Words To Use Instead Of ‘said’

10 Ways to Add Sizzle to Your Boring Writing

Writing that sizzles captures the reader's attention and keeps them engaged from start to finish. Whether you're an experienced writer or just starting out, there are several techniques you can use to make your writing more exciting and dynamic. Here are ten detailed ways to add sizzle to your boring writing:

1. Use Vivid Descriptions

Vivid descriptions bring your writing to life by creating a rich, immersive experience for the reader. Instead of relying on generic or bland language, use specific details that appeal to the senses. Describe how things look, sound, smell, taste, and feel to paint a vivid picture.

In Detail:

Visual Descriptions: Use color, shape, and size to create a mental image. Instead of saying "The car was old," say "The rusty, olive-green car wheezed as it pulled into the driveway."

Sound Descriptions: Incorporate onomatopoeia and detailed sound descriptions. Instead of "The music was loud," say "The bass thumped, and the high notes pierced through the night air."

Smell and Taste Descriptions: Use sensory language. Instead of "The food was good," say "The aroma of roasted garlic and herbs filled the room, and the first bite was a burst of savory flavors."

2. Show, Don't Tell

"Show, don't tell" is a fundamental writing principle that means revealing information through actions, thoughts, dialogue, and sensory details rather than straightforward exposition. This approach makes your writing more engaging and allows readers to experience the story.

In Detail:

Actions Over Exposition: Instead of telling the reader "Jane was scared," show her fear through her actions: "Jane's hands trembled as she fumbled with the lock, her breath coming in shallow gasps."

Dialogue: Use conversations to reveal character traits and emotions. Instead of "John was angry," show his anger through his words and tone: "John's voice was a low growl as he said, 'I can't believe you did this.'"

Internal Thoughts: Reveal characters' inner worlds. Instead of "Emma felt relieved," show her relief: "Emma let out a long breath she didn't realize she was holding and sank into the chair, a smile tugging at her lips."

3. Create Relatable Characters

Relatable characters are crucial for keeping readers invested in your story. Characters should have depth, including strengths, weaknesses, desires, and fears. When readers see aspects of themselves in your characters, they're more likely to care about their journeys.

In Detail:

Character Flaws: Give your characters realistic flaws. A perfect character can be boring and unrelatable. Show how these flaws impact their decisions and relationships.

Character Arcs: Ensure your characters grow and change throughout the story. A well-crafted character arc can turn a good story into a great one.

Background and Motivations: Provide backstories and motivations. Why does your character act the way they do? What drives them? This adds depth and makes them more three-dimensional.

4. Add Dialogue

Dialogue can break up large blocks of text and make your writing more dynamic. It reveals character, advances the plot, and provides opportunities for conflict and resolution. Ensure your dialogue sounds natural and serves a purpose.

In Detail:

Natural Speech: Write dialogue that sounds like real conversation, complete with interruptions, pauses, and colloquial language. Avoid overly formal or stilted speech.

Purposeful Dialogue: Every line of dialogue should have a purpose, whether it's revealing character, advancing the plot, or building tension. Avoid filler conversations that don't add to the story.

Subtext: Use subtext to add depth. Characters might say one thing but mean another, revealing their true feelings through what they don't say directly.

5. Use Strong Verbs

Strong verbs make your writing more vivid and energetic. They convey action and emotion effectively, making your sentences more powerful and engaging.

In Detail:

Action Verbs: Choose verbs that show precise actions. Instead of "She went to the store," say "She dashed to the store."

Avoid Weak Verbs: Replace weak verbs and verb phrases with stronger alternatives. Instead of "He was walking," say "He strode."

Emotionally Charged Verbs: Use verbs that convey specific emotions. Instead of "She was sad," say "She wept."

6. Vary Sentence Structure

Varying sentence structure keeps your writing interesting and prevents it from becoming monotonous. Mix short, punchy sentences with longer, more complex ones to create a rhythm that engages readers.

In Detail:

Short Sentences for Impact: Use short sentences to create tension, urgency, or emphasize a point. "He stopped. Listened. Nothing."

