Erotic Fiction Resources
(REFERENCE)


by Kysa Braswell
www.kysaonline.com

The intent of this page is to make a variety of writing tips, online resources, and descriptive words expediently available in a list to aid anyone who writes erotic fiction. It does not presume to be exhaustive. If someone asks me how best to write, I tell them simply, "I try to leave out the parts that people skip."

For an abridged version of just the word list, see the Erotic Keyword List.

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RECOMMENDED TOOLS

    Dictionary: Consider the American Heritage Dictionary, 4th ed.
    Thesaurus: Find one in which you like its organization.
    Usage Manual: When you are looking for just the right word.



KYSA'S SHORT GUIDE TO WRITING EROTIC FICTION

Introduction. The process of how a story is written is routine, as is my failure to complete one. Most were written over a weekend, while some have taken as many as six months to complete. When I'm unable to flesh out a story, it dies. More than a few stories have perished in the midst of drafting them, in which what was eventually written did not match my original purpose. However, when it all comes together and a story is written, the process is ingrained. (1) When the idea of a story first comes to me, it's mulled over from a few days to a couple of weeks. (2) In the meantime, notes are taken on acts, characters, and specific scenes to be included. (3) The story is then outlined, and depending on the quality of the the outline, some stories virtually write themselves, while others seem as difficult as giving birth. (4) The first draft is developed from the outline and notes. (5) Afterward, the story is set aside for a few days. (6) Thereupon I switch roles from writer to reader, where the story is edited and revised for clarity, emphasis, diction, consistency, and grammar. Of course, revising is an altogether more intricate activity than drafting. For the sake of trivia, I write using OpenOffice.org along with a robust text editor program called Textpad.

While it is true that in ancient Europe, and well into the 18th century (obvious examples come from France), deliberate lewdness was not inconsistent with flashes of comedy, or vigorous satire, or even the verve of a fine poet in a wanton mood, it is also true that in modern times the term "erotica" connotes mediocrity, commercialism, and certain strict rules of narration. Obscenity must be mated with banality because every kind of aesthetic enjoyment has to be entirely replaced by simple sexual stimulation which demands the traditional word for direct action upon the reader. Old rigid rules must be followed, then, by the writer in order to have his reader feel the same security of satisfaction as, for example, fans of detective stories feel — stories where, if you do no watch out, the real murderer may turn out to be, to the fan's disgust, artistic originality (who for instance would want a detective story without a single dialogue in it?). Thus, in erotica, action almost always has to be limited to the copulation of clichés, or rather a vocabulary of formulas. Style, structure, imagery should never distract the reader from his tepid lust. The story must consist of an alternation of sexual scenes. The passages in between must be reduced to sutures of sense, logical bridges of the simplest design, brief expositions and explanations, which the reader will probably skip but must know they exist in order not to feel cheated (a mentality stemming from the routine of "true" fairy tales in childhood). Moreover, the sexual scenes in the erotic story must follow a crescendo line, with new variations, new combinations, new characters, and a steady swell in the number of participants (in a de Sade play they call the gardener in), and therefore the end of the story must of course be more replete with lewd lore than the first chapters.

No writer should be expected to bother about the exact demarcation between the sensuous and the sensual; this is preposterous. There are those who would pronounce erotica meaningless because it does not teach them anything. I am neither a reader nor a writer of didactic fiction and, despite such an assertion, my own stories have no moral in tow. For me a work of fiction exists only insofar as it affords me what I shall bluntly call aesthetic bliss, that is a sense of being somehow, somewhere, connected with other states of being where art (curiosity, tenderness, kindness, wonder, ecstasy) is the norm. There are not many such works, and they are best found among the Great Books, where I have always spent an inordinate amount of time in this life.

Purpose. Purpose is the end at which you're aiming, the reason you're writing. It answers the big why? by asking what you want the reader to take away from the story. A great advantage erotica is that it can be read for years without tiring of the story... but only if it is written well. So beyond your specific purpose (to tell a good lesbian story, for instance) your general purpose should always be to persuasively convey your story in the most vivid and memorable way possible. And because specific purposes can be fulfilled only in relation to specific readers, you will want to think carefully about your audience (the reader), who happens to be reading erotic fiction for a reason!

Point of View. Point of view is the perspective from which a story is told — either by an invisible, omnipresent narrator outside the story or a character speaking in first or third person. Deciding perspective helps determine how the story will be shaped, and in erotic fiction this is either someone who initiates and provokes action or the person who receives and experiences action.

