Dell Writes

Mostly reblogs of writing tips. Occasional original updates when I am feeling saucy.

[maelancoli]

Writing Intimacy

i often see writers sharing a sentiment of struggling with writing kiss scenes which honestly bleeds into other portrayals of physical intimacy. i see it a lot in modernized styles of writing popularized by the recent trend in publishing to encourage short, choppy sentences and few adverbs, even less descriptive language. this makes intimacy come across awkward, like someone writing a script or clumsy recounting of events rather than a beautiful paragraph of human connection.

or just plane horniness. but hey, horny doesn't have to be mutually exclusive with poetic or sensual.

shallow example: they kissed desperately, tongues swirling and she moaned. it made her feel warm inside.

in depth example: she reached for the other woman slowly and with a small measure of uncertainty. the moment her fingers brushed the sharp, soft jaw of her companion, eliza's hesitance slid away. the first kiss was gentle when she finally closed the distance between them. she pressed her lips lightly to gabriella's in silent exploration. a tender question. gabriella answered by meeting her kiss with a firmer one of her own. eliza felt the woman's fingers curling into her umber hair, fingernails scraping along her scalp. everything inside eliza relaxed and the nervousness uncoiled from her gut. a warm buzz of energy sunk through her flesh down to the very core of her soul. this was right. this was always where she needed to be.

the first complaint i see regards discomfort in writing a kiss, feeling like one is intruding on the characters. the only way to get around this is to practice. anything that makes you uncomfortable in writing is something you should explore. writing is at its best when we are pushing the envelope of our own comfort zones. if it feels cringy, if it feels too intimate, too weird, too intrusive, good. do it anyway! try different styles, practice it, think about which parts of it make you balk the most and then explore that, dissect it and dive into getting comfortable with the portrayal of human connection.

of course the biggest part comes to not knowing what to say other than "they kissed" or, of course, the tried and true "their lips crashed and their tongues battled for dominance" 😐. so this is my best advice: think beyond the mouth. okay, we know their mouths are mashing. but what are their hands doing? are they touching one another's hair? are they scratching or gripping desperately at one another? are they gliding their hands along each other's body or are they wrapping their arms tightly to hold each other close? do they sigh? do they groan? do they relax? do they tense? are they comfortable with each other or giddy and uncertain? is it a relief, or is it bringing more questions? is it building tension or finally breaking it?

get descriptive with the emotions. how is it making the main character/pov holder feel? how are they carrying those emotions in their body? how do they feel the desire in their body? desire is not just felt below the belt. it's in the gut, it's in the chest, it's in the flushing of cheeks, the chills beneath the skin, the goosebumps over the surface of the flesh. everyone has different pleasure zones. a kiss might not always lead desire for overtly sexual touches. a kiss might lead to the desire for an embrace. a kiss might lead to the impulse to bite or lick at other areas. a kiss could awaken desire to be caressed or caress the neck, the shoulder, the back, the arms etc. describe that desire, show those impulses of pleasure and affection.

of course there is the tactile. what does the love interest taste like? what do they smell like? how do they kiss? rough and greedy? slow and sensual? explorative and hesitant? expertly or clumsily? how does it feel to be kissed by them? how does it feel to kiss them?

i.e. examine who these individuals are, what their motives and feelings are within that moment, who they are together, what it looks like when these two individuals come together. a kiss is not about the mouth. it's about opening the door to vulnerability and desire in one's entire body and soul.

[daily-prompts]

I need everyone’s best character advice. STAT.

[foresttheblep]

Know what they want, What they're scared of What/who they love What/who they're willing to sacrifice

Also their breaking point, what shit do they have to be dragged through before they give up everything just for it to stop. And if they regret it or not,

[everybodysangel]

Start with something you do understand about them and branch off from there. Personally, I find it easier to write for characters that have some aspect of my personality, amplified and then manipulated into something new or different. Or maybe we share some aspect of childhood. We don't have to be the same people, but my experiences are something I can understand and use to shape new people.

[she-who-fights-and-writes]

Knowing your characters’ limits and how to exploit them is essential for creating tension, and for writing excellent fight scenes/final battles.

Under what odds is your character able to win? What is their greatest strength?

Now take that strength away.

How do they account for that? Is it possible to still win, or is that strength all they have?

An acrobatic fighter who is shot through the leg. A knight whose trusty sword shatters. A sorceror who runs out of spells and elixers. A dragonrider whose steed is felled.

Find the limit and push past it! That’s how to raise the stakes!

[sadoeuphemist]

A scorpion, not knowing how to swim, asked a frog to carry it across the river. “Do I look like a fool?” said the frog. “You’d sting me if I let you on my back!”

“Be logical,” said the scorpion. “If I stung you I’d certainly drown myself.”

“That’s true,” the frog acknowledged. “Climb aboard, then!” But no sooner than they were halfway across the river, the scorpion stung the frog, and they both began to thrash and drown. “Why on earth did you do that?” the frog said morosely. “Now we’re both going to die.” 

“I can’t help it,” said the scorpion. “It’s my nature.”

___

…But no sooner than they were halfway across the river, the frog felt a subtle motion on its back, and in a panic dived deep beneath the rushing waters, leaving the scorpion to drown.

“It was going to sting me anyway,” muttered the frog, emerging on the other side of the river. “It was inevitable. You all knew it. Everyone knows what those scorpions are like. It was self-defense.”

___

…But no sooner had they cast off from the bank, the frog felt the tip of a stinger pressed lightly against the back of its neck. “What do you think you’re doing?” said the frog.