Complex Sentences for Detail: Use longer sentences to provide detailed descriptions or explain complex ideas. "As the sun set behind the mountains, the sky transformed into a canvas of oranges, pinks, and purples, casting a warm glow over the serene landscape."

Combine Different Structures: Mix simple, compound, and complex sentences to maintain a natural flow. Avoid repetitive patterns that can make your writing feel flat.

7. Introduce Conflict

Conflict is the driving force of any story. It creates tension and keeps readers invested in the outcome. Without conflict, your story can become stagnant and uninteresting.

In Detail:

Internal Conflict: Characters should struggle with internal dilemmas, fears, and desires. This adds depth and relatability.

External Conflict: Introduce obstacles and challenges that characters must overcome. This can be other characters, societal pressures, or natural forces.

Resolution: Show how conflicts are resolved, leading to character growth and plot progression. Ensure resolutions feel earned and satisfying.

8. Use Metaphors and Similes

Metaphors and similes add creativity and depth to your writing. They help readers understand complex ideas and emotions by comparing them to familiar experiences.

In Detail:

Metaphors: Directly state that one thing is another to highlight similarities. "Time is a thief."

Similes: Use "like" or "as" to make comparisons. "Her smile was like sunshine on a rainy day."

Avoid Clichés: Create original comparisons rather than relying on overused phrases. Instead of "busy as a bee," find a fresh analogy.

9. Create Suspense

Suspense keeps readers on the edge of their seats, eager to find out what happens next. Use foreshadowing, cliffhangers, and unanswered questions to build tension and anticipation.

In Detail:

Foreshadowing: Drop subtle hints about future events. This creates anticipation and a sense of inevitability.

Cliffhangers: End chapters or sections with unresolved tension or unanswered questions to compel readers to keep going.

Pacing: Control the pace of your story to build suspense. Slow down for crucial moments and speed up during action scenes.

10. Edit Ruthlessly

Great writing often emerges during the editing process. Be willing to cut unnecessary words, tighten your prose, and refine your sentences. Editing improves clarity, pace, and overall readability.

In Detail:

Cut Redundancies: Remove unnecessary words and repetitive phrases. "In my opinion, I think" can be reduced to "I think."

Focus on Clarity: Ensure each sentence conveys its intended meaning clearly and concisely.

Proofread: Check for grammar, punctuation, and spelling errors. A polished manuscript reflects professionalism and attention to detail.

How to avoid White Room Syndrome

by Writerthreads on Instagram

A common problem writers face is "white room syndrome"—when scenes feel like they’re happening in an empty white room. To avoid this, it's important to describe settings in a way that makes them feel real and alive, without overloading readers with too much detail. Here are a few tips below to help!

Focus on a few key details

You don’t need to describe everything in the scene—just pick a couple of specific, memorable details to bring the setting to life. Maybe it’s the creaky floorboards in an old house, the musty smell of a forgotten attic, or the soft hum of a refrigerator in a small kitchen. These little details help anchor the scene and give readers something to picture, without dragging the action with heaps of descriptions.

Engage the senses

Instead of just focusing on what characters can see, try to incorporate all five senses—what do they hear, smell, feel, or even taste? Describe the smell of fresh bread from a nearby bakery, or the damp chill of a foggy morning. This adds a lot of depth and make the location feel more real and imaginable.

Mix descriptions with actions

Have characters interact with the environment. How do your characters move through the space? Are they brushing their hands over a dusty bookshelf, shuffling through fallen leaves, or squeezing through a crowded subway car? Instead of dumping a paragraph of description, mix it in with the action or dialogue.

Use the setting to reflect a mood or theme

Sometimes, the setting can do more than just provide a backdrop—it can reinforce the mood of a scene or even reflect a theme in the story. A stormy night might enhance tension, while a warm, sunny day might highlight a moment of peace. The environment can add an extra layer to what’s happening symbolically.

