The Lurker at the Threshold TalonAbraxas
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The Lurker at the Threshold TalonAbraxas
Frigg (Friia)Â was the Queen of Asgard, wife of Odin (God of Wisdom) and the goddess of beauty, love and marriage in Norse mythology. Even though her main role was guardian of marriage, Frigg did not live with Odin. Instead, she made her home in a place called Fensalir and was attended by several maids. She had a reputation of knowing every personâs destiny, but never unveiling it. The English word âFridayâ is derived from her name.
Mary Oliver, from "Evidence", Devotions
ghazal b by sergio b. colon & makeup by tess garvey
How I turned an idea into an outline
With NaNoWriMo around the corner, I thought I might show you how I plotted my novel.
This is the story structure I used:
0% inciting incident
0%-20% introduction in the world, ends with a point of no return
20% first plot point: the hero receives his marching orders
20%-50% response to the first plot point
35% first pinch point: reminder of the nature of the antagonistic force
50% midpoint: big fat plot twist that changes the heroâs AND readerâs experience
50%-80% attack: the stakes are higher now
65% second pinch point: again reminding the reader of the antagonistic forces at hand
80% second plot point: the final injection of new information into the story to give the hero everything she needs to become the primary catalyst in the storyâs conclusion (no new information past this point)
80%-100% resolution + final conflict + return home
I didnât make this up. I think itâs by Larry Brooks, if The Internet informs me correctly. Fun Fact: once you pay attention to it, youâll see this structure everywhere. Just take a look at any Harry Potter book, for example.
These points are the âbonesâ of my story. Next, I decided what âfleshâ to put on them.
I simply made a list of things I like to read about:
Books about books and libraries
Magic
Quirky characters
Intelligent, fast-paced and sometimes silly
So, I combined this list and the structure points into a story that makes sense. Because I donât want to spoil my plot / I am still to shy about my wip, I will make up a new plot for this post, so I can show you.
0%: The hero does something magical without knowing how she did it. She discards it, because everybody knows it canât have been real.
0%-20%: We see the daily life of the hero: she is unhappy because all she wants to do is read, but she is not allowed to. She reads in the dead of night and is punished for it by her evil stepcousin. She finds a book on magic.
20% It all clicks together: she can do magic!
20%-50% The daily life for the hero changes. Instead of reading all night, she practices magic. She now loves books even more. She has little victories over her evil stepcousin, but hasnât won yet.
35% The evil stepcousin finds out that she can do magic and takes away the magic book.
50% She discovers she can do magic without the book.
50%-80% The hero is not the only one who is bullied by the evil stepcousin. Her younger cousin is a victim as well, and he doesnât have magic to defend himself. The stakes are raised, this is bigger than herself now. The younger cousin also wants to read, so they have several bonding moments over reading.
65% The evil stepcousin hurts the younger cousin, heâs in a coma now.
80% The hero discovers the evil stepcousin could do all these evil things because he knows magic too.
80%-100% The hero confronts the evil stepcousin, fights him off, nearly loses but wins in the end. He gives up and releases his power over the younger cousin who wakes up from the coma.
Itâs not the most genius plot ever, but I literally made this up in minutes. So can you! And imagine the genius plot you can come up with if you spend more than a few minutes on it.
Then I calculated how many scenes I need in which part of the story. My wip is a YA or 12+ book, so I want it to contain about 75,000 words in total. I want my scenes to be around 1,000 words long to keep it snappy, so I need 75 scenes.
Scene number 1 (0%) is the inciting incident, scene number 15 (20%) is the first plot point, scene number 26 (35%) is the first pinch point, scene number 37 (50%) is the midpoint, scene number 49 (65%) is the second pinch point, scene number 60 (80%) is the second plot point and scene 75 (100%) is the last scene.
Some sidenotes on the 1,000-word scenes:
Thatâs more of a vague rule of thumb than a strict rule. If your scene needs to be longer or shorter, make it longer or shorter of course. My wip has some 2,300-word scenes as well.
Having 1,000-word scenes does not mean I have 1,000-word chapters, that would be really short. I will divide my novel into chapters after Iâm finished writing my first draft.
For NaNoWriMo, maybe you could write scenes of 1,667 words, so you do one scene per day. A 50,000-word novel has 30 scenes of 1,667 words. Inciting incident is at scene 1, first plot point at scene 6, first pinch point at scene 11, midpoint at scene 15, second pinch point at scene 20, second plot point at scene 24 and scene 30 is your last scene. Thatâs just an idea, you got to see what works for you.