Show, Don't Tell. Consider the reader's reaction at every turn. Generally, writing is good if readers find it easy to follow; writing is bad if readers find it hard to follow. Don't take the reader's attention for granted: make it your business to captivate his imagination. One trick that I use is to find a photo, from any source, that inspires or matches the character I'm describing. By describing the physical features of that person within the photo, I find I'm both more consistent and more accurate in my descriptive writing.

Composition. First, make the paragraph the unit of composition. Learn to think in paragraphs, not just sentences. It is a convenient unit and as long as it holds a related subset of ideas together, it may be of any length — a single, short sentence or a passage of great duration. Second, the best writers write primarily with nouns and verbs; the laborious ones inundate their writing with adjectives and adverbs. Erotica writers abuse adverbs in the worst ways and it's simply painful to read. Finally, as various mechanical devices are overused, their value is diminished, thus losing force as the story is told. Therefore, it is better to achieve one's writing goals through effective diction and sentence structure.

Convey a Sense of Place. Let the reader know where the characters are — in a field, office, bedroom, alley, car, and in what kind of place, a dark alley, small corner office, etc. The reader is able to follow the action when he knows where he is. Similar to this is a sense of time. If the progression of time is integral to your story, tell the reader what time or day it is, or how much time has gone by since the last scene: since last week; the next morning; six months later.

Keeping it Real: Realism. Good writing manifests itself not in affectation, but in the exactness of your observations and the justice of your situations. Therefore, do not make incredulous claims or fantastic statements about your characters. Be aware that your characters are not saying something "out of character." Submissive characters should speak submissively, unless it otherwise serves a particular purpose within the story.

Linguistic Simplicity. If the same idea can be expressed in a simple way or a complex way, the simple way is better, and paradoxically, it will typically lead readers to conclude that the writer is smarter. Avoid the common repetitions of overusing ellipses (...), em dashes (—), and exclamation points (!). They are comparable to the tiresome person who says like and you know before or after every statement. An ellipsis is the omission of words implied by the grammar but not necessary to complete the sense. The writer using an ellipsis assumes that readers can supply the missing words from the context. A good word is far more direct. The em dash is quite a flexible device, but too many writers use it as a substitution for either commas or colons. Use exclamation points very sparingly because they can distract your readers or suggest that you are exaggerating the importance of what you are saying. In general, try to create emphasis through diction and sentence structure rather than with exclamation points. Use, but don't abuse these three devices. Your phrases should remain supple but not overworked.

Clarity. Clarity means that it says to the reader what the writer intended to say, i.e., your writing communicates precisely how you think or feel or see or hear. Express your topics clearly: readers admire and follow clear writing; they discard and marginalize that which is not. (If you don't believe me, ask any lawyer.)

Concision. Concision is brevity relative to purpose, which is usually accomplished by omitting needless words. Do not overwrite or overstate. As long as it's accurately expressed, the briefest way of phrasing an idea is usually the best because brevity enhances speed, clarity, and impact. Compare it to watching a slow-moving scene in a movie: you got the point and you're ready to move on the next one. To achieve conciseness, eliminate: (1) redundant words; (2) repetitious devices that lose their force, such as ellipses, exclamation marks, adverbial and adjectival modifiers; (3) empty words that are either unnecessary for meaning contribute no real meaning to a sentence. Also, (4) replace wordy phrases, and (5) simplify sentence structure. When all else fails, rewrite the sentence or passage.

Concretion. Concretion is using definite, specific, concrete language; in other words, skip the fluff. In erotic writing, concrete words refer to perceptible things: the curve of her breast, her lithe legs, the scent of her hand against my cheek. Abstraction is not a bad thing, but primarily relates to ideas. Concrete words paint the picture clearly for the reader.

Emphasis. When we speak, we achieve emphasis by raising our voices, putting extra stress on an important word, or drawing out a phrase. Put most simply, effective sentences have two main characteristics: they emphasize ideas clearly, and they do so as concisely as possible (e.g., compare instructions found on any aspirin bottle).