Here's an example of writing a description that hopefully feels alive and realistic, without dragging the action:

The bookstore was tucked between two brick buildings, its faded sign creaking with every gust of wind. Inside, the air was thick with the scent of worn paper and dust, mingling with the faint aroma of freshly brewed coffee from a corner café down the street. The wooden floorboards groaned as Ella wandered between the shelves, her fingertips brushing the spines of forgotten novels. Somewhere in the back, the soft sound of jazz crackled from an ancient radio.

Hope these tips help in your writing!

Oh my gosh. I just found this website that walks you though creating a believable society. It breaks each facet down into individual questions and makes it so simple! It seems really helpful for worldbuilding!

If your plot feels flat, STUDY it! Your story might be lacking...

Stakes - What would happen if the protagonist failed? Would it really be such a bad thing if it happened?

Thematic relevance - Do the events of the story speak to a greater emotional or moral message? Is the conflict resolved in a way that befits the theme?

Urgency - How much time does the protagonist have to complete their goal? Are there multiple factors complicating the situation?

Drive - What motivates the protagonist? Are they an active player in the story, or are they repeatedly getting pushed around by external forces? Could you swap them out for a different character with no impact on the plot? On the flip side, do the other characters have sensible motivations of their own?

Yield - Is there foreshadowing? Do the protagonist's choices have unforeseen consequences down the road? Do they use knowledge or clues from the beginning, to help them in the end? Do they learn things about the other characters that weren't immediately obvious?

More medieval dyes for y'all!

How I learned to write smarter, not harder

(aka, how to write when you're hella ADHD lol)

A reader commented on my current long fic asking how I write so well. I replied with an essay of my honestly pretty non-standard writing advice (that they probably didn't actually want lol) Now I'm gonna share it with you guys and hopefully there's a few of you out there who will benefit from my past mistakes and find some useful advice in here. XD Since I started doing this stuff, which are all pretty easy changes to absorb into your process if you want to try them, I now almost never get writer's block.

The text of the original reply is indented, and I've added some additional commentary to expand upon and clarify some of the concepts.

As for writing well, I usually attribute it to the fact that I spent roughly four years in my late teens/early 20s writing text roleplay with a friend for hours every single day. Aside from the constant practice that provided, having a live audience immediately reacting to everything I wrote made me think a lot about how to make as many sentences as possible have maximum impact so that I could get that kind of fun reaction. (Which is another reason why comments like yours are so valuable to fanfic writers! <3) The other factors that have improved my writing are thus: 1. Writing nonlinearly. I used to write a whole story in order, from the first sentence onward. If there was a part I was excited to write, I slogged through everything to get there, thinking that it would be my reward once I finished everything that led up to that. It never worked. XD It was miserable. By the time I got to the part I wanted to write, I had beaten the scene to death in my head imagining all the ways I could write it, and it a) no longer interested me and b) could not live up to my expectations because I couldn't remember all my ideas I'd had for writing it. The scene came out mediocre and so did everything leading up to it. Since then, I learned through working on VN writing (I co-own a game studio and we have some visual novels that I write for) that I don't have to write linearly. If I'm inspired to write a scene, I just write it immediately. It usually comes out pretty good even in a first draft! But then I also have it for if I get more ideas for that scene later, and I can just edit them in. The scenes come out MUCH stronger because of this. And you know what else I discovered? Those scenes I slogged through before weren't scenes I had no inspiration for, I just didn't have any inspiration for them in that moment! I can't tell you how many times there was a scene I had no interest in writing, and then a week later I'd get struck by the perfect inspiration for it! Those are scenes I would have done a very mediocre job on, and now they can be some of the most powerful scenes because I gave them time to marinate. Inspiration isn't always linear, so writing doesn't have to be either!

