i don't know the right way to do it :(

First scenes are definitely some of the hardest things in a story. Frankly, I find it rare that I manage to write an introduction that I genuinely find good. I have noticed a few things that make me feel a bit better about it!

1) Start out with the setting. I personally find that describing where the story is taking place can help move you in by setting the tone. It’s a fairly universal method that can work for most any story. Once you’ve described the setting, you can describe where your character(s) is/are in the setting, and move along with that.

2) Consider a prologue. If there’s a lot of things to cover in order for the reader to understand right away, you may want to give them some background through a prologue. Your prologue can vary completely in style and tone. Your prologue could be a news bulletin, a conversation, a flashback, etc.

3) Don’t worry too much. More often than not, you’re gonna dislike the beginning of your story by the end of it and that’s okay. That’s what rewriting and drafts are for. You can always go back and alter it a bit later. (The novel series which I’m currently working on has had about five different beginnings, for example.) Just remember that there’s no rules to the start of a story; it can be calm, it can be involved, it can be slow. There’s no need to rush through introducing things, you have other chapters for that. You don’t need it to be a specific length, as there is no “too long” or “too short.” You just have to make it through. Fretting about how to start and how good it is will only slow you down from creating more. Sometimes, you just gotta jump straight in and worry about it later.

anonymous asked:

Hi! I'm thinking about becoming a beta reader. Thing is, I'm not known in any of my fandoms. I was wondering, is there anywhere you can sign up to be available as a beta? Thanks!

Thanks for your question, dear!  Beta reading is a great activity to take up in your free time :)  And there are a lot of different kinds of beta reading to try, too!  So first you should consider your options.

There’s one obvious first distinction: reading for original work vs. reading for fanfiction.  Your problem of having no name in your fandoms can be resolved – making an online presence in your fandom (on twitter, tumblr, facebook, etc.) is easy if you’re offering a service like this.  Still, if you find that entry difficult, there are always other outlets…

Fanfiction Beta Sites

  • – One of the two most popular fanfiction databases on the internet.  To become a beta reader, you must meet the following criteria:

1. Be a registered member for at least 1 month or more.
2. Must have published at least 5 stories on the site OR have published entries totaling at least 6,000 words.
3. Must accurately complete both the Profile and Preferences part of your beta profile.

You’ll share a bit about your personality, and what fandoms/genres/ratings you’re comfortable with reading.  Those tags will help readers to filter through the beta reading database and find you.  So make sure to decide what you’re interested in covering first!

  • Archive of Our Own (AO3) – The other most popular fanfiction website; I’m not a member there so I don’t know the exact process of becoming a beta, but I know I’ve never seen a clear-cut beta search forum there.  The link I’ve provided opens up to a search page, though – type in the Tag section, “Beta Wanted,” and sort by recently updated (+ whatever fandoms/ratings you’re interested in).  This should get you started on making connections with other writers.

Original-Work Beta Sites

(Sorted by those I’ve used to those I haven’t – not by quality!)

  • FictionPress – I recommend this first because it’s a sister site to, so the layout is nearly identical.  The difference is that it’s based on original works, not fanfic, so there’s less of a fandom-barrier to cross.
  • NaNoWriMo forums – National Novel Writing Month (more information here) takes place every November, along with similar NaNo events in April and July.  At the end of these events (and usually months afterward, too), people come away with first drafts in need of critiquing.  This is likely to yield more deep beta reading, if that’s what you’re after – but it can also be as simple as grammar and line edits.
  • Scribophile – I’ve never used this, but I’ve heard great things.  Scribophile is very community-based critiquing network, where you can read for others and also take advantage of their blog and other resources for improving your writing, getting published, and so forth.
  • Critters – I’ve also heard good things about Critters, another critiquing workshop.  This one is specific to science fiction, fantasy, and horror genres, though.  The website is a little cluttered-looking, though, so it’s not my first choice personally.

Hopefully one of these will work for you!  If you have any more questions, be sure to hit me up and I’ll get back to you within the week :)  Good luck!

If you need advice on general writing or fanfiction, you should maybe ask me!

2 in the Afternoon-Auston Matthews

Anonymous: Oh my god can you do another Auston Matthews smut?? Maybe where his gf is from Toronto and comes to visit him in Arizona over the summer after being apart for like a month or something?? 