“Just a precaution,” said the scorpion. “I cannot sting you without drowning. And now, you cannot drown me without being stung. Fair’s fair, isn’t it?”

They swam in silence to the other end of the river, where the scorpion climbed off, leaving the frog fuming.

“After the kindness I showed you!” said the frog. “And you threatened to kill me in return?”

“Kindness?” said the scorpion. “To only invite me on your back after you knew I was defenseless, unable to use my tail without killing myself? My dear frog, I only treated you as I was treated. Your kindness was as poisoned as a scorpion’s sting.”

___

…“Just a precaution,” said the scorpion. “I cannot sting you without drowning. And now, you cannot drown me without being stung. Fair’s fair, isn’t it?”

“You have a point,” the frog acknowledged. “But once we get to dry land, couldn’t you sting me then without repercussion?”

“All I want is to cross the river safely,” said the scorpion. “Once I’m on the other side I would gladly let you be.”

“But I would have to trust you on that,” said the frog. “While you’re pressing a stinger to my neck. By ferrying you to land I’d be be giving up the one deterrent I hold over you.”

“But by the same logic, I can’t possibly withdraw my stinger while we’re still over water,” the scorpion protested.

The frog paused in the middle of the river, treading water. “So, I suppose we’re at an impasse.”

The river rushed around them. The scorpion’s stinger twitched against the frog’s unbroken skin. “I suppose so,” the scorpion said.

___

A scorpion, not knowing how to swim, asked a frog to carry it across the river. “Absolutely not!” said the frog, and dived beneath the waters, and so none of them learned anything.

___

A scorpion, being unable to swim, asked a turtle (as in the original Persian version of the fable) to carry it across the river. The turtle readily agreed, and allowed the scorpion aboard its shell. Halfway across, the scorpion gave in to its nature and stung, but failed to penetrate the turtle’s thick shell. The turtle, swimming placidly, failed to notice.

They reached the other side of the river, and parted ways as friends.

___

…Halfway across, the scorpion gave in to its nature and stung, but failed to penetrate the turtle’s thick shell.

The turtle, hearing the tap of the scorpion’s sting, was offended at the scorpion’s ungratefulness. Thankfully, having been granted the powers to both defend itself and to punish evil, the turtle sank beneath the waters and drowned the scorpion out of principle.

___

A scorpion, not knowing how to swim, asked a frog to carry it across the river. “Do I look like a fool?” sneered the frog. “You’d sting me if I let you on my back.”

The scorpion pleaded earnestly. “Do you think so little of me? Please, I must cross the river. What would I gain from stinging you? I would only end up drowning myself!”

“That’s true,” the frog acknowledged. “Even a scorpion knows to look out for its own skin. Climb aboard, then!”

But as they forged through the rushing waters, the scorpion grew worried. This frog thinks me a ruthless killer, it thought. Would it not be justified in throwing me off now and ridding the world of me? Why else would it agree to this? Every jostle made the scorpion more and more anxious, until the frog surged forward with a particularly large splash, and in panic the scorpion lashed out with its stinger.

“I knew it,” snarled the frog, as they both thrashed and drowned. “A scorpion cannot change its nature.”

___

A scorpion, not knowing how to swim, asked a frog to carry it across the river. The frog agreed, but no sooner than they were halfway across the scorpion stung the frog, and they both began to thrash and drown.

“I’ve only myself to blame,” sighed the frog, as they both sank beneath the waters. “You, you’re a scorpion, I couldn’t have expected anything better. But I knew better, and yet I went against my judgement! And now I’ve doomed us both!”

“You couldn’t help it,” said the scorpion mildly. “It’s your nature.” 

___

…“Why on earth did you do that?” the frog said morosely. “Now we’re both going to die.”

“Alas, I was of two natures,” said the scorpion. “One said to gratefully ride your back across the river, and the other said to sting you where you stood. And so both fought, and neither won.” It smiled wistfully. “Ah, it would be nice to be just one thing, wouldn’t it? Unadulterated in nature. Without the capacity for conflict or regret.”

___

“By the way,” said the frog, as they swam, “I’ve been meaning to ask: What’s on the other side of the river?”

“It’s the journey,” said the scorpion. “Not the destination.”

___

…“What’s on the other side of anything?” said the scorpion. “A new beginning.”

___

…”Another scorpion to mate with,” said the scorpion. “And more prey to kill, and more living bodies to poison, and a forthcoming lineage of cruelties that you will be culpable in.”

___

…”Nothing we will live to see, I fear,” said the scorpion. “Already the currents are growing stronger, and the river seems like it shall swallow us both. We surge forward, and the shoreline recedes. But does that mean our striving was in vain?”

___

“I love you,” said the scorpion.

The frog glanced upward. “Do you?”

“Absolutely. Can you imagine the fear of drowning? Of course not. You’re a frog. Might as well be scared of breathing air. And yet here I am, clinging to your back, as the waters rage around us. Isn’t that love? Isn’t that trust? Isn’t that necessity? I could not kill you without killing myself. Are we not inseparable in this?”

The frog swam on, the both of them silent.

___

“I’m so tired,” murmured the frog eventually. “How much further to the other side? I don’t know how long we’ve been swimming. I’ve been treading water. And it’s getting so very dark.”

“Shh,” the scorpion said. “Don’t be afraid.”

The frog’s legs kicked out weakly. “How long has it been? We’re lost. We’re lost! We’re doomed to be cast about the waters forever. There is no land. There’s nothing on the other side, don’t you see!”

“Shh, shh,” said the scorpion. “My venom is a hallucinogenic. Beneath its surface, the river is endlessly deep, its currents carrying many things.” 