Some people are the type that joyfully write linearly. I have a friend like this--she picks up the characters and just continues playing out the next scene. Her story progresses through the entire day-by-day lives of the characters; it never timeskips more than a few hours. She started writing and posting just eight months ago, she's about an eighth of the way through her planned fic timeline, and the content she has so far posted to AO3 for it is already 450,000 words long. But most of us are normal humans. We're not, for the most part, wired to create linearly. We consume linearly, we experience linearly, so we assume we must also create linearly. But actually, a lot of us really suffer from trying to force ourselves to create this way, and we might not even realize it. If you're the kind of person who thinks you need to carrot-on-a-stick yourself into writing by saving the fun part for when you finally write everything that happens before it: Stop. You're probably not a linear writer. You're making yourself suffer for no reason and your writing is probably suffering for it. At least give nonlinear writing a try before you assume you can't write if you're not baiting or forcing yourself into it!! Remember: Writing is fun. You do this because it's fun, because it's your hobby. If you're miserable 80% of the time you're doing it, you're probably doing it wrong!

2. Rereading my own work. I used to hate reading my own work. I wouldn't even edit it usually. I would write it and slap it online and try not to look at it again. XD Writing nonlinearly forced me to start rereading because I needed to make sure scenes connected together naturally and it also made it easier to get into the headspace of the story to keep writing and fill in the blanks and get new inspiration. Doing this built the editing process into my writing process--I would read a scene to get back in the headspace, dislike what I had written, and just clean it up on the fly. I still never ever sit down to 'edit' my work. I just reread it to prep for writing and it ends up editing itself. Many many scenes in this fic I have read probably a dozen times or more! (And now, I can actually reread my own work for enjoyment!) Another thing I found from doing this that it became easy to see patterns and themes in my work and strengthen them. Foreshadowing became easy. Setting up for jokes or plot points became easy. I didn't have to plan out my story in advance or write an outline, because the scenes themselves because a sort of living outline on their own. (Yes, despite all the foreshadowing and recurring thematic elements and secret hidden meanings sprinkled throughout this story, it actually never had an outline or a plan for any of that. It's all a natural byproduct of writing nonlinearly and rereading.)

Unpopular writing opinion time: You don't need to make a detailed outline.

Some people thrive on having an outline and planning out every detail before they sit down to write. But I know for a lot of us, we don't know how to write an outline or how to use it once we've written it. The idea of making one is daunting, and the advice that it's the only way to write or beat writer's block is demoralizing. So let me explain how I approach "outlining" which isn't really outlining at all.

I write in a Notion table, where every scene is a separate table entry and the scene is written in the page inside that entry. I do this because it makes writing nonlinearly VASTLY more intuitive and straightforward than writing in a single document. (If you're familiar with Notion, this probably makes perfect sense to you. If you're not, imagine something a little like a more contained Google Sheets, but every row has a title cell that opens into a unique Google Doc when you click on it. And it's not as slow and clunky as the Google suite lol) (Edit from the future: I answered an ask with more explanation on how I use Notion for non-linear writing here.) When I sit down to begin a new fic idea, I make a quick entry in the table for every scene I already know I'll want or need, with the entries titled with a couple words or a sentence that describes what will be in that scene so I'll remember it later. Basically, it's the most absolute bare-bones skeleton of what I vaguely know will probably happen in the story.

Then I start writing, wherever I want in the list. As I write, ideas for new scenes and new connections and themes will emerge over time, and I'll just slot them in between the original entries wherever they naturally fit, rearranging as necessary, so that I won't forget about them later when I'm ready to write them. As an example, my current long fic started with a list of roughly 35 scenes that I knew I wanted or needed, for a fic that will probably be around 100k words (which I didn't know at the time haha). As of this writing, it has expanded to 129 scenes. And since I write them directly in the page entries for the table, the fic is actually its own outline, without any additional effort on my part. As I said in the comment reply--a living outline!

This also made it easier to let go of the notion that I had to write something exactly right the first time. (People always say you should do this, but how many of us do? It's harder than it sounds! I didn't want to commit to editing later! I didn't want to reread my work! XD) I know I'm going to edit it naturally anyway, so I can feel okay giving myself permission to just write it approximately right and I can fix it later. And what I found from that was that sometimes what I believed was kind of meh when I wrote it was actually totally fine when I read it later! Sometimes the internal critic is actually wrong. 3. Marinating in the headspace of the story. For the first two months I worked on [fic], I did not consume any media other than [fandom the fic is in]. I didn't watch, read, or play anything else. Not even mobile games. (And there wasn't really much fan content for [fandom] to consume either. Still isn't, really. XD) This basically forced me to treat writing my story as my only source of entertainment, and kept me from getting distracted or inspired to write other ideas and abandon this one.

