Writing Reference - Tumblr Posts
RPD - East Wing 1F pt. 1
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TW; blood
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east hallway;
Every time I look at the river I look for dead bodies.
Scratch and sniff my ass!
press room;
watchmans room;
RPD - East Wing 1F pt.2
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TW; blood
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east office;
RACCOON POLICE DEPARTMENT Attendance Recognition Award PRESENTED TO RALPH HYLANDS
Presented To: BRIAN IRONS For your Outstanding Dedication, Commitment and Service to the Raccoon Police Department and to the Citizens of Our Community. November 11th 1996
SERVICE AWARD Raccoon Police Dept. Officer Memorial Dedicated to the men and women who protect our lives and property while serving our community. City of Raccoon 1997
SDFSDF K;L KL/M KLJEWSDF; SDLPQPLEJFR OON EWPKJ DKLSMNXB DKLS;M EFNNDOPM DLKSV [N OWECV. ENKLDSL
RPD - West Wing 1F pt.1
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TW; blood
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reception;
Raccoon City This bronze statue is dedicated to all the brave men and women who have given their lives so that others may live in freedom and safety. It is a tribute to all our everyday heroes who valiantly protect us and are willing to make the ultimate sacrifice. "We Do It" Raccoon Police Department motto
west hallway;
RPD - West Wing 1F pt.2
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TW; blood
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operation room;
I suck on the bone 'til it's dry. [SOMETHING]got what I need.
Survivors -Graham McRobbie Turned -Keori Natsue Turned -Miguel Corti Turned -Dairo Chijiiua Turned EVERYONE IS DEAD
DON'T LET THE PLACE GO TO HELL
west office;
Elliot Edward
Neil Carlsen Death in a lake spreads.
David Ford
Marvin Branagh
Rita Phillip
George Scott
RPD - West Wing 1F pt.3
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safety deposit room;
dark room;
RPD - West Wing 2F pt.1
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TW; blood
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hallway;
locker room/shower room;
RPD - West Wing 2F pt.2
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TW; blood
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library;
CONTENTS Animal Plant
lounge;
RPD - West Wing 3F pt. 1
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TW; blood
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hallway;
west storage room;
RPD - West Wing 1F pt. 4
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TW; blood
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operation room pt.2?;
records room;
RPD - East Wing 2F pt.1
TW; blood
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waiting room;
hallway;
art room;
CHARLES IER LE GRAND, CHARLEMAGNE 9 OCTOBER 768 - 28 JANUARY 814
RPD - East Wing 2F pt.3
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private section;
roof;
RPD - West Wing 2F pt.2
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TW; blood
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clock tower;
RPD - East Wing 1F pt.2
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TW; blood
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hallway;
interrogation room;
observation room;
RPD - Eest Wing 1F pt.3
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TW; blood
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break room;
boiler room;
RPD - East Wing 3F
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TW; blood
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hallway;
storage room;
Writing Tips
Punctuating Dialogue
✧
➸ “This is a sentence.”
➸ “This is a sentence with a dialogue tag at the end,” she said.
➸ “This,” he said, “is a sentence split by a dialogue tag.”
➸ “This is a sentence,” she said. “This is a new sentence. New sentences are capitalized.”
➸ “This is a sentence followed by an action.” He stood. “They are separate sentences because he did not speak by standing.”
➸ She said, “Use a comma to introduce dialogue. The quote is capitalized when the dialogue tag is at the beginning.”
➸ “Use a comma when a dialogue tag follows a quote,” he said.
“Unless there is a question mark?” she asked.
“Or an exclamation point!” he answered. “The dialogue tag still remains uncapitalized because it’s not truly the end of the sentence.”
➸ “Periods and commas should be inside closing quotations.”
➸ “Hey!” she shouted, “Sometimes exclamation points are inside quotations.”
However, if it’s not dialogue exclamation points can also be “outside”!
➸ “Does this apply to question marks too?” he asked.
If it’s not dialogue, can question marks be “outside”? (Yes, they can.)
➸ “This applies to dashes too. Inside quotations dashes typically express—“
“Interruption” — but there are situations dashes may be outside.
➸ “You’ll notice that exclamation marks, question marks, and dashes do not have a comma after them. Ellipses don’t have a comma after them either…” she said.
➸ “My teacher said, ‘Use single quotation marks when quoting within dialogue.’”
➸ “Use paragraph breaks to indicate a new speaker,” he said.
“The readers will know it’s someone else speaking.”
➸ “If it’s the same speaker but different paragraph, keep the closing quotation off.
“This shows it’s the same character continuing to speak.”
Whole-heartedly BEGGING writers to unlearn everything schools taught you about how long a paragraph is. If theres a new subject, INCLUDING ACTIONS, theres a new paragraph. A paragraph can be a single word too btw stop making things unreadable
Don't just be pretty, be present. Write with the world like it's real.
There is a lot of beautiful writing in the RPC, a myriad of wonderfully different styles and preferences, and that is an excellent thing! If this tip doesn't feel like it is for you, that is okay! Everyone has different styles and desires; it may resonate with some people and not with others and that is absolutely okay. No one needs to be an expert at anything--I'm certainly not! I almost never edit replies, sometimes I just babble pure nonsense, and I'm a tiny bean of an RPer in a sea of amazing artists. These are just thoughts that have been kicking around in my head for a while, and that I hope will help someone here and there.
