Depression can often be difficult to fight as it usually drains you of your energy. And though you can’t overcome it by willpower alone, you still have some control, no matter how you feel. The suggestions below can help you with this.
1. Keep doing the activities you previously enjoyed (even if you don’t enjoy them as much when you’re depressed).
2. Try and build some exercise into your day as it releases endorphins – the body’s “feel good” hormones.
3. Know what your triggers and your risk factors are. For example, loneliness, stress, disappointment and pain are common triggers and risk factors for depression.
4. Stay in touch with your friends. Often those who are depressed start to isolate themselves – but that leads to loneliness – which makes depression worse.
5. Try and maintain some kind of routine, especially when it comes to getting up and going to bed. Taking naps in the daytime can cause insomnia and leave you feeling drained, so you have no energy.
6. Try to get a handle on how much you tend to worry. Take note of your thought patterns; don’t dwell on negatives. Instead, challenge faulty thinking so it’s much less pessimistic … and try to be thankful … and look for positives.
7. Make sure you do things that make you feel more relaxed. Often people who’re depressed feel uptight and agitated. So it’s important that you find things that help you to relax.
8. Resist the temptation to self-medicate (especially through alcohol or substance abuse.) That will lead to greater problems – and make you feel much worse.
9. Seek out support. Talk to a good friend, or someone that you trust. You’ll usually find there’s someone who genuinely cares.
10. Talk to your doctor. It may be medication is the answer for you so don’t be afraid to try and get professional help.
Reblog and you might save someone’s life, especially with all our Black Girls going missing #ProtectBlackGirls #SaveLife
For those who don’t know what’s happening in the video, she untied her shoelaces, pulled one through the inside of the zip tie binding her hands, then tied the shoelaces together. Then, by pulling downward and back and forth on the shoelaces with her feet, she created enough friction to wear away part of the ziptie, making it weak enough to snap right off her hands.
SIGNAL BOOST
SIGNAL BOOST
SIGNAL BOOST
Will always reblog
Protect all the ladies and the dudes
Damn
For those who don’t have shoelaces and for those who do but don’t want to trip over their own feet in case something goes wrong, here’s another way:
Writing with Color: Description Guide – Words for Skin Tone
We discussed the issues describing People of Color by means of food in Part Iof this guide, which brought rise to even more questions, mostly along the lines of “So, if food’s not an option, what can I use?” Well, I was just getting to that!
This final portion focuses on describing skin tone, with photo and passage examples provided throughout. I hope to cover everything from the use of straight-forward description to the more creatively-inclined, keeping in mind the questions we’ve received on this topic.
So let’s get to it.
S T A N D A R D D E S C R I P T I O N
B a s i c C o l o r s
Pictured above: Black, Brown, Beige, White, Pink.
“She had brown skin.”
This is a perfectly fine description that, while not providing the most detail, works well and will never become cliché.
Describing characters’ skin as simply brown or beige works on its own, though it’s not particularly telling just from the range in brown alone.
C o m p l e x C o l o r s
These are more rarely used words that actually “mean” their color. Some of these have multiple meanings, so you’ll want to look into those to determine what other associations a word might have.
Complex colors work well alone, though often pair well with a basic color in regards to narrowing down shade/tone.
For example: Golden brown,russet brown, tawny beige…
As some of these are on the “rare” side, sliding in a definition of the word within the sentence itself may help readers who are unfamiliar with the term visualize the color without seeking a dictionary.
“He was tall and slim, his skin a russet, reddish-brown.”
Comparisons to familiar colors or visuals are also helpful:
“His skin was an ochre color, much like the mellow-brown light that bathed the forest.”
M o d i f i e r s
Modifiers, often adjectives, make partial changes to a word.The following words are descriptors in reference to skin tone.
D a r k – D e e p – R i c h – C o o l
W a r m – M e d i u m – T a n
F a i r – L i g h t – P a l e
Rich Black, Dark brown, Warm beige, Pale pink…
If you’re looking to get more specific than “brown,” modifiers narrow down shade further.
Keep in mind that these modifiers are not exactly colors.
As an already brown-skinned person, I get tan from a lot of sun and resultingly become a darker,deeper brown. I turn a pale, more yellow-brown in the winter.
While best used in combination with a color, I suppose words like “tan”“fair” and “light” do work alone; just note that tan is less likely to be taken for “naturally tan” and much more likely a tanned White person.
Calling someone “dark” as description on its own is offensive to some and also ambiguous. (See: Describing Skin as Dark)
U n d e r t o n e s
Undertones are the colors beneath the skin, seeing as skin isn’t just one even color but has more subdued tones within the dominating palette.
Mentioning the undertones within a character’s skin is an even more precise way to denote skin tone.