As an aside, I don't think this is a necessary step for writing, but if you really want to be productive in a short burst, I do highly recommend going on a media consumption hiatus. Not forever, obviously! Consuming media is a valuable tool for new inspiration, and reading other's work (both good and bad, as long as you think critically to identify the differences!) is an invaluable resource for improving your writing.

When I write, I usually lay down, close my eyes, and play the scene I'm interested in writing in my head. I even take a ten-minute nap now and then during this process. (I find being in a state of partial drowsiness, but not outright sleepiness, makes writing easier and better. Sleep helps the brain process and make connections!) Then I roll over to the laptop next to me and type up whatever I felt like worked for the scene. This may mean I write half a sentence at a time between intervals of closed-eye-time XD

People always say if you're stuck, you need to outline.

What they actually mean by that (whether they realize it or not) is that if you're stuck, you need to brainstorm. You need to marinate. You don't need to plan what you're doing, you just need to give yourself time to think about it!

What's another framing for brainstorming for your fic? Fantasizing about it! Planning is work, but fantasizing isn't.

You're already fantasizing about it, right? That's why you're writing it. Just direct that effort toward the scenes you're trying to write next! Close your eyes, lay back, and fantasize what the characters do and how they react.

And then quickly note down your inspirations so you don't forget, haha.

And if a scene is so boring to you that even fantasizing about it sucks--it's probably a bad scene.

If it's boring to write, it's going to be boring to read. Ask yourself why you wanted that scene. Is it even necessary? Can you cut it? Can you replace it with a different scene that serves the same purpose but approaches the problem from a different angle? If you can't remove the troublesome scene, what can you change about it that would make it interesting or exciting for you to write?

And I can't write sitting up to save my damn life. It's like my brain just stops working if I have to sit in a chair and stare at a computer screen. I need to be able to lie down, even if I don't use it! Talking walks and swinging in a hammock are also fantastic places to get scene ideas worked out, because the rhythmic motion also helps our brain process. It's just a little harder to work on a laptop in those scenarios. XD

In conclusion: Writing nonlinearly is an amazing tool for kicking writer's block to the curb. There's almost always some scene you'll want to write. If there isn't, you need to re-read or marinate.

Or you need to use the bathroom, eat something, or sleep. XD Seriously, if you're that stuck, assess your current physical condition. You might just be unable to focus because you're uncomfortable and you haven't realized it yet.

Anyway! I hope that was helpful, or at least interesting! XD Sorry again for the text wall. (I think this is the longest comment reply I've ever written!)

And same to you guys on tumblr--I hope this was helpful or at least interesting. XD Reblogs appreciated if so! (Maybe it'll help someone else!)

Naming Systems

For the humans and tieflings of Baldur's Gate (and half-orcs and half-elves who follow human naming systems rather than that of their non-human culture) Dwarves, elves and others will be done another time to save space.

Obviously I imagine you've all named your Tavs and Durges by now, but idk, I felt like doing this and maybe you've got random background OCs to name.

Sometimes people like to name their kids after gods. Like "Helm" and "Torm".

Chondathan

By far the most common names and surnames in Baldur's Gate (including non-human names).

Quite often people have no official surnames and use locations and vocations as surnames, like in real life (Blackgate, Cliffgate, Tumbledown, Tailor, Gardner)

Families of Cormyrean descent usually favour portmanteau surnames: Evenwood, Breakwood, Ironwinter, Summergate, Amblecrown, etc.

Residents of the Dalelands who move abroad often use the name of their Dale and shorten it. For example, Barantra from Tasseldale upon moving to Baldur's Gate would call herself "Barantra Tassel" and her descendants might continue to use that as a surname.