Don't just be pretty, be present.
Rather than stressing over how pretty your reply is, whether that means word choice or the actual formatting of the post, consider how present your character is in that post. Are they just passively reacting to a situation or a statement? Or are they really interacting with whatever is going on? Whether it's purple prose or stripped down simplicity, for some people things will feel a little flat, a little hollow, if a reply is especially passive--if a character responds but gives nothing back.
Is one of the characters carrying something weird around in the scene, like a chunk of 2x4 or a broken trumpet? Whatever it is, consider having your character interact with that element. Since it has been introduced, it exists, and there is nothing wrong with having your character notice it. Maybe they interact verbally, by asking about it. Maybe they interact through the narrative, by thinking something about it, or having an emotional response to it if it might be something they have previous experience with. Or, hell, if it really feels too random, you can have your character think that. Just like, What the hell is Joan doing with that trumpet? I don't want to deal with any more weird shit today.
React to what is around you in the scene. Interact with the world. If you're in a castle, maybe consider having your character touch the wall and make note of the texture. If something horrible is happening, don't just repeat a list of the events that happened, but show how your character reacts. You can show reactions internally or show reactions externally, and you can absolutely do both! Showing internally could mean demonstrating through their narrative or their thoughts how they feel about whatever just happened. Does it terrify them? Is their heart pounding? Do they want to run? Are they struggling to continue to stand next to their best friend? An external response might be describing their actions without touching on what's happening in their head--like taking a few steps back, a sudden gasp, stepping in front of their loved one--or even just describing how they look. Maybe they go pale, maybe their hands shake or their voice shakes. You don't have to state everything, you can show them however you want to, but for a lot of people, an RP experience is going to feel much more interactive, much more immersive, when you have the scene get to your character.
A beautiful character standing there and observing events is great, and it can be absolutely in character for them to be completely bored about whatever it happening, to show no reactions whatsoever... but that can be boring for your writing partners, especially in an action scene, and not leave them feeling inspired or feeling they have any sort of a hook to respond to. There's a line from an old song that always comes to mind when I think about this: If you're bored then you're boring. Not necessarily always true, there are ways to keep a bored character engaging, but it can be true. It can be very true. If a character has no more reactions than a plank of wood, then the other characters in the scene might as well walk away and go find an actual plank of wood.
A beautifully written reply that ultimately says nothing of significance to the situation can be wonderful, a gorgeous bit of almost poetry--but for some, it may leave your partner feeling like their efforts to create or support an important moment in the plot have fallen flat.
[Adding: Vivid descriptions are interacting. You're interacting with the world when you do that, you're making it more real. Flashbacks are interacting, you're showing how the events affected your character and what is happening in their mind suddenly. Try to give something for your partner to work with, of course, but don't hold yourself back. Chase your inspiration!]
Write like actions have consequences; play with the world like it's real.
I know a lot of people can be unsure how to react, because they don't want their characters to fail, but that is a trap that may lead to a stagnated scene. Your character doesn't need to win all the time. Let them be imperfect, let them fuck up, let them make mistakes, let them fall on their face, let them be in danger, let them risk it all, let them need help sometimes--
Let them be alive. (Or, you know, whatever passes for alive in their particular canon!)
It's RP. It's okay to take risks. It's okay to not be sure what the perfect response would be, it's okay to experiment, to go with what you feel your character would really do--even if that means they drop everything and bolt out of there, even if it means party members don't see eye to eye on something. It can be daunting to write a character with significant flaws, and it's not for everyone, but for a lot of us? I think it can be super rewarding to go through those little arcs and moments, the ups and downs, the times when your character is doing well and the times when they're just--lost. Flailing.
Write like everything matters. Even if you just do it in tiny little ways, use the scene around your character; let the weather affect them, let them idly pick at some grass if they're sitting in a meadow, let them be sore from a particularly chafed feeling spot because they've been sweating in their armor in an arena all day. Let them be cranky. Let them have headaches. Let their intentions, thoughts, preferences, and vibes not always match their lover's in any given moment; there's a lot to be said for characters who aren't always in perfect harmony with each other. Maybe one wakes up cranky and the other wakes up wanting to burst into song, bathe in coffee, and tackle ten new projects before the birds even start singing. Let them clash, let their love show through how they both respond to those little clashes.
And don't be afraid for your actions to have consequences. Write knowing that your character might be absolutely saying the wrong thing and digging themselves an ever-deeper hole here. Write as if your partner's reply has consequences: if the other character is a dick to yours, don't feel like your character must remain unaffected. Maybe they have the kind of personality where that can roll off their back, but then again, maybe they don't. Let your character be affected by things. Let them be hurt, let them be angry, let them be confused. Let them laugh. Let their minds wander.
Let the world, and the people in it, affect them.
If a bus goes by, maybe your character misses a few words of what the other said. Maybe those words are important.