“You - You’ve killed us both,” said the frog, and began to laugh deliriously. “Is this - is this what it’s like to drown?” 

“We’ve killed each other,” said the scorpion soothingly. “My venom in my glands now pulsing through your veins, the waters of your birthing pool suffusing my lungs. We are engulfing each other now, drowning in each other. I am breathless. Do you feel it? Do you feel my sting pierced through your heart?”

“What a foolish thing to do,” murmured the frog. “No logic. No logic to it at all.”

“We couldn’t help it,” whispered the scorpion. “It’s our natures. Why else does anything in the world happen? Because we were made for this from birth, darling, every moment inexplicable and inevitable. What a crazy thing it is to fall in love, and yet - It’s all our fault! We are both blameless. We’re together now, darling. It couldn’t have happened any other way.”

___

“It’s funny,” said the frog. “I can’t say that I trust you, really. Or that I even think very much of you and that nasty little stinger of yours to begin with. But I’m doing this for you regardless. It’s strange, isn’t it? It’s strange. Why would I do this? I want to help you, want to go out of my way to help you. I let you climb right onto my back! Now, whyever would I go and do a foolish thing like that?”

___

A scorpion, not knowing how to swim, asked a frog to carry it across the river. “Do I look like a fool?” said the frog. “You’d sting me if I let you on my back!”

“Be logical,” said the scorpion. “If I stung you I’d certainly drown myself.”  

“That’s true,” the frog acknowledged. “Come aboard, then!” But no sooner had the scorpion mounted the frog’s back than it began to sting, repeatedly, while still safely on the river’s bank.

The frog groaned, thrashing weakly as the venom coursed through its veins, beginning to liquefy its flesh. “Ah,” it muttered. “For some reason I never considered this possibility.”

“Because you were never scared of me,” the scorpion whispered in its ear. “You were never scared of dying. In a past life you wore a shell and sat in judgement. And then you were reborn: soft-skinned, swift, unburdened, as new and vulnerable as a child, moving anew through a world of children. How could anyone ever be cruel, you thought, seeing the precariousness of it all?” The scorpion bowed its head and drank. “How could anyone kill you without killing themselves?”

[ospreyonthemoon]

A scorpion, not knowing how to swim, asked a frog to carry it across the river.

“To be honest,” said the desert rain frog. “I’m the wrong kind of frog for that.”

“Oh,” said the scorpion.

“I was hoping to find someone to carry me across, myself.” It admitted.

“Oh,” The scorpion said. “Well, we can wait together.”

And they sat, and spoke, and when a turtle happened to pass along, they both ventured together, and the scorpion was too busy sharing words to ever think of stinging.

—

“Actually,” said the scorpion, as it climbed onto the frog’s back, “My sting is harmless.”

“Oh really?” Said the frog, as it began to swim.

“Yes,” the scorpion waved the small stinger about. “The poison is useless to anything larger than a beetle. I can’t threaten you with it at all, you see, so you don’t really need to worry about it at all.”

The frog, now freed from the fear of death, began preparing to dive.

“Although,” the scorpion continued as it felt the frog slow down, “do not think me entirely defenceless.”

“Why not?” Said the frog. “All you have is your claws. And they aren’t sharp enough to pierce my skin.”

“No, they are not,” agreed the scorpion, getting a good hold of the frog’s shoulders. “But they are strong. They need to be, to hold my prey so my weak venom has time to work.”

“But they will not kill me.”

“No. But there are other ways to hurt.” The scorpion tightened its grip, letting the teeth of its claws sink into the skin.

“You will drown me, of course, but my claws will remain locked. My drowned corpse will hang over your shoulders, right here, claws buried in you. And everyone who sees you will see it. And they will see my frail little body, and my weak little stinger. And you will drown me, yes, but for the rest of your life everyone will know that you took the life of a creature that was no danger to you for no greater sin than that you did not want to grant them passage. You will never escape the weight of me on your back, waiting to be carried to the afterlife you delivered me to.”

The frog was silent, for a while, before it continued to swim. “I think I would have preferred you with a stinger that worked.”

The scorpion relaxed its grip. “And I would have preferred to not have to use it.”

—

“Do you know how many times we’ve done this?” Asked the frog, eyes flicking back to its passenger. “I can’t remember how long it’s been.”

“A million lives.” Purred the scorpion, claws nestled up to the frog’s neck. “A million lives now, with this one. And it never matters until we’re here.”

“I’m glad it’s us.” Said the frog, letting the tide sweep it away. “I’m glad even after a million lives, we always find each other.”

The scorpion clung tight, even as the water seeped into its carapace. “I’d never die with anyone else, my love.”

Hopelessly entangled, they faded into oblivion.

—

A chicken stood at the edge of a road, watching the cars go by.

“Is this all there is?” It asked.

“I don’t know.” Said the fox across from it, brushing some grass from it’s foot.

“But it might be nice to find out.”

—

-but no sooner had the frog gotten halfway across the river did a great catfish rise up, mouth so wide they could not escape.

“Oh, foolish frog and foolish bug.” It said, voice full of pity as it swallowed them both. “Your eyes glued to the most obvious threat, did you never think there were greater things to fear in a river as deep and wide as this?”

And the catfish swam off, to find more frogs to devour.

—

“Sorry?” The scorpion paused, confused. “Sting you? Why on earth would I do that?

“Well,” said the frog. “It’s in your nature to, isn’t it?”

“No, not at all!” The scorpion said, voice tinged with insult. “We don’t run around stabbing everything we see. That’s a good way to start a fight you can’t win. A stinger is just for catching food and fending off predators, really. It’s no more my nature to sting everything as it is your nature to drown everything. And you don’t do that, do you!”