Dales: Archen, Scar, Tassel, Deeping, Harrow, Battle, Feather, High, Mistle, Shadow, Moon*, Sessren*, Tarkhal*, Teshen*, Dagger, Merry* *These dales have fallen to history. In the case of Merrydale, the name was changed to Daggerdale after an incident involving a brutal vampire infestation that led to a lot of violence and made everybody suspicious and hostile, so these surnames would indicate it's been a long time since your ancestors left the Dalelands.

Sembian families like to invent newer and grander surnames, in an attempt to make themselves look rich and important. This is less likely to be seen in the Western Heartlands, but I suppose it still may occur. Families often hyphenate their names so you might meet "Shandri Clarandal-Tarlroyal", or "Roakyn Dauncrown-Sardar"

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Canon common given names: Masculine: Darvin, Dorn, Evendur, Gorstag, Grim, Helm, Malark, Morn, Randal, Stedd. Feminine: Arveene, Esvele, Jhessail, Kerri, Lureene, Miri, Rowan, Shandri, Tessele. (Plus a few dozen more I'm not typing out)

While the following isn't exactly canon I feel like you can get a name that "sounds about right" by breaking the syllables down and shoving on a syllable that goes on the end.

Like with the names "Lureene" and "Arveene", the ending is "eene" and you get the syllables "Lur" and "Arv". Then you could get new names by taking, idk, "Kerri" and "Miri". Ker+ri, Mi+ri = Lurri and Kereene and Arvri. Mieene doesn't really sound right, but idk.

Syllables Dar, Dor, D, Even, Gor, Gors, Gr, Mal, M, Rand, Ran, St, S, Arv, Esv, Jhes, Ker, Shand, Bev, Tes, Al, Ald, Alvae, And, Gal, Galag, Cath, Coran, Bold, Bol, Elbas, Ind, Jath, Ont, Prend, Baran, Coel, Dar, Em, Shar, Galiy, Hael, Saldv, Dal, Torv, Varan, Joy, Sar, Pip, Nan, Zor, Nok, Rorn, Far, Soor, Mi

Endings Masculine: -in, -vin, -orn, -dur, -ur, -tag, -stag, -im, -ark, -al, -dal, -edd, -arl, -rel, -rus, -us, -or, -ion, -stion, -ond, -dor, -yn, -dyn, -yk, -ryk, -ke, -il

Gorion, Darvin, Malryk, Tesor, Jathstag...

Feminine: -eene, -ele, -sail, -ri, -dra, -tra, -ra, -la, -ria, -ara, -arra, -one, -ue, -due, -syl, -ala, -ys, -ae, -naem, -ice, -e

Shandra, Miele, Darla, Arvone, Sarice, Cathtra, Bevra...

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Alzhedo

The second most common group of names heard in the Gate, although early in the city's history I suspect Calishite and Illuskan names were more common. I note that "Jaheira" is likely an Alzhedo name (which makes sense, she's from Tethyr).

So, Calishite filial piety and subsequent naming standards are very detailed and specific: "A person is worthless without the identity gained by his name and that of his family."

A slave will have their given name and the name of the family that "owns" them. A large part of the population of Baldur's Gate are descended from former slaves, exiles and dissidents of the Calishite Shoon Empire, and would likely have originally borne names under that system.

In this case it's [name] adh [master's surname] So for example, Hamlil adh Tahandral. It's possible that it Hamlil had migrated northwards with her family that one of her descendants might be Miri Tahandral or something.

A freeman would list their title/s, their given name, their matronym or patronym, their family name, and their home town.

So if your name is Aseid, your father is Haseir, you're of House Dumein and you live in Baldur's Gate then: your full name, in the traditional manner, is "Aseid yn Haseir el Dumein yi Baldur's Gate," while if you have a sister, Ceidil daughter of Atala is called "Ceidil yr Atala el Dumein yi Baldur's Gate."

Adding your hometown onto the end is usually not necessary, and using it all the time is a sign of civic pride.

