For frustrated writers.

Hi, I'm Grace, the main mod for this blog! Welcome to the grand experiment known as authordog. These Author Dog memes are for any writer, and if you've ever felt like you can relate to them, I've done my job. I'm happy to help with any questions you may have about writing in general, and we often have discussions about different aspects of writing, so don't be afraid to speak up. Also, we'll try to help you out if you send in some of your work to the blog - submissions are encouraged! Enjoy. And, as always, happy writing! .....................................................................
3 months ago• 236544 • Reblog

◆ Things almost every author needs to research



  • How bodies decompose
  • Wilderness survival skills
  • Mob mentality
  • Other cultures
  • What it takes for a human to die in a given situation
  • Common tropes in your genre
  • Average weather for your setting


3 months ago• 401 • Reblog
Hello ! do you guys happen to know any guides on writing woman who are pregnant?? thanks for your time !



Books are also a good point of research and there are loads of them about. I’m sure if you hit your local library, they’ll have a section for it and everything.

Best of luck…!

- enlee

4 months ago• 2057 • Reblog


(NEW COMIC)  How and why to use whom in a sentence.

4 months ago• 202889 • Reblog


when you have a really clear, utterly beautiful image of a location in your story but when you go to describe it you just


(Source: gr8writingtips)

4 months ago• 204099 • Reblog



A - Z of Unusual Words

This is beautiful. It brings tears to my eyes.


4 months ago• 20884 • Reblog


I stumbled upon a tumblr today that helps writers accurately represent characters with racial / nationalistic / religious / sexual orientation (and so on) differences than their own.

The site allows you to submit your own experiences and/or get into contact with others that have in order to enhance the depiction of characters in your creative writing.

What a great idea!

Diversity Cross Check

5 months ago• 25992 • Reblog


The storytelling elements:

1. The Contract

In the very beginning, you have to make a promise. Will this be violent? Scary? Fun? Tense? Dramatic?

2. The Pull

Keep it light in the beginning. You don’t want to scare people away by being too dense — you must trust The Contract.

3. The Incident

This is the event that sets everything in motion. Should occur early and keep the story together.

4. The Reveal

Just before the Point Of No Return, the main character learns what the story is really about.

5. Point Of No Return

The forces of good are faced with an impossible decision that concerns fear, safety, love, hate, revenge or despair.

6. Mini-Climax

Sorry, but you must allow the the forces of evil to have an epic win.

7. All-Is-Lost Moment

The moment where all is lost. You must portray the deepest despair for the forces of good.

8. News Of Hope

This is the possibility for one of the side characters to shine. A light that shines into the total darkness of the moment.

9. Climax

The shit hits the fan and the good puts everything at stake and overcomes — despite impossible odds.

10. The End

Public displays of relief and happiness, love and forgiveness. It’s great! We also learn that the hero has evolved.

Article from Doktor Spinn written by Jerry Silfwer aka Doktor Spinn

5 months ago• 1603 • Reblog

◆ Tips to Make Love Work in Fiction


Love is one of the most relatable feelings. Therefore, writers tend to feel an excruciating need to sneak some love into their stories. While this might help reaching a broader audience, it may also ruin the whole idea of your book.

Most people have been in love at least once in their lives. Even those who were never in love probably really want to be. That way, reading about love is something that people seem to enjoy. It makes them reminisce on beautiful memories or dream about a colorful future. People who usually write in a genre that appeals to only a minority often want to add some love to their stories so that more people will be interested in reading them. This is a good strategy and there’s no problem with that. In fact, having two (or more) characters fall in love is a great way to show character development and gives you room to create interesting plot twists. However, love doesn’t always work in fiction. 

If your character doesn’t have time for love, don’t throw love in your story. Hundreds of books and movies have been written about characters who are just too busy. They need to save the world or to solve a mystery or to get in a bank to rob it. And somewhere along their quest, someone of the opposite sex shows up and helps them and, by the end of the story, they live happily ever after. When did these characters fall in love? What do they appreciate about each other? What struggles have they overcome together? If you can’t give your characters time to fall in love, why would they? Making your characters kiss just to add a little romance to your story will not work. It will seem forced and make you writing less believable and relatable. In short, don’t write love if your character is too busy for work.

Don’t make your characters fall in love just because you need them to. Making two characters fall in love just for the sake of your story might ruin your plot. If you need two characters to be together, but their personalities don’t match, why would they fall in love? There are unlikely couples, indeed, and these are couples that seem to disagree on everything, yet there is something that connects them. However, if your characters don’t have anything that holds them together, making them fall in love will not come off as believable or understandable to your readers. This brings us to our next topic.