As shown, there’s a difference between say, brown skin withwarm orange-red undertones (Kelly Rowland) and brown skin with cool, jewel undertones (Rutina Wesley).
“A dazzling smile revealed the bronze glow at her cheeks.”
“He always looked as if he’d ran a mile, a constant tinge of pink under his tawny skin.”
Standard Description Passage
“Farah’s skin, always fawn, had burned and freckled under the summer’s sun. Even at the cusp of autumn, an uneven tan clung to her skin like burrs. So unlike the smooth, red-brown ochre of her mother, which the sun had richened to a blessing.”
Here the state of skin also gives insight on character.
Note my use of “fawn” in regards to multiple meaning and association. While fawn is a color, it’s also a small, timid deer, which describes this very traumatized character of mine perfectly.
Though I use standard descriptions of skin tone more in my writing, at the same time I’m no stranger to creative descriptions, and do enjoy the occasional artsy detail of a character.
C R E A T I V E D E S C R I P T I O N
Whether compared to night-cast rivers or day’s first light…I actually enjoy seeing Characters of Colors dressed in artful detail.
I’ve read loads of descriptions in my day of white characters and their “smooth rose-tinged ivory skin”, while the PoC, if there, are reduced to something from a candy bowl or a Starbucks drink, so to actually read of PoC described in lavish detail can be somewhat of a treat.
Still, be mindful when you get creative with your character descriptions. Too many frills can become purple-prose–like, so do what feels right for your writing when and where.
Not every character or scene warrants a creative description, either. Especially if they’re not even a secondary character.
Using a combination of color descriptions from standard to creative is probably a better method than straight creative. But again, do what’s good for your tale.
Now before you run off to compare your heroine’s skin to the harvest moon or a cliff side, think about the associations to your words.
When I think cliff, I think of jagged, perilous, rough. I hear sand and picture grainy, yet smooth. Calm. mellow.
So consider your character and what you see fit to compare them to.
Also consider whose perspective you’re describing them from. Someone describing a person they revere or admire may have a more pleasant, loftier description than someone who can’t stand the person.
“Her face was like the fire-gold glow of dawn, lifting my gaze, drawing me in.”
“She had a sandy complexion, smooth and tawny.”
Even creative descriptions tend to draw help from your standard words.
F L O W E R S
Pictured above: Calla lilies, Western Coneflower, Hazel Fay, Hibiscus, Freesia, Rose
It was a bit difficult to find flowers to my liking that didn’t have a 20 character name or wasn’t called something like “chocolate silk” so these are the finalists.
You’ll definitely want to avoid purple-prose here.
Also be aware of flowers that most might’ve never heard of. Roses are easy, as most know the look and coloring(s) of this plant. But Western coneflowers? Calla lilies? Maybe not so much.
“He entered the cottage in a huff, cheeks a blushing brown like the flowers Nana planted right under my window. Hazel Fay she called them, was it?”
These ones are kinda odd. Perhaps because I’ve never seen these in comparison to skin tone, With the exception of amber.
At least they’re common enough that most may have an idea what you’re talking about at the mention of “pinecone.“
I suggest reading out your sentences aloud to get a better feel of how it’ll sounds.
“Auburn hair swept past pointed ears, set around a face like an acorn both in shape and shade.”
I pictured some tree-dwelling being or person from a fantasy world in this example, which makes the comparison more appropriate.
I don’t suggest using a comparison just “cuz you can” but actually being thoughtful about what you’re comparing your character to and how it applies to your character and/or setting.
W O O D
Pictured above: Mahogany, Walnut, Chestnut, Golden Oak, Ash
Wood can be an iffy description for skin tone. Not only due to several of them having “foody” terminology within their names, but again, associations.
Some people would prefer not to compare/be compared to wood at all, so get opinions, try it aloud, and make sure it’s appropriate to the character if you do use it.
“The old warlock’s skin was a deep shade of mahogany, his stare serious and firm as it held mine.”
These are trickier to use. As with some complex colors, the writer will have to get us to understand what most of these look like.
If you use these, or any more rare description, consider if it actually “fits” the book or scene.
Even if you’re able to get us to picture what “rutile” looks like, why are you using this description as opposed to something else? Have that answer for yourself.
“His skin reminded her of the topaz ring her father wore at his finger, a gleaming stone of brown, mellow facades.”
P H Y S I C A L D E S C R I P T I ON
Physical character description can be more than skin tone.
Show us hair, eyes, noses, mouth, hands…body posture, body shape, skin texture… though not necessarily all of those nor at once.
Describing features also helps indicate race, especially if your character has some traits common within the race they are, such as afro hair to a Black character.