The frog scowled, petulant at the tone. “Well, the scorpion I usually see here almost always stings me…”

“That seems like you’re projecting problems with one scorpion onto every scorpion you meet.” Said the scorpion. “I’m not really sure I trust you to take me across the river, frankly. Do you know if there’s another frog who could help?”

The frog grumbled, and slipped into the water.

—

The chicken stood on the banks of the river with it’s children. A fox sat on the other bank, with a bag of corn.

“Hoy, chicken.” Shouted the fox. “Do you ever think you might be stuck in a rut?”

“What’s it to you?” The chicken said, flapping a wing in annoyance. “My life is my own business, fox.”

The fox shrugged, pawing at the corn. “I just feel like I can’t get out of this cycle,” it said with a sigh. “Like my life is stuck on rails.”

—

“On rails?” The scorpion asked. “What do you mean?”

“My whole life is just this river-”

—

“This road-”

—

“This boat-”

—

“And it feels like it doesn’t change. It feels like I’m always just here. In the river, with you.”

—

“Is it such a bad place to be?” Asked the fox.

“With me?”

—

“How long do you think the river has been here?” Asked the scorpion.

The frog thought about that until the poison had seeped into its bones.

“As long as us,” it whispered, as its lungs gave out. “As long as we’ve needed it.”

—

“You’re not swimming right.” Said the scorpion, pinching the frog’s arm.

“You need to kick round with the back legs, push with the front, like this-” gently, it pushed the frog’s limbs into the correct position.

“Oh, thank you.” Said the frog. “I’m no good at this. I’ve never been a frog before.”

“You’re doing brilliantly, my dear.” The scorpion said, trying to reassure. “I would have taught you earlier if I could have.”

“And I would have taught you to walk.” The frog laughed, kicking much stronger now. “If only I’d known you didn’t know! I saw you stumbling over the sands there.”

“I’ve never had so many legs!” The scorpion wailed. “How do you manage them all? And the eyes!”

They were not making it across the river very fast.

“I don’t mind only having two eyes.” The frog admitted. “I could get used to it.”

Despite the tutoring, the frog was getting exhausted, weak muscles failing in strong currents.

The scorpion tried to kick at the water, but its frail carapace only dredged in the currents, dragging them both down further.

“Oh, we’re no good at it this way around.” The scorpion said with a shake of its tail, claws clinging so strongly to the frog’s gossamer skin that it ripped open, spilling the entrails like ruby ribbons into the depths.

The frog laughed, choking on the water it didn’t know how to breathe. “I can’t swim, and you won’t sting! Oh, how our natures fail us still!”

And the river claimed them both once more.

—

“Do you remember a time before the riverbank?” Asked the fox.

“Do you remember anything after it?” The Chicken countered, head stuck in the bag of corn as it ate its fill. “Is there anything but the pursuit of what we will never grasp?”

“Maybe we will grasp it,” the fox’s voice was tinged with hope, tail tucked tightly around its legs. “Maybe one day, we will be more than our natures, and we will not have to cross the river again.”

“I like the thrill of it.” Said the chicken. “I’d miss the thrill of it.”

The fox sighed, and lowered its head down to the chicken, already doomed to bite. “But still, wouldn’t it be nice?”

—

But alas, the rains had been heavy, and the river bank had become swollen and wide.

The frog kicked for what felt like an eternity, the scorpion holding steady on its back.

Eventually it could swim no longer, and its legs seized up, as it gasped for air.

“I’m sorry, my love-” the frog wheezed. “I don’t think I can make it-”

“It’s okay.” The scorpion’s voice was soft with sadness, knowing now that it was doomed to die. “I didn’t know it would be so hard. I’m sorry I did this to you. I’m sorry I couldn’t help.”

“It’s not your fault,” said the frog, as the currents began to sweep them both downstream. “I wanted to help, I- I really thought I could get you there, I, we were so close -”

“We really were, weren’t we?” The scorpion’s hold on the frog was loosening, as its head swam from lack of oxygen. “We almost made it, we really did…”

The frog wailed in grief as the scorpion’s body was torn away, swallowed by the churning rapids.

—

A scorpion walked across an old riverbed. The smooth pebbles had long laid bare, the river dried up thousands of years ago.

It paused in the middle, overcome with a strange pain in its chest, and decided to turn back.

It felt wrong to cross this river alone.

—

“Where do you think the cars go?” Asked the fox.

The chicken watched a car drive by, seeing the shadowy shapes move within. “I try not to think about it. I want to be happy with my lot in life.”

—

-and no sooner had the frog gotten halfway across the river when the scorpion tapped its stinger against the frog’s back to get its attention.

“Hey,” said the scorpion. “I’m not really in that much of a rush, and it’s a beautiful day. Why don’t we just go up the river instead? I’ve always wanted to try standing on a lilypad.”

“Sure, if you’d like.” Said the frog. “I don’t have any plans for the day.

And while the river remained uncrossed, neither of them were unhappy about this.

—

“When did you know you loved me?” Asked the turtle, as the scorpion clung onto its back, hiding from the deep currents of the river.

The scorpion winced as a wave shook them. “Oh, from the start.” it said, shaking water from its tail. “Or near enough. I’d never met a frog before. And even though you didn’t know me, you laid your life on the line for me. For hope that the impossible was possible.”

The turtle considered that, thinking back across its many lives.

“I don’t think I knew I loved you until recently.” The turtle admitted, lifting its head from the water so its voice could be soft. “It took time, I think, to know. But that said, why else would I come back, time and time again to the same spot of the same river?”