Then I made up in one sentence what will happen in every scene. For example: âThey meet the dragon and he sends them on a sidequest.â Now my outline consists of 75 one-sentence scenes. This way, I prevent the problem of the sagging middle and other pacing problems and I still get to surprise myself when writing.
From those one-sentence scenes, I flesh out every scene into a first draft, using the process I described in my post How I never have to face an empty page when I write.
And thatâs my first draft! I hope everything is clear. Feel free to ask me questions if it isnât.
Iâm gonna tag a few people I admire, who I hope are interested. If you arenât, feel free to ignore me, or message me to take you off my tag list. If you would like to be added to my writing advice tag list, let me know.
Keep reading
Give me plus size women in main character roles where the story does not revolve around them being plus sized in the slightestâ
Show me post-apocalyptic plus size women with nail studded baseball bats and hand guns and the ability to use both and use them effectivelyâ
Show me a rebel plus size woman screaming for the freedom of her people with a bow and arrow strapped to her back and her fist raised and winningâ
Show me a plus size woman who is desiredâ who is falling in love without thinking twice and fighting for that love and then show me that love withstanding every trial thatâs thrown itâs wayâ
Show me a plus size vampire who is the epitome of desire and sex and lust and beauty and grace and everything so fucking delicious and wantedâ
Show me the queen of dragons with thighs that her knight would cave forâ beg forâ and show me her burning cities to the ground and not regretting a single damn second of itâ
Show me something that rivals The Maze Runner, The Notebook, The Hunger Games, Game of Thrones, The Vampire Diaries and give me plus size women in the same roles as Teresa, Allie, Katniss, Daenerys, Elena and make it about the adventures and not about how theyâre afraid to look in the mirrorâ
Show me fearless, loving, loved plus size women on the big screen slaying dragons and slaying men and, yeah Iâll say it, fucking men tooâ
And womenâ
Show me plus size women who donât hate themselvesâ who have thick arms and thick tummies andâ godâ thick thighs and love themselvesâ
Show me plus size women loving themselves and show me them now
ok u know what. golden hour is great and all, but u know what time of day is super underappreciated??? BLUE hour
that time of day right after the sun sets or right before it risesâŠ. *chef kiss* love that
Probably the single hardest lesson for me to internalize in writing was that you donât design a character you design a character arc.
One reason you as a writer might end up stuck with a flat or boring character, or one that just isnât doing the things you need to create a vibrant plot, despite working out all the details of their life for hours, is because youâve made the mistake I always do. Youâve made a character who is a blend of all the characteristics you envision for them, rather than saving some characteristics for the end of their journey.Â
What do I mean by this? Maybe you envision a character who is a handsome prince, honest, brave, and true. In your plot, though, heâs going to be an antagonist for a bit but you donât really want him to be seen as a bad guy, necessarily. But when you drop him into your story, heâs just⊠there. Being honest, brave, and true.Â
Thatâs because the prince has no character arc. He is a static figure, a cardboard cutout.Â
Letâs go a little deeper with a great example of one of the best character arcs in YA animation: Prince Zuko. He is, objectively, honest, brave, and true (to his cause of finding the Avatar) from the outset. But heâs also a dick. Heâs a privileged, imperialist brat, who is rude to his uncle and vicious to our protagonists.Â
By the end of the series, though, Prince Zuko is still honest, brave, and true, but heâs also a good person who has learned many lessons over the course of his trials and obstacles. He has failed over and over again at his initial goal of capturing the Avatar. He has failed at winning his fatherâs regard. He has failed at numerous smaller goals of day to day adventures. He has learned from all of these. We have seen his journey. But, if you started your vision of how to write Zuko from who he ends up being, heâs got nowhere to go as a character.Â
Itâs not just about what flaws he has corrected though. Itâs about what lessons about life he has internalized. What flawed views of the world he has corrected and how.Â
Rather than saying, âThe character starts out a dick and learns to be nice,â be more specific. âThis character starts out believing the empire he is loyal to is morally in the right for its conquests, but over the course of working for that empireâs ruler and seeing his cruelty first hand, not to mention fighting the empireâs enemies and mingling with its civilian victims, he becomes a better person and learns the error of his ways.âÂ
Already, right there, you have more than a cardboard character. You have a character who has an arc that molds to your plot.Â
đź the magicianâs prep list đź
a questionnaire / ask game for writers about their storyâs magic system. i tried to stay pretty generic / give broad, open-ended questions.
thereâs ~20 of them, so while i donât promise it covers everything, i hope it at least gets you thinking! (or letâs you show off what you already have)
also, picking emojis for these was hard, & i hope they at least halfway make senseâŠ
đ§ââïž who can use magic? is it exclusive or something everyone can do? when do people typically start showing signs of being able to use magic?