How comprehensive you decide to get is up to you. I wouldn’t overdo it and get specific to every mole and birthmark. Noting defining characteristics is good, though, like slightly spaced front teeth, curls that stay flopping in their face, hands freckled with sunspots…
G E N E R A L T I P S
Indicate Race Early: I suggest indicators of race be made at the earliest convenience within the writing, with more hints threaded throughout here and there.
Get Creative On Your Own: Obviously, I couldn’t cover every proper color or comparison in which has been “approved” to use for your characters’ skin color, so it’s up to you to use discretion when seeking other ways and shades to describe skin tone.
Skin Color May Not Be Enough: Describing skin tone isn’t always enough to indicate someone’s ethnicity. As timeless cases with readers equating brown to “dark white” or something, more indicators of race may be needed.
Describe White characters and PoC Alike: You should describe the race and/or skin tone of your white characters just as you do your Characters of Color. If you don’t, you risk implying that White is the default human being and PoC are the “Other”).
PSA: Don’t use “Colored.” Based on some asks we’ve received using this word, I’d like to say that unless you or your character is a racist grandmama from the 1960s, do not call People of Color “colored” please.
Not Sure Where to Start? You really can’t go wrong using basic colors for your skin descriptions. It’s actually what many people prefer and works best for most writing. Personally, I tend to describe my characters using a combo of basic colors + modifiers, with mentions of undertones at times. I do like to veer into more creative descriptions on occasion.
Want some alternatives to “skin” or “skin color”?Try:Appearance, blend, blush, cast, coloring, complexion, flush, glow, hue, overtone, palette, pigmentation, rinse, shade, sheen, spectrum, tinge, tint, tone, undertone, value, wash.
I tried to be as comprehensive as possible with this guide, but if you have a question regarding describing skin color that hasn’t been answered within part I or II of this guide, or have more questions after reading this post, feel free to ask!
The tone in writing is one of the most important characteristics of a piece of writing. Books, poetry, songs, articles, any writing whatsoever; the tone is everything. That being said, there are a lot of ways in which writers can either mess it up or completely forget to set the tone. Below is a guide to setting the tone to come across exactly how you want it to.
Some Things To Note
Tone is the character or attitude of a text that invokes emotion in the reader
There are two things you want to ask yourself when reading a text and studying the tone:
How does the text make you feel?
and
How is the text designed to make you feel?
Things That Create Tone
There are several different elements in writing that create the tone. Here are a few:
Body Language
How your characters act, interact, and speak all play a large role in how your readers perceive your story. If your characters are speaking cryptically, fidgeting, and the tensions are high, your readers will feel the suspense.
Volume (Dialogue Tags)
How loud people say things is a big indicator of how they mean for it to come across to whomever they’re talking to. It’s the same this with dialogue. While it’s important not to overdo it with the dialogue tags, you must also use them to your advantage. It’s kind of when you’re writing a script and you sometimes feel the need to add a note for the actor to say something a certain way in order for them to portray what you envision. Use specific dialogue tags sparingly, but use them well.
Context
The context of the situation is everything. If your reader doesn’t know what’s going on and your main character is super relaxed all of a sudden when they thought they were in the middle of a very stressful situation, it’s going to give them very weird vibes. Knowing where the character is, how they feel, and having some idea of what’s about to go down is imperative to creating the right tone.
WORD CHOICE
Word choice is the main way you can set the tone in your story. You must be clear, intentional, natural, and consistent with the way you choose how you phrase things in your story. We all have certain associations with specific words and using those associations will bode well for you.
Clear Word Choice…
Be clear before anything else when setting the tone. Portray what you need to in order to create the scene itself and put the reader in the story. Then change what words you’re using in order to make the reader feel a certain way. However, never sacrifice clarity in exchange for the use of a fancy word. If your read doesn’t know what you’re saying, what good does it do anyway?
Intentional Word Choice…
Be intentional when you’re deciding where to switch out words and where you decide to really hit the reader with a huge wave of tone.Don’t just fling words anywhere there’s a gap in the hopes that it will accomplish the same thing as intentionally injecting words where it will pierce the reader’s soul. See what I mean?
Natural Word Choice
While it’s important to choose words that fit the tone, they must flow naturally with the dialogue and descriptions. Don’t just slap your reader in the face with “OMG Becky did you hear what that brat Jessica said about you and your bae? She’s such a vacuous shrew!” because that’s not exactly natural is it?
Be consistent in your word choice. Don’t use the same words over and over again, but don’t go from calling dogs to “canis lupus familiaris”. Well.. unless it’s absolutely necessary.
Examples Of Tones
Some of you might be a little fuzzy on what I mean by tone in the first place, so here are a few examples of tone:
HOLY SHIT MY LAST POST ABOUT WRITING WINGED CHARACTERS (which you can findhere) GOT A SHIT TON OF NOTES! SO I DECIDED TO MAKE ANOTHER ONE ON SHAPE-SHIFTERS!