“You have a world of rivers you could be in, my love.” The scorpion agreed. “And yet I always wait for you here. And you always come.”

“I’ve never been as vulnerable as I’ve been with you.” Even as the water licked up its shell, the turtle continued to swim. “I’d never trust my life to anyone else.”

“Here’s to us,” said the scorpion, raising its stinger. “And the river.”

“Here’s to us.” Said the turtle, raising a flipper to sting. “I hope we always find each other.”

—

“Well here we are,” said the frog to the scorpion. “The other side.”

“Here we are.” The scorpion agreed, slowly climbing off its back. “Thank you, for all of this.”

“Thank you for choosing me.” Said the frog. “Thank you for chaining my lives together. For helping me remember the infinity of Us.”

The scorpion didn’t answer, simply looking up, letting the sun warm its carapace.

“I’ve never really left the river.” The frog took another step onto the bank. “It’s… nice.”

The scorpion turned. For a moment, the frog felt the surge of adrenaline as it felt a pinch on its skin, only to find the scorpion had clasped its claw around their hand. “Come with me.” It pleaded, voice soft with urgency. “Come with me, and don’t say no. I won’t leave this river without you. We can see the other side together.”

Those claws could slice, but they were only firm. The river was only the river. But from the banks the frog could see a jungle of lush green, vibrant with life beyond its knowledge. It laughed. “I’ve always wondered what it was like out there.”

—

And the river was silent, with no moral questions to burden it.

[ospreyonthemoon]

That’s because i only added this bit this morning. I think its pretty good

[timeflow]

I think it’s beautiful. thank you for making this

[catgirltoes]

[image: a tag: “this is one of my favorite posts of all time but I’ve never seen this version of it”]

[official-time-loop-posts]

Official Time Loop Post

[falseknees]

[hacvek]

reminder to worldbuilders: don't get caught up in things that aren't important to the story you're writing, like plot and characters! instead, try to focus on what readers actually care about: detailed plate tectonics

[olyia-stories]

@dragonpyre any chance you could elaborate on this

[dragonpyre]

I grew up learning about land formations. Seeing fictional maps that don’t follow the logic and science of them makes me upset

[serinos-kitt]

What are the most common sins you’ve seen relating to this? I wanna know

[dragonpyre]

Mordor.

Why is the mountain range square. How did the mountain range form. Why is there one singular volcano in the center. Why does it act like a composite volcano but have magma that acts like it’s from a shield. If it’s hotspot based volcanic activity why is there only one volcano.

And then the misty mountains!!!! Why isn’t there a rain shadow!! And why is there a FOREST where the rain shadow should be!!!!!!!!

[serinos-kitt]

So what is a rain shadow?

[lethalbutterfly]

Wind blows clouds in from the sea, but mountains are so tall the clouds can't get past 'em, so you get deserts on the windward side of mountain ranges because clouds can't get there to water the land, or do so only very rarely.

[derinthescarletpescatarian]

Oh yeah nothing is more annoying than fantasy maps that can't get mountains, rivers and rain shadows right.

[mindfulwrath]

May I recommend my new favorite tool: Mapgen4. You start with a random seed and then add mountains, valleys, shallow water, or oceans as you like. You can adjust the wind direction to make wind shadows off the mountains fall where you want. You can adjust overall raininess to make the rivers larger or smaller, or have more or fewer tributaries. It works best for small, isolated landmasses (think islands more than continents) but as there’s no scale bar and it’s all slightly abstracted anyway you can do whatever you want with it. I’ve only just started playing with it but it’s SO FUN.

[corbinite]

That looks like a fun tool and it'd definitely be good if simulationism is not your goal (and it shouldn't always be) and you're more going for a feeling of truthiness THAT SAID, if you want to do some worldbuilding that really gets into the weeds, definitely check out the channels Artifexian and Madeline James Writes on YouTube, they both have some really useful videos about physical geography on a world that are great for getting started on building a world that makes physiogeographical sense without wasting years if your life learning geology in university like I did. In particular I'd rely on Artifexian's advice for plate tectonics (you don't have to use all the tools he does, and I definitely don't, but the principles are great) and Madeline James for climate patterns. Also just looking at topographic maps a lot next to the Wikipedia pages for local plate tectonics for a given area to get a feel for the patterns

Bonus: my favorite fun fact that I recently learned by studying on my own that I did not learn from either of these channels or from university classes, is that sometimes really strong subduction zones (one plate getting sucked under another) can cause the overlying plate to get squarshed out on its other ocean-facing borders. Which is how mainland Southeast Asia formed! That whole series of peninsulae were *squeezed* out of Asia when India collided with it. I was trying so hard to make sense of why the landmasses looked like that then when I read the explanation, it was like a thing of beauty

[idiopathicsmile]

regional differences

“oh hey,” she said, “it’s a really touristy area, but since you’re gonna be passing through anyway, you might as well stop by pier 29, see the dragons. also, there’s a—”

“hold on,” i said. “i knew your city had mountains, but. dragons? uh, actual living dragons?”

“dude, it’s not a big deal. they’re there all the time. of course they’re majestic and everything, but they’re loud and cranky and mostly they lie around eating garbage. now and then the city council will talk about trying to make them roost somewhere else, but—”

“dragons,” i repeated. i knew it was making me sound like a rube, but it was a lot to take in. “you live in a city that has dragons.”

“no, it’s cool, we used to go see them when i was a little kid. it’s worth doing. but that whole area is mostly dragon-themed gift shops, and the commercialization is kind of a bummer. also, sometimes a dragon will melt somebody’s car and it’s a whole problem.”