Diaspora, such as the Baldurians, usually drop the articles. Aseid Haseir Dumein Ceidil Atala Dumein.

Aseid may chose to use a matronym, Aseid Atala. This deliberately draws attention to her identity over her husband's which is unusual. It implies that his mother is particularly high ranking or infamous. Likewise Cidil may name herself Ceidil Haseir.

Clergy traditionally replace their family with their god, so if Aseid decides to go to the Rose Portal shrine and take up life in service to Lathander, he will be "Aseid el Lathander" or "Aseid Lathander".

Syllables As, Am, And, Bard, Has, Khem, Khe, Meh, Sud, Sudei, Zash, At, Ceid, Cei, Ha, Ham, Jah, Jas, Mei, Meil, Seip, Sei, Yash, Bash, Dum, Jas, Khal, Kha, Most, Mos, Pash, Amj, Tah, Tahan, Bhal, Mjo

Endings: M: -eid, -eir, -ed, -med, -en, -men, -man, -ad, -id, -al, -ein, -an, -ar, -ein, -san, -ir

Amen, Mehsan, Khemad, Zashein...

F: -ala, -edia, -eira, -eda, -il, -a, -ma, -al, -lil, -ida, -eina, -ana, -ara, -eina, -sana, -ira

Jaheira, Bhalil, Yashana, Tahma...

?: -sha

Canon common names: Masculine: Aseir, Bardeid, Haseid, Khemed, Mehmen, Sudeiman, Zashtir. Feminine: Atala, Сеidil, Hama, Jasmal, Meilil, Seipora, Yasheira, Zasheida. Common house names: Dumein, Jasan, Khalid, Mostana, Pashar, Rein.

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Illuskan

Third most common group.

I can't find much of anything about how naming systems are supposed to work for Illuskans.

Some don't use them at all.

Some go for patronyms and matronyms: -sson and -sdottir, so you get like, Malcersson and Cefreysdottir. These do not seem to be common. Some surnames are: "Kurth", "Helder", "Rethnor", "Stornar", "Rhuul"... This is entirely headcanon/guessing, but maybe they're patronyms and matronyms with the suffix removed? Luthin Cefreysdottir -> Luthin Cefrey?

Some gain names for themselves, self-bestowed or bestowed by reputation, based on aspects of themselves or their deeds that they're proud of or that give them fame: Nimoar "the Reaver", Ornar "of the Claw".

Most have surnames of some kind, some are portmanteaus: "Tenfeather", "Hornraven", "Windrivver", "Hathwinter", "Brightwood", "Lackman", "Stormwind", "Gnarlybone." This seems to be the most common form of surname. I'm entirely hypothesising, but Illuskan cultures value bravery and strength (particularly in battle) so I'd assume those are deed-names, possibly inherited from a famous ancestor?

Syllables: And, Bla, Bl, Br, Fr, G, Lan, Land, L, Mal, Malc, Sto, Tam, Am, Ama, Be, Beth, Ce, Keth, Mar, Ol, Sili, West, Wes, Or, Alas, Aga, Jaun, Von, Oj, Ost. Uth, Nash

Endings: M: -er, -ath, -ran, -eth, -uth, -der, -or, -an, -nar, -gar

Nasher, Oruth, Landgar, Ander, Vonor, Westran...

F: -frey, -tha, -ra, -ga, -tra, -da, -in, -ya

Agatha, Ojya, Malda, Stoya, Ceda, Luthin...

Canon common names: Masculine: Ander, Blath, Bran, Frath, Geth, Lander, Luth, Maler, Stor, Taman, Urth. Feminine: Amafrey, Betha, Cefrey, Kethra, Mara, Olga, Silifrey, Westra.

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Rashemi (Gur)

The Gur still speak a variant of the proto-Rashemi tongue amongst themselves in private, so depending on how much they assimilate or not I imagine at least some of the names might be similar?

I can find even less about Rashemaar surnames than I can anyone else right now.

