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@casandraleigh
Reblog this if you write fantasy/scifi
🧙‍♀️👽🧙‍♀️👽🧙‍♀️👽
New shelves are up. ^.^
y’all, i have an open question. how important is it for you to have biologically/scientifically sound reasonings in a story that takes place in an earth-setting, even if the story is fantasy?
Hm, I think all that matters is that you succeed suspending disbelief.
Example– You can write a story that involves teleportation, which isn’t real, and you don’t need a real scientific explanation. We all know that teleportation is a vague thing that exists in a sci-fi world, earth setting or not, and you could add that to your book easy peasy using some, idk, vehicle, to “explain” it. ie, standing on a “teleportation pad” or something else that would be good enough at explaining the scientific reasoning behind the not-real science of teleportation.
I did a shit ton of research on genetic splicing and nanobots as way to explain how there are mutants essentially, in my (earth) world? I have all this useless knowledge about protein synthesis and stuff, but it’ll certainly help me down the road lmao
For me, my vehicle to explaining it was nanobots in DNA and honestly, just time. I think what you’ll have to figure out is what your vehicle is!
Not entirely sure if that was an answer to the question you had, but I hope it helped! lol
When cars are in a story, we don’t need to explain how a combustion engine works. Most readers don’t know how it works and they’re fine with that. When Olympic-level martial arts or stunts are in a story, , we don’t need to explain how the human body is capableof these things. Most readers don’t know that either.
Unless the story is about this thing, the narrator really cares about this thing, or the thing is very unusual in its own setting, writers usually don’t have to explain it.
So, yes! Suspension of disbelief is always paramount. The one thing I’ve found that usually needs more explanation is fictional culture/politics. Not a gluttonous amount (SW prequels, lookin at you), but enough to explain the motives of a group of characters. Oftentimes I’ll be halfway through spec fic and still be thinking “Yes, but why the hell do they care, can’t they just do X?” and perceive it as a plothole when one sentence of worldbuilding could’ve cleared it up. Maybe I’m part of the audience who cares more about character motivation than how superpowers or spaceships work, but it just seems to me like the story should be about the plot and the plot is made by the characters in it so they should be believable, right?
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Happy Birthday, Hermione!
You: Oh my God
Me, an intellectual: Skies
B O O K M A R K SÂ
A Killer First Chapter
Anonymous asked:
Do you have any advise on how to open a story? I have all my characters and my plot and my conflict and everything but I don’t know how to start. How to keep a reader hooked and interested enough to keep going.
This is a little ironic, because I’m about to rewrite my opening three chapters for The Warlord’s Contact from scratch for about the tenth time. But practice does make perfect, and boy have I learned a lot through this process.
Sometimes you look at a story and you just know how it needs to open. It’s the most obvious choice in the world, and it’s clear why no other option would work.
Unfortunately, that’s not often the case. Usually, the beginning to your book will take preplanning and rewriting and replanning and bit more rewriting, and all the while you’ll never quite be sure you chose the best spot to open to, or the right characters to introduce, or the proper setting.Â
Here are a few specific methods of thought for tackling your first chapter…
Keep reading
Little details to give your characters
Picks M&Ms out of trail mix
Bites fingernails/toenails
Has a small collection of water bottles by their bed
Cracks knuckles
Loves the smell of nail polish remover
Is a pollotarianÂ
Only listens to music from one decade
Never wears matching socks
Wears college sweaters (bonus if they don’t go to that school or know anyone who does)
Always chews gum/has gum
Constantly gives everyone nicknames based on a pun of their name
Laughs a little after they speak even if they didn’t say something funny
Always wears solid color hoodies
Constantly quotes/references movies
Only calls people by their full first name or full first and last name
Has a unibrow
Afraid of the dark
Impeccable manners
Smells like Vicks Vaporub
Steps over the cracks in the sidewalk or steps on the cracks in the sidewalk (if they hate their mother)
Smooths their eyebrow hairs down
Plays with their eyebrows/hair when sleepy
Picks at their skin (mostly their face)
Hugs people when they first meet them
Doesn’t shave their armpit/pubic/leg hair
Takes off their bra/gets naked as soon as they get home
Always has a snack with them
Plays with their body jewelry whenever they’re nervous/mad/sad
Likes bouncing their legs
Draws/writes on skin
When you're writing and you suddenly realize you don't know what happens next
How the setting looks in my head:
How the description comes out on the page:
Book store signs.
Has this been done yet?Â
When rewriting the chapters just before the climax of the story opens new opportunities for character growth, but you’re not sure you want to take them, because you’d have to go back through the entire middle section of the manuscript and build up to said growth appropriately…
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