“fairytale-style, giant scaly fire-breathing dragons.”

“honestly, i forget other cities don’t have them?” she said. “there’s a few other sites on the west coast where they gather. portland calls them wyverns, but that’s a portland thing.”

“chicago’s got, like, bunnies and songbirds,” i told her, “but otherwise it’s just your typical vermin. pigeons, rats, sphinxes—”

“sphinxes? what the hell.”

“oh, yeah, they nest in the el tunnels. sometimes a fucking sphinx will flap down out of nowhere, bring the whole train to a halt until the front car answers a riddle.”

“that sounds exciting,” she said.

“it’s the worst. your train winds up being twenty minutes late, and you just have to hang out hoping somebody up there read their mythology. there’s supposed to be a program where the conductors get trained in riddling, but i don’t know. rahm emmanuel keeps saying it’s not a budget priority.”

“huh,” she said. “guess the grass is always greener and all that. but on some level, it’s nice to remember that even with all these big box stores, the country still has some variety left in it.”

“yeah, did you know that in rhode island they call water fountains ‘bubblers’?” i said.

“whoa, seriously?”

“i read it somewhere. crazy, right?”

“crazy.”

[idiopathicsmile]

this old post of mine (two full chicago mayors ago!) is inexplicably on my dash again so i would like to take the moment to say that if you enjoy this kind of thing, you should really check out the new audio drama that i’ve been writing for, @worldgonewrongpod! the vibes are by no means identical, but i’ve got a feeling you will get a kick out of it all the same.

[cedar-west-deactivated20230408]

If your plot feels flat, STUDY it! Your story might be lacking...

Stakes - What would happen if the protagonist failed? Would it really be such a bad thing if it happened?

Thematic relevance - Do the events of the story speak to a greater emotional or moral message? Is the conflict resolved in a way that befits the theme?

Urgency - How much time does the protagonist have to complete their goal? Are there multiple factors complicating the situation?

Drive - What motivates the protagonist? Are they an active player in the story, or are they repeatedly getting pushed around by external forces? Could you swap them out for a different character with no impact on the plot? On the flip side, do the other characters have sensible motivations of their own?

Yield - Is there foreshadowing? Do the protagonist's choices have unforeseen consequences down the road? Do they use knowledge or clues from the beginning, to help them in the end? Do they learn things about the other characters that weren't immediately obvious?

[mishkatelwarriorgoddess]

Thank you so much for this!

[letswritesomenovels]

Scrivener is a writer’s best friend. 

It’s a word processing software created with unruly, complicated novels in mind. However, some writers stay away because its many features can be seem overwhelming at first. If you want to use Scrivener, but haven’t taken the plunge yet. Or if you already use Scrivener, but haven’t explored its many features, check out my three part guide to writing a novel with Scrivener, from planning to editing and all of the key smashing in-between. 

1. Planning with Scrivener

Scrivener comes with tools dedicated to outlining, researching, and brainstorming your manuscript. The first part of this series details everything you can do in Scrivener before setting that first line down in ink (or pixels.) 

2. Drafting with Scrivener 

The second part in this series covers the actual “writing” part of writing. It covers multiple composition modes (even making your screen mimic Microsoft Word!), writing in split screen, word targets, and more. 

3. Editing with Scrivener

The third part of this series gives advice on exporting your writing into a standard manuscript format, saving each version of your work as you go along, and the best tools for revising your manuscript. 

Download a free 30-day trial of Scrivener at its official site. 

Disclaimer: This is not an ad. I am not being paid by the Scrivener people. I just really love this software. 

[letswritesomenovels]

Reblogging this because I’m currently writing with Scrivener. (In conjunction with using the Forest app to time my writing sessions and the progress tracker I made.) 

I forgot how utterly amazing this software is, so I’m re-blogging my three Scrivener guides! 

The four features that are killing it for me right now are:

A separate text file for each chapter. The organization make it so easy to move around my manuscript, so that doing things like going back to certain chapters to find information I need isn’t an utter nightmare. Equally important, I try to make sure my chapters are between 1,500 and 2,500 words for consistency. Having a separate text file makes it easy to see how far away I am from that mark. Which brings me to feature two.

Targets! I can set manuscript targets, session targets, and chapter targets. This means I can tell Scrivener I want my novel to be 40,000 words long, my chapter to be 2,000 words long, and that I’d like to write 1,500 words today. I can even say I want to finish my book by August 1st, and it’ll tell me how much I need to write each day to meet it–adjusting automatically if I go over/under my daily goal. It’s motivational too, pushing me forward because I’m never far away from hitting a goal. 

Statistics! Scrivener goes above and beyond for manuscript statistics. I click one button and it tells me how many words there are in my book, how long the paragraphs and sentences are on average, how many chapters there are, the longest and shortest chapters, how many pages the document would be as a paperback, and even how long it would take to read!!!! I. Love. It. 

Paragraph highlights in composition mode. This is a comparatively insubstantial feature, but in this drafting phase it’s been really helpful for keeping me moving forward–focusing on the words I’m currently writing, not going back and changing the ones I wrote twenty minutes ago. 

[dduane]

Happy to reblog, as all the above is true.

Eternal gratitude to Charlie Stross for getting me into this. “)

[kirbyofthestars]

romance is lame and overrated i love mentor/mentee relationships in fiction and especially when theyre sort of fucked up

[kirbyofthestars]

greatest hits:

- You started out as a bet/challenge to see if I could successfully wrangle the infamous Problem Child but oh whoops I got attached!