Here you go! Hopefully you like it, I enjoyed writing it. I’ve been watching the Penguins game while editing it, so I’m sorry if there’s any mistakes. 

Requested: Yes | No

Word Count: 2790

Warnings: Smut, Swearing, mentioned start of phone sex, slight dirty talk if you squint.


“It’s about who you miss at 2 in the afternoon when you’re busy, not at 2 in the morning when you’re lonely.”

Growing up a hockey fan in Toronto was hard. My dad constantly cursing out the tv when there was a bad play or when the Leafs lost. It was like the city was losing hope and going into a downward spiral. Seats were empty, the team was tired.

It wasn’t until 2016 when the Leafs won the first draft spot in the lottery, with the idea that we would finally have found hope in the top draft prospect, Auston Matthews. After having drafted Mitchell Marner in 2015 and William Nylander in 2014, two other hockey hopefuls, we’d finally be getting a third, creating the ideal trifecta young players. Sure there was still great players currently, but we’ve been stuck in such a rut, and these guys are our hope.

Keep reading


Good morning, SMblr! This is an assignment for one of my classes; while this isn’t *exactly* a tech brief, it’s right up my alley. I took a bit of an informal approach, but I want to share in case anyone out there would find this useful/have something to add. This is still a draft. 

Of course, there is more than one way to make a calling script; some people like to set up different columns in the margins and others like the dreaded text boxes…. But this is the way that works best for me, in Word, at least. You can do the same thing in Excel too! 

@stagemanagereej this is the assignment you asked about! What do you think?

Change - Luke Hemmings

Pairing: Luke x Reader

Word Count: 2,3k

Ratings/Warnings: General Audiences, No warnings.

A/N: This was not requested and it was sitting in my drafts for quite some time. It was meant to be just an oneshot but I since I had too many things to write I decided to either make it a full fanfic or at least a mini series. Tell me what you guys think about it. I’ve also started writing part 2 (it’s almost finished btw). Reblog/like if you enjoyed it. Please leave me your thoughts and comments in my inbox. It really helps me when I get back from you to know whether you liked my work or not, so I continue writing. Happy reading! xx


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Fic: What I Did on My Summer Vacation

Here is my piece for the “Summer Vacation” prompt for the Olicity Hiatus Fic-A-Thon organized by @thebookjumper​. Read it on Ao3 or below. Hope you enjoy! 

What I Did on My Summer Vacation

“Felicity, can I read my homework project to you?”

She looked up from her computer to see William standing there with a stack of papers in his hands and a hopeful look in his eyes. The more and more time she spent with this kid, the more he reminded her of Oliver.

“School doesn’t even start until next week – how can you have homework already?”

“My teacher sent an e-mail out saying we all had to do a report on what we did over our summer vacation. My mom made me promise I would work on it here if she let me come,” William explained.

Ever since they returned from their harrowing adventure on Lian Yu a few months ago, Oliver and Samantha had worked together on the whole co-parenting thing. And really Felicity too, if she wanted to be technical about it, since she and Oliver were together. William had been spending every other weekend with them, and they even went on a short roadtrip together for a week this summer.

“OK, lay it on me,” Felicity said.

Keep reading

Hypothetical “2D and Murdoc paint their nails together” scenario under the cut:

Of the four, it’s actually 2D who’s the most prone to googling himself and the band. It’s often against his better judgement since he’s had one too many unhinged fan encounters, but he’s also maintained some of the overblown ego and self-involvement that he cultivated during the first and second albums so sometimes he just can’t help but want to read (just the positive) things that fans write about him and the band.

So one day he’s googling himself and stumbles upon all of these theories and think pieces fans and critics have written about why they think Murdoc paints (or used to paint) his pinky finger red and he starts to wonder, “well, what kind of theories would people write about me?” He also connects this to his recent, self-assigned journey to find himself. Because he knows that in his current state, he still doesn’t consider himself fully “found” he decides that it might be time to start venturing outside of his usual style and routine. So to address both thoughts he settle on it. He’s going to paints his nails.