Don’t give your characters similar personalities so that they’ll fall in love. Two people usually fall in love because they have similar interests or they can have interesting conversations. Pushing two characters to be similar just so it will seem believable for them to fall in love will make your story weak. You need your characters to start walking in each other’s direction, figuratively. If you make them completely alike right in the beginning, the relationship will be predictable and boring.

Experiment with differences! While two completely different and incompatible people aren’t likely to fall in love, it’s true that opposites attract. Making two very different people fall in love can be a little cliché, but if you experiment correctly with personality differences, it can definitely work. If your characters are too different, the relationship will be predictable too because this has been done too many times. However, if they are different, but one and the same at the same time, your characters will make a cute and believable couple. 

Write with your audience, your characters and your genre in mind. This is one of the mistakes many writers make when writing fiction. While you should always write for yourself, if you’re aiming at a very specific audience, keep that in mind when writing love stories. Teenagers and older people won’t look at relationships the same way, and therefore the formula that works for one age group might not work for another one. You also need to keep your character’s personalities in mind when writing about their relationships. If your characters are very shy, they’re not likely to display their affection in public or to be very comfortable expressing their feelings right away. Also, you should always keep the genre in mind too. Some genres are prone to have love stories, others aren’t. This doesn’t mean that there are genres where you shouldn’t include a love story. What this means is that when you’re writing a romance novel, the love story should play a bigger part than when you’re writing an action book. 

Perfect relationships don’t exist. I know that couple next door seems to be happy all the time, but they’re not. Let me break this to you: Couples fight. Couples hate things about each other. Couples yell. And yet, these are the most perfect relationships you’ll ever see. Couples that can still respect each other after having said or done the most awful things during a fight are the happiest ones. You need to write believable relationships, in which your characters fight and disagree and have flaws. A flawed relationship is beautiful and, most of all, it’s real. If your characters agree about everything and like everything about each other, you’re doing something wrong. 

To sum up, always know that if you’re determined to have love in your story, you have to make room for it. You have to develop the relationship like it’s a character or your plot. You need to show the reader why these characters like each other, what made them fall for each other, what they hate about each other and what are the weaknesses of the relationship. Treat a relationship like it’s a person and you might get something very nice out of it. 

5 months ago• 20884 • Reblog


I stumbled upon a tumblr today that helps writers accurately represent characters with racial / nationalistic / religious / sexual orientation (and so on) differences than their own.

The site allows you to submit your own experiences and/or get into contact with others that have in order to enhance the depiction of characters in your creative writing.

What a great idea!

Diversity Cross Check

5 months ago• 23405 • Reblog


Show vs. Tell 

Great description of the difference.

5 months ago• 536304 • Reblog




There is a place. Like no place on Earth. A land full of wonder, mystery, and danger!

The Last Bookstore
Los Angeles, California

This place is on my bucket list to visit.

this is the only place i buy books from anymore ((and im going there tomorrow i need some new trashy romance novels)))

cool fact: up on the second floor, 1 book only costs $1. and the amount of cool books up there is endlessssss. so if you have $5 to spend well lucky you

5 months ago• 171157 • Reblog



So, let me guess— you just started a new book, right? And you’re stumped. You have no idea how much an AK47 goes for nowadays. I get ya, cousin. Tough world we live in. A writer’s gotta know, but them NSA hounds are after ya 24/7. I know, cousin, I know. If there was only a way to find out all of this rather edgy information without getting yourself in trouble…

You’re in luck, cousin. I have just the thing for ya.

It’s called Havocscope. It’s got information and prices for all sorts of edgy information. Ever wondered how much cocaine costs by the gram, or how much a kidney sells for, or (worst of all) how much it costs to hire an assassin?

I got your back, cousin. Just head over to Havocscope.

((PS: In case you’re wondering, Havocscope is a database full of information regarding the criminal underworld. The information you will find there has been taken from newspapers and police reports. It’s perfectly legal, no need to worry about the NSA hounds, cousin ;p))

Want more writerly content? Follow maxkirin.tumblr.com!


6 months ago• 113583 • Reblog


The English Language Infographic found here

7 months ago• 1879 • Reblog


Just so you all know, you have the ability to pick and choose what writing advice you want to follow. Don’t let anyone tell you they know the right way or there are no exceptions to any rule. There’s no one way to write and be wary of anyone who tells you so.

Keep these things in mind!

7 months ago• 131952 • Reblog

Writing Advice: by Chuck Palahniuk

In six seconds, you’ll hate me.
But in six months, you’ll be a better writer.

From this point forward—at least for the next half year—you may not use “thought” verbs. These include: Thinks, Knows, Understands, Realizes, Believes, Wants, Remembers, Imagines, Desires, and a hundred others you love to use.