- You are my kind, bright-eyed protegé who would never do so much as rip a tag off a mattress. anyway I am going to acquaint you with Criminal Activity

- I showed you genuine kindness and it was maybe the first time you’d ever experienced it and accidentally ended up becoming more of a parent to you than your “real” blood family ever was. Uh. Do you want to play catch in the park or

- I will gladly take any punishment meant for you. I would go to the ends of the earth to protect you, even if it meant I had to die in the process. I would do it a thousand times over, and I wouldn’t regret any of it.

- I taught you how to fight, and now through some circumstance or another, I’m forced to engage you in life-or-death combat without holding back.

- I put you through training from hell to make you the person you are today, for “your own good”, and now you’ve realized that you can hit back. And you can hit hard.

- I have made you into something greater than yourself - but you are changing from how I have designed you, and this is something I cannot allow.

- I taught you everything you know, and it was the greatest mistake I’ve ever made.

- I will make you just like me - by force, if necessary.

[angstandhappiness]

INTERESTING

[gay-jesus-probably]

OP, if I may suggest some additional dynamics for this list:

You are the most precious thing in the world to me, and I will do anything to keep you safe, which is why I'm making sure you'll be strong enough to protect yourself, just like (horrific abuser) did for me.

I could ensure that you would be happy, or I could ensure that you would live, and now that you've survived the danger we both need to live with the aftermath of that.

I never meant to teach you anything, I was just putting you back in your place whenever you got belligerent, but it turns out you were intentionally picking fights as a form of training, and now you've gotten too strong for me to contain, oh shit-

I know you're already more badass than I am, and you'd rather die than accept any amount of help, but also you're literally a child and someone should be taking care of you. You've scared everyone else off, so it looks like you're my problem now.

You're very powerful/influential (or will be later on), and I wanted to benefit from that so I stepped in as a cool mentor figure to manipulate you for my own benefit, but now I've gotten attached and I feel AWFUL, you're a good kid and I'm a total monster for tricking you into liking me. (translation: it's no longer manipulation, I'm actually just taking care of you, but I'm too emotionally stunted to realize that)

I know we're mortal enemies, but I've decided you're my kid now, so I'm basically your new parent.

I know we're mortal enemies, but I've decided you're my kid now, so I'm basically your new captor.

[writingwithfolklore]

Punctuation Rules

Punctuation is like the very last thing I actively think about when writing something (what's the point of fixing the punctuation of a sentence you'll end up taking out or editing anyway?) but it is still an important step!

Having proper punctuation increases your credibility and the overall quality of your work. Also, it’s doubly important in professional work, emails, and resumes. With that, let’s get into it!

Commas

We use them all the time. We get them wrong all the time. There are six rules for where you can use commas:

Use to separate items in a list or series:

The book was long, tedious, and painful.

The comma after tedious is called the Oxford’s comma. Feel free to debate if you need it in the reblogs, but you won’t get in trouble professionally if you use it or leave it out (in most cases.) It always comes before ‘and’ in a list to prevent confusion of the items:

I ran into my mother, my best friend and a scientist. (1 person?)

Is very different from

I ran into my mother, my best friend, and a scientist. (3 people)

2. Use to separate independent clauses, with a coordinating conjunction.

An independent clause is just a sentence that makes sense on its own.

A coordinating conjunction is: and, but, or so.

Miley had a ton of work to do, so she set her alarm early.

3. Use after an introductory statement.

Introductory statements begin with many different words, but typically: Before, after, when, while, as soon as, etc.

Before her first class, Stacy looked up her prof on Rate Your Teacher.

Main point about this, “Before her first class” is not an independent clause, it needs a second part.

4. Use to surround info in a sentence

This info is not essential to the sense-making of the sentence, but it should be relevant.

Parents, no matter how skilled, cannot function at 100% all the time.

5. Addresses and Dates

6. And with direct quotes

Important for essay writing.

Casey said, “I hate this house!”

Colons:

Introduce a list after a complete sentence:

I have three favourite foods: spaghetti, chowder, and garlic bread.

2. Use after ‘the following’ or ‘as follows’

Please provide the following information: your date of birth, full name, and address.

3. Don't use with sentence fragments

A sentence fragment is an unfinished sentence (that doesn’t make sense on its own).

My favourite foods are: spaghetti, chowder, and garlic bread.

This is wrong because, “My favourite foods are.” Isn’t an independent clause.

4. Introduce an explanation

My parents ask one thing of me: that I try my hardest.

5. Introduce a quotation

Mom always quoted the bible: “The truth will set you free.”

6. And times (12:00)

Semi-Colon:

Not super common, but makes you look good if you can use it properly.

Separate two related independent clauses

I never drink Starbucks; it tastes burnt.

2. Similar, but with conjunctions: however, moreover, therefore, nevertheless, etc.

I don’t like Starbucks; however, it does the job.

Agatha didn’t witness anything; nevertheless, she was called in to court.

3. Use to avoid misreading in a series

The invited guests are the club leader; the treasurer; the new member, Jason Tanner; and Wanda Johnson, the investor.

Semicolons clarify the separation between the four people. Had it been, “The club leader, the treasurer, The new member, Jason Tanner…” it would seem that the new member and Jason Tanner are two different people.

Apostrophes – Possessive

‘s shows possession of a singular noun

The girl’s parents were quite rich.

2. S’ shows possession of a plural noun

The students’ books were all over the place. (there are multiple students who have books)

3. ‘s to singular words ending in s, and nouns that are plural

My boss’s office My children’s toys

Apostrophes – Contractions

Use to combine two words (they are, he is, there is, etc.)