đȘ how is magic used? is it tied to a language? do people use foci? do they trace runes in the air? is it done simply by thought?
đ§đŒââïžwhere does magic stem from? does it come from within a person? is it a gift from gods? a pact between mortal & immortal? can it come from more than one source?
đ§Źis magic hereditary? completely random? a mix of both?
âšhow are people who can use magic seen by people who canât? are they considered dangerous? elite?
đ§ââïžhow is the amount of power a magician has determined? is it possible to increase this power? how are more powerful magicians seen by the less powerful ones? vice versa?
đźwhat is the cost of using magic? does it take spell components? energy? both? something else? how does this effect what kind of spells can be cast?
đŹif magic has a cost to the magician, is there a way to replenish their energy/mana/etc? if so, what is it, and how readily available is it?
âïž is there a way for spells to stick aroundâsuch as enchanting an object, or anchoring a spell? if so, is this an easy thing to do, or is it difficult? does it require any special tools or fuel?
đ§ is it possible for magic to be used unconsciously, or can it only be used through active choice?
đ„what are the dangers that come with using magic? can spells backfire? can a mage run out of magical energyâand if so, what happens? are there other dangers?
â what are the limitations of magic? is there anything magicianâs CANT do? are there any laws forbidding the practicing of certain magic/spells?
đĄ are there ways to counter spells/magic? how common are they? what effects do they have on magicianâs? their spells? enchantments?
đ« what kind of training do people with magic receive? how long does this training last before theyâre considered a fully fledged âmagicianâ (or other term)? what about full mastery?
đ what are the most important rules of magic, things that all apprentices are taught to keep in mind? what happens if these rules are broken?
đ does magic have any subclasses/specialties? if so, what are they? how are they seen? are any considered better than others? are there any rivalries between practitioners?
đ°are there any magic oriented jobs? if so, what are they? how in demand are they? what are they like?
đare there any magical creatures? if so, how is their magic different from a magicianâs? how to magicianâs think of their magic? is there anything the creatures can do that a magician canât?
đhow are magicianâs perceived by society? does it differ between social classes / backgrounds?
đ§”is there a form of attire thatâs typical associated with magicianâs? if so, why? is there a practical reason for it, or is just ~aesthetic~?
what people think writing is: worldbuilding, churning out entire chapters in one sitting, metaphors, character building, finishing novels, flawless plotlines
what writing actually is: random 1 am thoughts, zoning out into fictional worlds, associating songs with characters, writerâs block for six weeks at a time, coming up with plot twists at the most inconvenient times
hey writeblrs, tips for writing good parents and healthy wholesome parent-child relationships?
They can joke with each other without it being mean spirited because they respect boundaries.
The child knows that they can go to their parents when theyâre in trouble. They might be angry with the bad decision but will still unconditionally love the child and help get them to a safe place (either physically or mentally)
Parents try to maintain a good work/home life balance, they might have mandatory family fun on weekends or prioritize a family dinner together no matter how busy they are
Parents turn out for the kids activities even if theyâre not personally a fan, driving them to clubs and school events
Good communication - if they drive, kids make sure to text when they get to the destination safely and check in often if they live away.
If itâs a big family with multiple siblings, parents take time for all of the kids, and while older siblings might help raise the younger kids, the burden of parenting isnât on them
In terms of discipline, when a kid messes up, the parent will explain why theyâre in trouble and deserve a fair punishment and leave room for making it up. It becomes a learning experience
Children look up to and respect their parents. Little kids might try to mimic them. They know their parents arenât perfect but appreciate that they try their best and work together to make the relationship strong
Parents try to act as overly-affectionate in public and it kind of embarrasses the kid but they secretly appreciate it and know that if they need someone to kick up a fuss in their defense, their parents will have their back.
the parent(s) speak frankly with their kids about their own flaws, personal history, and trauma. they may wait till the kids are older to acknowledge severe traumas, but they are clear and honest with them, and willing to admit to their own mistakes.
parents actively listen to their children, gain an understanding of their interests, and attempt to relate. this is usually extremely embarrassing for the child.