Tame Your Qualifiers. Very, little, pretty, seem, tend, somewhat — these words are merely ornamental — overusing or misusing them causes the reader to skip over them when they're superfluous or repetitive. One way to avoid this is to establish a character's dimensions and allow the reader to remember them. She wore a 36D-cup bra. Also, do not construct awkward adverbs! Take the adjective or participle, add -ly, and behold! you have an adverb. But you'd probably be better off without it. Never write gushily, huskily, redly, stickily, or anything like it. Similarly, do not write sweatered, pantied, lipsticked, and so on, creating adjectives out of nouns. It's a vile practice that brought us the word "impacted" which formerly described a bowel condition. Instead, write descriptively the snug sweater, or simply rephrase: She wore red lipstick to the party.

Word-Judging. Diction is highly underrated in the erotic fiction genre: sentences are important, but words are fundamental. Avoid awkward repetitions of the same word, and don't strike poses. I once read a story where the author used the word obsequious twenty-three times to describe everything from a woman's hair to the morning sunlight — and only three times was the word used accurately! (See notes under Concision above.) A word or phrase is somewhat undesirable if it has any one of the following characteristics, and worse if it has two or more:
    (a)    sounds newfangled;
    (b)    defies logic;
    (c)    threatens to displace an established expression (but hasn't yet done so);
    (d)    originated in a misunderstanding of a word or its etymology;
    (e)    blurs a useful distinction.

To a considerable degree these virtues are a matter of diction, that is, of word choice, but they also depend on sentence structure, which in itself contributes to clarity and interest. It does so by aiming for concision, emphasis, rhythm, and variety.

Who is Speaking? Make sure the reader knows who is speaking. Short dialogue can get by without attribution with well-defined characters, or alternate attributions. But for long passages, the reader will get lost and be compelled to reread in order to puzzle the thing together. When appropriate, include an emotionally descriptive attribution, such as he surmised, she felt, he urged over the normal he said/she said repetitions. Understand that white space on a web page full of text is reader-friendly; therefore, insert a blank space (line) between each paragraph and each character's dialogue.

Revise and Rewrite. These are different roles than writing and they're both rigorous processes. Setting the work aside for a period of time is essential. A useful technique is to read the story aloud. By doing so, it will signal errors in grammar, emphasis, and rhythm. If you hate doing it, find an online friend who enjoys revising your stories. I admire these people because the ability to read critically, providing both constructive and corrective feedback to the writer, is a hard-earned talent. In the end, you're still free to accept, emend, or reject their revisions when rewriting. The payoff is always a better story. I've revisited stories years later only to improve them with new ideas for characters and scenes thanks to the ability to make one more revision.


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WRITING RESOURCES ONLINE

Character Names:
        http://www.kabalarians.com/gkh/yourbaby.htm
        http://us.imdb.com/

Synonyms/Thesauri:
        http://www.thesaurus.com/
        http://www.bartleby.com/62/         (Roget's II, 3rd ed.)

Dictionaries:
        http://www.bartleby.com/61/     (American Heritage, 4th ed.)
        http://www.yourdictionary.com/     (Includes multiple languages)
        http://www.glossarist.com/default.asp     (Glossaries on all subjects)
        http://www.onelook.com/browse.shtml     (Links to online dictionaries)

        Slang, Alternative Dictionaries (use only rarely):
        http://www.slangsite.com/
        http://www.peevish.co.uk/slang/
        

Quotations:
        http://www.bartleby.com/quotations/

Writing Resources Online:
        http://www.powa.org/     (Online Writing Assistant)
        http://www.urich.edu/~writing/wweb.html     (Writer's Web)
        http://www.theslot.com/sharp.html     (Bill Walsh's Sharp Points)
        http://chuma.cas.usf.edu/~olson/pms/     (Punctuation Made Simple)
        http://www.geocities.com/CapeCanaveral/5229/p_.htm  (The Prig Page)

Research Resources on one page:
        http://www.itools.com/research-it/

American Heritage Book of English Usage:
        http://www.bartleby.com/64/

Common Errors in English:
        http://www.wsu.edu/~brians/errors/errors.html

Online English Style and Grammar Guides:
        http://www.kysaonline.com/life/orwell.htm     (George Orwell)
        http://andromeda.rutgers.edu/~jlynch/Writing/     (Jack Lynch)
       