Murdoc has always been THE nail painter of the group, and by now, he’s also become used to (resigned to?) 2D wandering in his room to use his piano. Or 2D walking in his room to borrow his necklace. Or 2D stopping by to take some darts. Or 2D sitting down in his room to meditate because Murdoc’s room is the room with the big windows and the best view of the sky + other calming scenery. When he told them he was going to install cameras into all the rooms in the house he was met with the unanimous vote that if he was going to invade everyone’s privacy, then he shouldn’t be upset if he gets the same in return. And 2D turned out to be his most frequent flyer.

So he’s not exactly phased when 2D, yet again, just waltzes into his room, but he is surprised when he starts asking about his nails and whether there’s any technique involved in nail painting and what inspired him to do it in the first place so on and so on. And at first Murdoc is just like, “For fuck’s sake. Just takes some polish and leave, please,” but then he sees 2D start to just like slosh polish onto nail’s and he’s getting it everywhere, so he quickly changes his tune to “No, you idiot. You’re doing it all wrong and you’re going to waste it all. Let me do it,” and he wipes his hand down with polish remover and neatly and precisely paints one of his nails. And 2D is like, kind of marveling at how gingerly Murdoc is doing this and how good he is at it, and he blurts this out and Murdoc just grumbles.

He ends up painting both hands. 2D offers throughout to finish them himself to which Murdoc responds, “You just nearly spilled my one bottle everywhere and you can’t even tie your own shoelaces. No.” But later, as his nails dry, 2D shoots back, “Well, if I never get to practice then I guess I’ll never know if I’m any good at this or not. Which I guess means you’ll be doing this every time” and Murdoc just rolls his eyes and lets out this melodramatic sigh. Then he thrusts both of his hands into 2D’s, and 2D’s first response is, “Why do you want to hold hands right now? You could’ve just asked…” And Murdoc grumbles back something to the effect of, “No, wtf are talking about? You wanted to practice, so you’re going to practice on me…” before also adding in that’s easier to start off by practice on someone else. And 2D’s like, flipping out for multiple reasons now, but he eventually gets out, “What…color do you want?” and after getting his answer, very tepidly starts to paints Murdoc’s nails. He goes painstakingly slow, and Murdoc sort of coaches him through it all. And when he’s finished Murdoc examines his nails and remarks that it’s “not a bad job.” And that’s that.

And later, when 2D is recounting this to Noodle and Russel at dinner, Noodle comments, “Oh, so you both painted each others nails,” which causes Murdoc to immediately interject with, “UM. WE DID NOTHING OF THE SORT HOW DARE YOU.” And Noodle laughs and responds, “You took turns holding each others hand and administering nail polish onto your finger nails. That’s painting each others nails.” And 2D is just like, “Huh. Yeah..I guess it is.” And Murdoc is still trying to fight a losing battle like, “No, that’s patently false. I was doing charity work out of the goodness of my hear, he could have never done it without me,” etc. etc. but they all know the truth.

And that’s one explanation of how “2D and Murdoc painting nails” began.

Drafts, drafts, drafts.

@danceny​ asked:

So: I don’t understand what a draft is supposed to be. (It may be because I’m not a native english speaker?) People speak of first, second, third draft and so on, the first one not being brilliant… but I have trouble understanding how different it is from an outline, and how “finished” it should look like.

Of course, it varies from one writer to another, and I realise my problem may come from not outlining enough or being too perfectionist. While I never completed any projects (yet aha), I have written “a lot” for some, and the chapters always ended up “finished” (beside some very minor revisions). Thus I’m confused as to what others mean/do with their various drafts…?

(Especially re: “the shitty first draft” as I work on a chapter until it’s “done”?) (Maybe it’s worth noting I used to publish said projects on a blog, where people read it and gave feedback, so it was understood to be a “first draft” but had to be readable.)

On First Drafts:

The method you’re using is the same thing I believe a lot of fanwriters and other writers who publish their works serially use, where they compose a chapter, finish it, go through various edits, and then have that chapter finalized so they can bring it to the public immediately. 

This is not how professionally written books (usually) work. Most novelists write the entire manuscript without editing all that much. They may go back and reread the scene they were working on the day before, or fix a few small things, but they leave the bulk of their writing exactly as they put down until every single chapter is finished. 