Maybe it's a hot day and your characters have been out and on the go nonstop; it's okay to let your character be cranky, overheated, and dehydrated and just need to get somewhere cooler and quiet to decompress.
And then for big plot moments? If something terrifying happens, or something amazing, don't pretend it isn't happening, don't ignore it in favor of just replying point-by-point to every bit of dialog from your partner's last post. Conversations aren't always perfect. They ebb and flow--and they can absolutely be interrupted. Have fun. Talk with your partners. Don't try to control them, and don't use "it's what my character would do" as a way to trash a plot or ensure someone else has a bad time. Don't use RP replies to punish them. Keep it genuine in-character, whatever that means for your muses, and keep it kind out of character...
But don't keep your writing or your characters behind glass.
Let the world interrupt your character. Let the world move your character. Let the person with them have an impact on them, for better or for worse. Let them be hurt. Let them do the hurting. Let little things annoy them. Let them be distracted. Let the world matter. Let their emotions and reactions show.
They don't need to be a pretty, perfect, porcelain doll to be an incredible roleplay character. They just need to be present in their own scenes, in their own stories <3
How to make your writing sound less stiff
Just a few suggestions. You shouldn’t have to compromise your writing style and voice with any of these, and some situations and scenes might demand some stiff or jerky writing to better convey emotion and immersion. I am not the first to come up with these, just circulating them again.
1. Vary sentence structure.
This is an example paragraph. You might see this generated from AI. I can’t help but read this in a robotic voice. It’s very flat and undynamic. No matter what the words are, it will be boring. It’s boring because you don’t think in stiff sentences. Comedians don’t tell jokes in stiff sentences. We don’t tell campfire stories in stiff sentences. These often lack flow between points, too.
So funnily enough, I had to sit through 87k words of a “romance” written just like this. It was stiff, janky, and very unpoetic. Which is fine, the author didn’t tell me it was erotica. It just felt like an old lady narrator, like Old Rose from Titanic telling the audience decades after the fact instead of living it right in the moment. It was in first person pov, too, which just made it worse. To be able to write something so explicit and yet so un-titillating was a talent. Like, beginner fanfic smut writers at least do it with enthusiasm.
2. Vary dialogue tag placement
You got three options, pre-, mid-, and post-tags.
Leader said, “this is a pre-dialogue tag.”
“This,” Lancer said, “is a mid-dialogue tag.”
“This is a post-dialogue tag,” Heart said.
Pre and Post have about the same effect but mid-tags do a lot of heavy lifting.
They help break up long paragraphs of dialogue that are jank to look at
They give you pauses for ~dramatic effect~
They prompt you to provide some other action, introspection, or scene descriptor with the tag. *don't forget that if you're continuing the sentence as if the tag wasn't there, not to capitalize the first word after the tag. Capitalize if the tag breaks up two complete sentences, not if it interrupts a single sentence.
It also looks better along the lefthand margin when you don’t start every paragraph with either the same character name, the same pronouns, or the same “ as it reads more natural and organic.
3. When the scene demands, get dynamic
General rule of thumb is that action scenes demand quick exchanges, short paragraphs, and very lean descriptors. Action scenes are where you put your juicy verbs to use and cut as many adverbs as you can. But regardless of if you’re in first person, second person, or third person limited, you can let the mood of the narrator bleed out into their narration.
Like, in horror, you can use a lot of onomatopoeia.
Drip Drip Drip
Or let the narration become jerky and unfocused and less strict in punctuation and maybe even a couple run-on sentences as your character struggles to think or catch their breath and is getting very overwhelmed.
You can toss out some grammar rules, too and get more poetic.
Warm breath tickles the back of her neck. It rattles, a quiet, soggy, rasp. She shivers. If she doesn’t look, it’s not there. If she doesn’t look, it’s not there. Sweat beads at her temple. Her heart thunders in her chest. Ba-bump-ba-bump-ba-bump-ba- It moves on, leaving a void of cold behind. She uncurls her fists, fingers achy and palms stinging from her nails. It’s gone.
4. Remember to balance dialogue, monologue, introspection, action, and descriptors.
The amount of times I have been faced with giant blocks of dialogue with zero tags, zero emotions, just speech on a page like they’re notecards to be read on a stage is higher than I expected. Don’t forget that though you may know exactly how your dialogue sounds in your head, your readers don’t. They need dialogue tags to pick up on things like tone, specifically for sarcasm and sincerity, whether a character is joking or hurt or happy.
If you’ve written a block of text (usually exposition or backstory stuff) that’s longer than 50 words, figure out a way to trim it. No matter what, break it up into multiple sections and fill in those breaks with important narrative that reflects the narrator’s feelings on what they’re saying and whoever they’re speaking to’s reaction to the words being said. Otherwise it’s meaningless.
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Hope this helps anyone struggling! Now get writing.
I made these as a way to compile all the geographical vocabulary that I thought was useful and interesting for writers. Some descriptors share categories, and some are simplified, but for the most part everything is in its proper place. Not all the words are as useable as others, and some might take tricky wording to pull off, but I hope these prove useful to all you writers out there!
(save the images to zoom in on the pics)