Authoring Tips:
        http://www.asstr.org/~authortips/method.htm

Proofreaders:
        http://www.asstr.org/proofreaders.html


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COCK
huge	giant	enormous	massive	steely
long	heavy	thick; fat	hefty	stiff; erect
mammoth	colossal	immense	large	oversized
engorged	gigantic	big; wide	broad	gargantuan
swollen	bulging	rock hard	lengthy	strapping
entrapped	smooth	velvety	sinewy	throbbing
surging	rigid	pounding	erect	punishing
raping	battering	bursting	pumping	pummeling
pulsing	pulsating	virile	potent	hammering
veined	mushroom	dripping	weighty	spongy
blunt	loaded	wet	powerful	pile-driving
thin	flaccid	wimpy	boy-cock	small; tiny
deflating	dwindling	limp	weak	tumescence
foreskinned	uncut; cut	peel; retract	circumcised	uncircumcised
Synonyms
cock; phallus	penis	hardon	rod; crank	prick; dick
cockmeat	manmeat	schlong	salami	stalk; wood
erection	organ	member	loins	babymaker
balls	scrotum	ballsac	testicles	nads; gonads
CUNT
delicate	eager	velvety	satiny	silky; silken
sucking	snapping	juicy	wet	moist
slick	slippery	dripping	drenched	insatiable
tiny	little	tight	virgin	tingling
hungry	blazing	aching	fertile	pink
engorged	hilt (to the)	yawning	cavernous	huge
pouty	spasming	squeezing	clasping	clinching
wrapped	luscious	fertile womb	delicious	gaping
elastic	loose	viscous	viscid	dewy
steamy	sodden	soaked	spongy	cushiony
puffy	bushy	hairy	hirsute	satiny
Synonyms
pussy	vagina	slit	quim	sweetness
cherry	womb	cunny	cunt	cuntlips
crevice	gash	maw	pubes	womanhood
loins	pubis	vulva	labia	maidenhead
cervix	sheath	twat	sleeve
BREASTS
swollen	billowy	heavy	ripe	enormous
massive	stacked	hanging	creamy	smooth
-nippled	pinched	caressing	tickling	tender
budding	trembling	wobbling	quivering	quaking
taut	velvety	firm	curved	luscious
teeny	developing	sprouting	blossoming	emergent
petite	aching	sore	large	milky
buxom	busty	suckle	massive	heaving
knead	rub	manipulate	squeeze	massage
mash	compress	pimpled	pliant	bosomy
turgid	swaying	full	hefty
Synonyms
melons	tits	titties	breasts	rack
bosom	hooters	udders	teats	milkers
titflesh	orbs	areola(e)	cleavage	bust
ASS
satiny	tight	taut	curved	curvaceous
plump	round	ripe	bouncing	swaying
swinging	tilted	luscious	thrashing	shuddering
soft	hot	cute	tender	hilt (to the)
narrow	hippy	fiery	churning	gorged
ravaged	raped	quivering	stretched	rimmed
impaled	blistering	glowing	shiny	arched
Synonyms
ass	butt	buttocks	cheeks	asscheeks
crevice	hips	anus	anal	passage
channel	rump	tail	back	posterior
ORGASM
deep	shot	pour	creamed	uncontrollable
blow; blew	heated	jerking	gushing	sweltering
rippling	waves	rising	intense	spurting
wet; juicy	drain	boiling	mounting	spasm(ed)
escalating	receding	searing	roaring	exploding
violent	torrid	spew	dump	raging
rain	shower	flood	hot	copious
erupt	spent	spray	splatter	subside
Synonyms
cum	orgasm	load	climax	sperm; semen
seed	cum-dump	juice	baby juice	ejaculate
FUCKING
slam	ram	piston	stroke	deep-stroke
pile-drive	drive	fuck	grind	mount
batter	grind	spoon	pump	plunge
spasm	rape	nail	brutal	vicious
tore; tear	pound	drill	rip	sixty-nine
hammer	impale	jam	smack	spread-eagle
shove	stab	skewer	pummel	corkscrew
spear	thrust	force	prod	stuff
wedge	stick	bore	penetrate	probe
maul	hook-up	get with	throw down	liaison
slice	stretch	purl	impale	slam-fuck
throb	beat	pulsate	pulse	pound
MANNER
hearty	robust	vigorous	deliberative	forthright
thoughtless	careless	frank	pensive	straightforward
open	outspoken	energetic	juvenile	inexperienced
sophomoric	animated	vibrant	spirited	experienced