Surnames used by Rashemi are: Chergoba, Dyernina, Itazyara, Murnyethara, Stayanoga and Ulmokina. Names like that might be Gur tribe names?

Syllables: Fyev, Bori, Bor, Faur, Hulm, Hul, Jand, Jan, Im, Kanith, Kani, Kan, Madi, Mad, Nav, Madis, Ralm, Shau, Shaum, Vladis, Vlad, Dyna, Min, Tam, Yul

Endings: M: -vik, -gar, -ik, -ar, -islak, -ak, -evik, -insk

F: -arra, -mith, -ith, -zel, -el, -dra, -ra, -heir

Canon common names: Masculine: Borivik, Faurgar, Jandar, Kanithar, Madislak, Ralmevik, Shaumar, Vladislak. Feminine: Fyevarra, Hulmarra, Immith, Imzel, Navarra, Shevarra, Tammith, Yuldra,

So... I found this and now it keeps coming to mind. You hear about "life-changing writing advice" all the time and usually its really not—but honestly this is it man.

I'm going to try it.

ultimate character development template

basics

name: meaning of name: nicknames/titles: age: gender: location: birthday: strengths + example where it's shown: weaknesses + example where it's shown: how it affects others:

emotional depth

attachment style + how it manifests in the story: physical fear: emotional/abstract fear: happy memory: sad memory: object of significance: philosophical outlook/belief: what characters are ignorant about themselves: how confident are they: goal: long-term dreams: what they're embarrassed/ashamed to tell others about: regrets: source of pride: source of misery: what they admire above all else: do they believe in fate:

personality

mbti: enneagram: big five: character archetype: star sign: who they pretend to be on the outside: who they actually are/how they feel towards the mask: mental health conditions: how it manifests for them: iq: eq: humour: reputation:

habits

bad habits: mannerisms when stressed: mannerisms when content: mannerisms when scared: mannerisms normally: verbal mannerisms/distinctive speaking style: how do they move across a room: what do they say and what remains unsaid: how they express love: hobbies:

appearance

defining features: eye shape + colour: hair texture + colour: skin texture + tone: vibe: height: build: clothing: any bodily disfigurement (scars, etc.): overall attractiveness: their opinion on their appearance: appeals to:

relationships

who they trust most: what they wish they could do for them: what's holding them back: who they hate most: what they wish they could do to them: what's holding them back: relationship with the protagonist: relationship with the antagonist: siblings: relationship with them: parents/step-parents: relationship with them: previous broken relationships: why did it break: what others expect of them: who believes in them: their mentor character/who they look up to: political/religious/other affiliations: what makes them different from every other character: non-human relationships + why: romantic "type" + why: relationship dynamics:

backstory/background

primary emotion towards their past: primary feelings while in their past: where did they grow up: defining incidents: earliest childhood memory: saddest memory: happiest memory: major accomplishments: their opinion on it: notable people in their backstory: effect on them today: trauma: what have they already lost: financial circumstance:

progression

why are they important (eg. why're they the only one able to do something?): what do they learn about themselves throughout the story: what do they learn about the world: how do they feel towards their newfound knowledge: character arc (positive, negative, neutral): how relationships change because of their actions: what mistakes do they make: what scene is their character highlighted: do they get what they want: why or why not: what happens to them after the story ends:

grab them by the hair

grabbing a fistful of their hair to hold them in place for the next punch or slap

grabbing their hair to force them to look at you

grabbing their hair to make them bow

grabbing their hair to slam their head back into the wall

grabbing their hair to smash their face on the floor

grabbing their hair to make them bare their throat to you

grabbing their hair to stop them moving away from the blade or syringe at their neck

grabbing their hair to dunk their head under water

grabbing their hair to rub their face in a mess

grabbing their hair to pull them across the room before throwing them down where they belong

grabbing their hair to hold them up when they’re about to slump over

grabbing their hair to drag them up to their knees from where they lay on the floor

placing your hand in their hair when they’re already kneeling just to remind them what you could do with it

stroking their hair as a half-hearted apology after pulling a little too much

comment more please :)