There
are a lot of shape-shifting fics and stories out there. Like. A lot.
Whether they be about were-creatures or about characters that just have
the ability to shape-shift, a lot of the times- like with winged
characters- these shape-shifters are not written very well.
They
may be unoriginal, or they may be super Mary-Sues/Gary Stus when it
comes to the fact that they have an infinite amount of power or
whatever. So I decided to tackle the issues that come with creating a
shape-shifting OC or making a canon character into a shape-shifter.
1. Decide what your character’s shape-shifting will be mainly used for
Shape-shifting
can be used for a variety of reasons, and that’s why it’s critical for
you to figure out what your shape-shifter will mostly be using their
powers for.
Here are some reasons why shape-shifters can use their powers:
-Battle (transforming into a bigger creature to overpower enemies)
-Disguise (transforming into something that blends in with the environment around them to hide from enemies)
-Forced to shift (AKA werewolves)
-Spy work (transforming into antagonist’s lackeys to infiltrate the base or even vice versa)
2. Set Limits Right Off the Bat
Shape-shifters
are incredibly powerful, and in theory, they can be practically
invincible when it comes to battle and hiding from enemies.
However,
that should ONLY be in theory. Your shape-shifters CANNOT be
all-powerful like their abilities can call for them to be.
Here’s where Mary Sue/Gary Stu elements come in, because many writers
just state that their characters can shape-shift and leave it at that.
That brings up questions like:
“If he was running from the Big Bad™, then why didn’t he just shift into a wall or a chair and disguise himself?”
“If she had to fight the Big Bad™, why didn’t she just transform into a dragon and deep fry him?”
“Couldn’t they just masquerade as the Big Bad™’s minions and get inside the secret lair?”
Then,
the author tries to make up for the lack of rules by giving us some
half-assed explanation halfway through the third book.
As soon as the reader finds out that the main character is a shape-shifter, you have to lay down the groundwork for the limits.
Can they only transform into animals?
Can they only transform a certain amount of times at any given point?
Is there something that distinguishes them from the object/person/animal that they’ve transformed into?
Can they only transform into inanimate objects?
Can they only transform into other people?
Does transforming take a lot of energy and therefore they don’t do it often?
Is transforming painful?
Take Beast Boy from Young Justice/ Teen Titans/ various other things as an example:
He can transform into a lot of animals, yes, but they’re all obviously green and unnatural, making it difficult for him to blend in with other animals. his means that his shapeshifting would be most used for attack than for disguise.
You
need to set limits, or else your character will be all-powerful and the
plot won’t be all that intriguing to the readers; they know that the
protagonist will win, so they won’t bother to really get invested in the
story.
3. There are many forms of shape-shifters. Just
because the mainstream media is all about werewolves with sixteen packs that
can cut glass doesn’t mean that you have to make werewolves only
Did you know that technically, a werewolf is just a subdivision of were-creatures?
The
prefix “were/wer” means “man” and is usually followed by the name of an
animal, ANY animal, to imply that the man (or woman) is transforming
into it.
Therefore, there could be werecats, weretigers, werelions, wereunicorns, and were[insert plural name of creature here].
You
should really look up the different kinds of shifters from all
different cultures and regions of the world. They’re actually quite amazing!
Here’s a list of some of my favorite shapeshifter creatures (Note that these are not all of the shapeshifters, just my personal favorites some of which I feel needed to be represented more in literature):
-Were[insert name of big cat here]
-Werewolf
-Skinwalkers
-Animaguses(Animagi?) (don’t use these they’re JK Rowling’s I just really like Animagi)
-Generic, run-of-the-mill shapeshifters
-Were creatures that are actually just the creature trying to masquerade as a human/ a creature that has a human form
-Transforming into huge gruesome monsters (it’s good shit 10/10)
4. You don’t have to describe the full transformation every single time. The first time is enough.
Readers
don’t want to have to go through long, agonizing paragraphs of
description every time your character changes, especially if they change
during a battle. They don’t want the bloody, gory action to be
disrupted by a description of a transformation that they’ve read a
hundred times before.
If you truly want to describe the
transformation more than once, though I highly advise against it, never
describe it more than three times, and make sure to make it unique every
single time. If you don’t think you can do that, just describe it once.
You
should, however, describe the symptoms that come with transforming. Is
it painful? Is it uncomfortable? Does it feel incredible because it
makes the character feel a rush of power? Gimme the deets, but not all
of them.
Things that happen during transformation that you can describe:
Painful
– Fur/scales growing (stinging and itchy)
– Bones breaking and reorganizing, as well as new ones appearing and old ones transforming
Rambles & Rabble 