feisty	spry	bubbly	pert	ingratiating
carefree	insouciant	assured	poised	self-confident
sociable	gregarious	affable	winsome	sophisticated
debonair	cheerful	simple	naïve	placid
gallant	polished	worldly	gracious	well-mannered
impolite	rude	languorous	breezy	complaisant
sullen	ardent	puzzled	frank	arrogant
demanding	impudent	pushy	studied	pretentious
provocative	penitent	contrite	morose	impassioned
protective	furtive	sneaky	secretive	fawning
timid	reluctant	reticent	wary	forbidding
callous	lewd	vulgar	coarse	brusque
excited	tense	sharp	blunt	harsh
frantic	electrified	feverish	savage	intimidating
irascible	petulant	testy	touchy	huffy
greedy	voracious	ravenous	insatiable	starving
depraved	debauched	decadent	chaste	degenerate
vicious	cruel	brutal	sadistic	appalling
wicked	vile	evil	licentious	dreadful
melancholy	sad	helpless	yielding	acquiescent
wimpy	amenable	pliable	brazen	accommodating
weak	passive	slow	languid	sleepy
somnolent	measured	quiet	coy(ly)	surrendered
vague	foggy	hazy	cloudy	confused
eager	excited	willing	craving	yearning
relenting	yielding	concede	timid	granting
shy	bold	loud	silent	cautious
mocking	abrupt	kind	gentle	snockered
solitary	icy	chilly	livid	bristling
ACTIONS
squirm	probe	drain	hug	undulate
crane	hunch	thrash	rake	clench
flicker	devour	taste	twinge	tweak
squint	shudder	shiver	quiver	quake
quiver	flex	shoot	torment	strip
lap	taste	suck	blow	gulp
hover	horrify	dismay	shock	appall
studied	ram	fondle	caress	tremble
convulse	cudgel	savor	sampled	offer
shrug	grin	sneer	protest	signal
wave	nod	gawk	gurgle	clasp
pat	tilt	melt	reared	hurry
race	scowl	frown	glower	smell
flail	sulk	flutter	flap	stumble
hesitate	pretzel	writhe	stagger	scissor
turn	swivel	twist	rotate	encircle
thrust	pound	hammer	pummel	rip
tear	pour	fill	slam	sulk
evoke	provoke	stir	goad
VOICES
firm	resolute	distinct	crisp	authoritative
shrill	steely	dry	intimate	stuttering
subdued	whispery	susurrous	breathy	booming
sharp	grating	harsh	piercing	monotonous
lyrical	languid	sweet	seductive	commanding
soft	low	resonant	sonorous	whimpering
rich	tinny	uncertain	edgy	quavering
strong	mocking	shy	muted	holler
segue	wane	falter	fade	tail off
DIALOGUE
whisper	mumble	order	beg	cry; cried
pause	thought	wonder	glance	remember
assure	retort	chide	exclaim	added
consider	object	mutter	urge	yell; holler
snap	howl	suggest	scold	reprove
praise	rejoin	reply	doubt	believe
grouse	surmise	lament	recall	exasperate
answer	explain	joke	suspect	tell; told
said	claim	question	quiz	understood
mimic	segue	fluster	repeat	demand
stutter	held	assume	respond	anticipate
lie	incense	annoy	upset	infuriate
ponder	reflect	cackle	laugh	mock
stammer	waver	imply	announce	wager
Modifiers (see Manner)
SOUNDS
gasp	squeal	scream	moan	howl
guzzle	nip	whimper	sigh	shudder
groan	pant	murmur	weep	gawk
gulp	wail	flutter	mewl	gag
chuckle	chortle	giggle	snigger	mutter
yelp	shriek	whine	weep	sob
snivel	cry	blubber	bawl	howl
grunt	sip	slurp	bellow	laugh
cackle	gnash	hiss	wheeze	chime
splort	whap	schwack
EXCLAMATIONS
ooooooh	ooooooo	unnnngh	aaaaagh	aaaargh
mmmmm	jeezus	ohmygod	nnnnnnn	nnnnnhh
nnnggghhh	uuuggghhh	uuuuhhh	mmpphhh	hhmmpphh
ummmmm	noooooo	schwack	owwww	oouch
aaiiiiieee	eeeee!	aanuugghh	mmffh	gm-mmh
hhrrrff	g-ahhh	eewww	mmmmph	glmphmmh
mmhffmh	oh-oh
EXPRESSIONS
animated	pointed	steadfast	intense	disapproving
askance	fleeting	sly	secretive	furtive
fiery	stern	glaring	frowning	dismissive
glowering	dirty	cold	critical	indignant
astonished	blank	vacant	furious	chastened