they give their child space to be alone and privacy with their friends and online. they do not feel the obligation to involve themselves in every aspect of their childâs life, especially when theyâre a teenager.
parents trust their child to tell them what the child needs to tell them. they may experience anxiety over what their child hides from them, but they donât put pressure on them to reveal their secrets.
parents allow the child to experience natural consequences for their actions, rather than punishing them for every misstep.
parents help their child to become financially responsible at an appropriate age.
if the child is involved in activities, like clubs, sports, or extracurriculars, the parent tries to be involved as well.
keep in mind that a parent-child relationship is a *relationship*. a healthy relationship has rapport; inside jokes; a consensus on whatâs ok to say and what isnt. older children especially ought to have near-equal say in these relationships, and even a very young child should feel as though their needs, wants, and passions are being considered :)
it can be tough if you havenât had very good parents to model, so my advice is to keep in mind the dynamic of a pair of very old friends. only one has known the other since uhh.. pre-birth!
Cottagecore but make it dark
some fucking resources for all ur writing fuckin needs
* body language masterlist
* a translator that doesnât eat ass like google translate does
* a reverse dictionary for when ur brain freezes
* 550 words to say instead of fuckin said
* 638 character traits for when ur brain freezes again
* some more body language help
(hope this helps some ppl)
have no intentions of ever playing dark souls but iâm still in love with gwyndolin
War, Battles and Sieges: Keeping your Army in Line
The army has assembled. You have gathered all your knights and conscripts in the camp. Now we must make them an army.
Factions
Armies are not just sizeable groups of men with weapons trying to kill the other side. Well technically they are but they arenât just a mass of people. A commander can be the Monarch, a member of the royal family or anybody of rank. Under the commander are the Constables and Marshals. The troops were divided into companies of 20 men, grouped in masses of a hundred, then into thousands. Like every group project there will be factions, all using different methods to achieve a victory. Letâs look at each rank of fighters.
Knight: The knight, in basic terms, is a mounted soldier. Most knights are noble or even royal yet some could be common men rewarded for bravery or leal service. The cost of maintaining a knight would be large. They would bring their own armour, horses and servants but may be provided replacements if these are lost. The knights fell into two categories- the banneret and the bachelor. The first was entitled to a banner on the field.
Light Cavalry: The light cavalry is made of mounted men who wore light armour and wielded lighter weapons such as lances or bows. The light cavalry was usually made up of wealthy commoners. Some officers in the light cavalry would be knights or have been trained the same way. Light cavalry could be used as scouts, skirmishers or outflankers.
Archers: The archers were assets to any army. The rank always included skilled and trained soldiers. To train a bowman you start with the grandfather, it was said.
Infantry: The infantry were made up of mostly unskilled fighters recruited from the common class. Some of the infantry may be skilled from old campaigns and such. This is the largest portion in may mediaeval armies. They would be armed with spears, pikes, axes, swords and perhaps shields.
Marching
An army will have to move from one place to the next. Here is a helpful table I found (credit where credit is due).
However, one must consider the armyâs size, health, load and the terrain they travel over. An army on the march must travel in certain formations to keep them safe and keep the army intact. An army will always be vulnerable on the road. Here is a rough doodle of what an army on the move should be laid out like.
An army are like that goldfish you had as a kid to teach you responsibility. They need to eat. You need to feed them. And just like that goldfish, it can be a daunting task. An army will always need:
Weapons: Which can be bought, forged and pillaged from the dead enemies/allies.
Supplies
Food: Food can be bought and foraged from the land about the army. Low food will lead to starving and weakened soldiers who may desert or turn to banditry.
Water: Can be sourced from any river, stream, pool. Bad water can lead to dysentery and death.
Fodder: An army will need something to feed their pack animals with. The oxen, horses and mules of any force need fodder to survive any march.
Morale: Your army will not fight without belief. It can be belief in a righteous cause, a god, a vow, victory or financial gain. A confident army will be fearless. An army with no spirit will not fight as fiercely.
An army is a city on the move. Every city has laws and rules. The Romans were very strict with their laws.
For dereliction of duty or even desertion a the soldier would be stoned in punishment for all the lives he could have put in harmâs way.
Camp Rules
Stoning and public whippings and beating were inflicted on thieves, perjurers and anybody getting caught three times for a minor infraction
For treason, the guilty would be sewn in a sack and thrown into a nearby river or lake
(There are plenty more examples but these are the most interesting)
Mys Aniva Lighthouse | Sakhalin, Russia