The list should also include: Loves and Hates.
And it should include: Is and Has, but we’ll get to those later.

Until some time around Christmas, you can’t write: Kenny wondered if Monica didn’t like him going out at night…”

Instead, you’ll have to Un-pack that to something like: “The
mornings after Kenny had stayed out, beyond the last bus, until he’d had to bum a ride or pay for a cab and got home to find Monica faking sleep, faking because she never slept that quiet, those mornings, she’d only put her own cup of coffee in the microwave. Never his.”

Instead of characters knowing anything, you must now present the details that allow the reader to know them. Instead of a character wanting something, you must now describe the thing so that the reader wants it.

Instead of saying: “Adam knew Gwen liked him.” You’ll have to say: “Between classes, Gwen had always leaned on his locker when he’d go to open it. She’s roll her eyes and shove off with one foot, leaving a black-heel mark on the painted metal, but she also left the smell of her perfume. The combination lock would still be warm from her butt. And the next break, Gwen would be leaned there, again.”

In short, no more short-cuts. Only specific sensory detail: action, smell, taste, sound, and feeling.

Typically, writers use these “thought” verbs at the beginning of a paragraph (In this form, you can call them “Thesis Statements” and I’ll rail against those, later). In a way, they state the intention of the paragraph. And what follows, illustrates them.

For example:
“Brenda knew she’d never make the deadline. was backed up from the bridge, past the first eight or nine exits. Her cell phone battery was dead. At home, the dogs would need to go out, or there would be a mess to clean up. Plus, she’d promised to water the plants for her neighbor…”

Do you see how the opening “thesis statement” steals the thunder of what follows? Don’t do it.

If nothing else, cut the opening sentence and place it after all the others. Better yet, transplant it and change it to: Brenda would never make the deadline.

Thinking is abstract. Knowing and believing are intangible. Your story will always be stronger if you just show the physical actions and details of your characters and allow your reader to do the thinking and knowing. And loving and hating.

Don’t tell your reader: “Lisa hated Tom.”

Instead, make your case like a lawyer in court, detail by detail.

Present each piece of evidence. For example: “During roll call, in the breath after the teacher said Tom’s name, in that moment before he could answer, right then, Lisa would whisper-shout ‘Butt Wipe,’ just as Tom was saying, ‘Here’.”

One of the most-common mistakes that beginning writers make is leaving their characters alone. Writing, you may be alone. Reading, your audience may be alone. But your character should spend very, very little time alone. Because a solitary character starts thinking or worrying or wondering.

For example: Waiting for the bus, Mark started to worry about how long the trip would take…”

A better break-down might be: “The schedule said the bus would come by at noon, but Mark’s watch said it was already 11:57. You could see all the way down the road, as far as the Mall, and not see a bus. No doubt, the driver was parked at the turn-around, the far end of the line, taking a nap. The driver was kicked back, asleep, and Mark was going to be late. Or worse, the driver was drinking, and he’d pull up drunk and charge Mark seventy-five cents for death in a fiery traffic accident…”

A character alone must lapse into fantasy or memory, but even then you can’t use “thought” verbs or any of their abstract relatives.

Oh, and you can just forget about using the verbs forget and remember.

No more transitions such as: “Wanda remembered how Nelson used to brush her hair.”

Instead: “Back in their sophomore year, Nelson used to brush her hair with smooth, long strokes of his hand.”

Again, Un-pack. Don’t take short-cuts.

Better yet, get your character with another character, fast.
Get them together and get the action started. Let their actions and words show their thoughts. You—stay out of their heads.

And while you’re avoiding “thought” verbs, be very wary about using the bland verbs “is” and “have.”

For example:
“Ann’s eyes are blue.”

“Ann has blue eyes.”


“Ann coughed and waved one hand past her face, clearing the cigarette smoke from her eyes, blue eyes, before she smiled…”

Instead of bland “is” and “has” statements, try burying your details of what a character has or is, in actions or gestures. At its most basic, this is showing your story instead of telling it.

And forever after, once you’ve learned to Un-pack your characters, you’ll hate the lazy writer who settles for: “Jim sat beside the telephone, wondering why Amanda didn’t call.”

Please. For now, hate me all you want, but don’t use thought verbs. After Christmas, go crazy, but I’d bet money you won’t.


For this month’s homework, pick through your writing and circle every “thought” verb. Then, find some way to eliminate it. Kill it by Un-packing it.

Then, pick through some published fiction and do the same thing. Be ruthless.

“Marty imagined fish, jumping in the moonlight…”

“Nancy recalled the way the wine tasted…”

“Larry knew he was a dead man…”

Find them. After that, find a way to re-write them. Make them stronger.

(via 1000wordseveryday)

(Source: redactedbeastie)