puzzled	mystified	incredulous	sheepish	hesitant
worried	concerned	distressed	panicked	hopeful (less)
sulky	pouting	sullen	measured	wistful
aghast	imploring	strange	trembling	quivering
shivering	shaky	shudder	blustery	frenzied
maddening	frenetic	wild
ATTRACTION
pretty	handsome	becoming	beautiful	breathtaking
cute	ravishing	unbecoming	stunning	unremarkable
ugly	nondescript	plain	pleasing	undistinguished
fair	gorgeous	homely	unsightly	repulsive
DRESS
apropos	seemly	modest	rumpled	impeccable
exquisite	smart	stylish	snappy	becoming
frumpy	motley	casual	common	meticulous
sloppy	flashy	garish	vulgar	disheveled
sexy	revealing	daring	ragged	scantily clad
BODY/SIZE
buff	sleek	trim	tapered	well-developed
sinewy	solid	sturdy	muscled	athletic
defined	bedroom	curved	angular	squared
petite	slender	slim	spindly	thin; gaunt
tiny	diminutive	slight	small	lissome
limber	lithe	supple	agile	nimble
flat	erect	smooth	velvety	silky
clean-cut	fresh-faced	doll-faced	chiseled	sculptured
stout	fat	thick	plump	fleshy
stocky	chunky	heavyset	brawny	bulky
dumpy	hefty	stumpy	squat	strapping
large	grotesque	monstrous	massive	gigantic
wide	giant	oversized	hulking	immense
bulging	big	huge	pouty	sensuous
leggy	statuesque	svelte	bosomy	stacked
voluptuous	shapely	waif	busty	buxom
sumptuous	luxurious	plush	stretched	bursting
engorged	bloated	puffy	bulbous	full
swollen	distended	lesser	lanky	dainty
FEEL/LOOK
slippery	slick	sleek	satiny	luscious
soothing	calm	quiet(ed)	brush	graze
glistening	glazed	gleaming	shimmering	shiny
smoldering	seething	glowing	searing	teeming
cup, cupped	grip; grasp	clenched	enveloping	snatched
knobbed	knotty	gnarled	jagged	glassy
studded	blunt
TASTE
delicious	succulent	tasty	tender	delectable
spicy	relish	delight	savor	scrumptious
watery	sweet	salty	bland	neutral
SKIN
lustrous	soft	shining	glowing	flawless
olive	ruddy	wrinkled	grainy	withered
tough	leathery	freckled	mottled	swarthy
pallid	ruddy	raw	flushed	creamy
smooth	silken	taut	velvety	bumpy
bruised	livid
HAIR
auburn	brunette	braid	bob	cowlick
crew cut	bangs	henna	pageboy	French braid
permed	pixie	ponytail	redhead	streaked
tousled	thinning	long	full	shorn
bushy	shaggy	grizzled	hairy	scruffy
EYES
anxious	seductive	sad	doleful	mystified
steely	piercing	hard	soft	penetrating
salacious	gloomy	cold	sinister	ominous
intense	fiery	steely	furtive	mysterious
cautious	sly	wary	dazed	reassuring
puzzled	wild	hesitant	concerned	enticing
sharp	wistful	pleading	squinted	squinched
soft	devilish	dreamy
Modifiers (see Voices)
POSITION
nearby	close	abreast	proximal	immediate
adjacent	beside	alongside	bordering	neighboring
atop	jutting	dangling	underneath	beneath
protruding	recessed	encircled	enveloped	enclosed
lengthwise	sideways	frontal	posterior	lateral
upturned	touching	bunched	clustered	accumulated
WALKING
treading	shuffling	lumbering	loping	reeling
staggering	lurching	toddling	gliding	strolling
sauntering	ambling	hobbling	limping	prancing
clomping	marching	prowling	traipsing	creeping
COLOR; LIGHT
transparent	opaque	tinged	tinted	prismatic
glaring	blazing	lit	gleaming	glistening
umbral	bleak	shady	gloomy	blue; azure
pink	dingy	shadowy	tawny	dusky
red	scarlet	cherry	crimson	gray; ashen
blond	ebony	raven	bronze	amber
jade	teal
Color Modifiers
bright	brilliant	cool	dark	deep
drab	dull	dusky	faded	faint
garish	gaudy	glowing	light	lustrous
medium	muted	pale	pure	smoky
soft	strong	vibrant	vivid	warm

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The End
© Kysa Braswell
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