This is because there are many flaws you can only see once the entire story is written down. Having a detailed outline helps a lot, but no matter how much you think through your story, once a professional editor (or often times just a normal reader) gets a hold of it, they’ll pick out things you didn’t realize were there. 

Since these flaws are broad picture flaws which often stretch through many chapters, they generally require chapters to be removed or rewritten. If the writer put in the effort to polish up each chapter as they went, then having to throw away all that hard work they spent polishing it up becomes very old, very fast. 

There isn’t necessarily a right way or a wrong way to approach it, but each way offers certain benefits…

The ‘polishing up each chapter as you go’ method takes more time in the long run, but it allows you to feel confident that the chapter on its own is solid enough to publish online. This method is helpful for anyone who is trying to post their work serially and wants to have something to give their fans on a regular basis.

The ‘writing everything down before editing’ method takes less time in the long run, but means your entire manuscript sounds awful for a few drafts. This method is helpful because your ability to edit well increases exponentially once you have the full written story in front of you. 

On Second, Third, Fourth, etc, Drafts:

No matter which method you follow, you will need future drafts after your manuscript is completed. The minimum number of drafts you’ll need is entirely dependent on the complexity of the story, the number of full novels you’ve written and had thoroughly edited in the past, and the skill level of your critique partners and editors.

The key to editing is to spend the first few drafts looking at the story as a whole. Make lists of your subplots, character development, themes, character goals, etc. Re-outline your story, if that helps you. Check for pacing issues, for plot holes, for useless characters, for anything that changed from your outline and needs to be introduced differently, and all other manner of things besides prose. 

Once you’ve fixed all those, have other people read it to check that they’re interpreting everything the way you want them to, that your pacing does indeed work, that all characters are being enjoyed by someone, that the foreshadowing works in your favor, that all emotional scenes are effective, that everything fits together in your reader’s head the way it’s fitting together in yours, etc. 

You do this until your readers are understanding your book the way you meant them too. It may take two drafts or it may take five or seven or ten, depending on the complexity of the things you need understood. 

tl;dr Your first draft is complete at the point where you’ve officially written your entire story out (ie, someone could read it from beginning to end and feel like it’s a book. Possibly an awful book, but still a book.) No matter how much you edit while writing the first draft, the completion of the first draft is still just the very beginning of the writing process. 

Disclaimer; I’m sure there are many ways of writing and editing which do not follow any sort of method mentioned here, but these are the ones I know and have used in the past, so they’re what I’m talking about. This is also not meant to be an exhaustive example of how to edit, but rather of the basic schedule I like to use while editing, because it seems to work the best out of everything I’ve tried so far.  

Fools who dream (Jughead x Reader)

A/N: This is based on the La La Land soundtrack’s Audition (Fools who dream). A major thanks to @mrsjugheadjonesthethird . I LOVE YOU JAY BBY

PS : Tell me if i should continue or…


He nervously tapped his foot, waiting for his turn to be called. The waiting lounge coffee tasted like piss, and the elderly receptionist was shooting daggers at him from wreaking a havoc earlier when he accidently broke the coffee macine ( it wasn’t his fault the buttons had to be so darn delicate). So Jughead heaved a sigh of relief when he was called upon. But soon the anxiety overtook his senses and he took a few deep breathers to clear his mind before he headed in.

In the room were a man and a woman dressed in formals that Jughead so passionately despised. He handed them his draft of the Sweetwater river murder that he had chronicled so religiously and hoped to whoever sat atop the clouds to make this one thing in his life work. But as soon as he glanced at their faces, he could read the emotion all too clear..rejection. Something Jughead dealt with all his life. An emotion he knew better than the back of his hand. They threw him pity glances, and quietly slid the manuscript back to him. He threw them a forced smile, and walked out of the room trying to silence a trembling lip and tame his glossy eyes, making his way to the only safe haven he knew…Pop’s.


Y/N was fiddling with the spare hair tie she had on her wrist, waiting for the interviewers to give their verdict, whether she was in the cast or not. She felt that she had nailed it this time, the character was so like her, her mother. But she knew the result of her audition before the conductees even had a chance to open their mouth. She put on her brave face, gave everyone present in the room a kind smile, and exited. She strolled through the streets of her new home Riverdale, her feet absent-mindedly taking her to the building lit up in neons flashing Pop’s.


Part II