It is -> It’s a beautiful park They are -> They’re really good friends You are -> you’re good at this and so on.

[reverie-lavellan]

idk if anyone will find this useful, but this is how i go about planning my stories. i mostly write fantasy, so that’s what this is most applicable to. but it could work with other genres too.

so there’s three major components to a story: the characters, the plot, and the world. creating them individually is the easy part, but they all connect and affect each other in different ways. (like you can’t have a character who loves peaches and eats them every day if they live a peasant in a region that doesn’t grow peaches, for example.)

so i created a cheat sheet to help connect all three components together.

1) the world creates the characters.

this is related to the peach example above. the characters should be a direct result of the environment they grew up in and the environment they currently live in.

2) the characters are limited by the world.

also related to the peaches. characters can’t do anything outside of what the rules of their surroundings and universe allow, such as eating peaches when they’re not available. this also applies for magic users. they can’t have unlimited magic, so keep in mind what you want out of both the characters and the world when creating magic systems.

3) the characters carry the plot.

we’ve all heard it before: “bad characters can’t carry a good plot. good characters can carry a bad plot.” but we all like a good plot anyway. try to make sure you’re not giving your characters too heavy or too light of a plot to carry.

4) the plot pushes the characters.

if nothing in the plot happens, your characters will remain static forever. if you struggle with plots, try starting with what character development you want to happen, then go from there.

5) the plot depends on the world.

you can’t overthrow the evil government if there isn’t one. think of what your world needs most and what your plot is centered around, and fit those two together.

6) the world is changed by the plot.

even if your plot is centered around something most of your world would call “insignificant”, the world will still experience some change from the plot. either the evil government will be gone, or maybe that one teacher is now way more careful about keeping an eye on the test key. either way, the world will be different from now on.

final note: usually people will be able to write one or two of the components with ease, but don’t know where to go from there. i personally can’t write plots, but thinking this way has really helped me actually make a story out of the world and characters because i looked at what i needed from what i had. i really hope this can help you too! happy writing!

tl;dr this is a cheat sheet to help anyone who struggles with writing one or two of what i consider the three major components to a story.

[s-n-arly]

Skip Google for Research

As Google has worked to overtake the internet, its search algorithm has not just gotten worse.  It has been designed to prioritize advertisers and popular pages often times excluding pages and content that better matches your search terms 

As a writer in need of information for my stories, I find this unacceptable.  As a proponent of availability of information so the populace can actually educate itself, it is unforgivable.

Below is a concise list of useful research sites compiled by Edward Clark over on Facebook. I was familiar with some, but not all of these.

⁂

Google is so powerful that it “hides” other search systems from us. We just don’t know the existence of most of them. Meanwhile, there are still a huge number of excellent searchers in the world who specialize in books, science, other smart information. Keep a list of sites you never heard of.

www.refseek.com - Academic Resource Search. More than a billion sources: encyclopedia, monographies, magazines.

www.worldcat.org - a search for the contents of 20 thousand worldwide libraries. Find out where lies the nearest rare book you need.

https://link.springer.com - access to more than 10 million scientific documents: books, articles, research protocols.

www.bioline.org.br is a library of scientific bioscience journals published in developing countries.

http://repec.org - volunteers from 102 countries have collected almost 4 million publications on economics and related science.

www.science.gov is an American state search engine on 2200+ scientific sites. More than 200 million articles are indexed.

www.pdfdrive.com is the largest website for free download of books in PDF format. Claiming over 225 million names.

www.base-search.net is one of the most powerful researches on academic studies texts. More than 100 million scientific documents, 70% of them are free

[deniselavestal-deactivated20231]

''Useless'' Writing Reminders

Save your documents. Strive to be safe, not sorry.

Back-up your documents. Strive to be safe, not sorry.

Placeholder names can quickly turn into forever names. Picking name(s) on a whim can lead to great things, or it can become your worst nightmare (😁).

Your writing has value. Yes, even the most inadequate of writing. You don't have to boast or even like everything you've ever written, but even the most questionable of writing will have contributed to your growth as a storyteller. Cherish it for what it is.

You can take a break. It is absolutely okay.

First drafts are scary. But you know what's more scary? Not having a draft at all.

Using clichés or ''overdone'' tropes will not kill your story. Firstly, tropes are building blocks. Secondly, humans actively search to consume stories revolving around these tropes.

Write your heart out. Boast about your writing. Boast about your friends' and fellow writers' writing. Everyone deserves recognition, even you, from within your own heart. (Sorry. That's really cheesy. But it's true).

[homunculus-argument]

Fantasy stories should have more "what do you mean you don't do X" things in compare and contrast of cultures. Like the differences between peoples aren't the stuff they show off as "These Are Our Culture :)" things, fucking everyone has food and music and folk tales, but the things they've always assumed that everyone has, and are baffled to discover that they don't.

The people who are always barefoot are baffled that humans don't have a wash basin at their front door where people can wash their feet before stepping inside?? Do they just walk in with their dirty feet? The fuck do you mean you take your shoes off?

Humans don't have small baby-sized spellbooks for toddlers who just learned to read, so they can safely learn to practice tiny cute and harmless, age-appropriate magic spells before progressing to more mature and demanding spells? What, do they just throw teenagers completely unprepared into the arcane - hold the fuck up, is that why human sorceror mortality is so fucking high?

Dwarves who have always wondered why the entrance to human residences is so fucking big, why do you need to take up such a large area for a door that's just there to lead downstairs to the underground halls? Are the timber walls really as thick as a human is tall? What for? And once one of them gets invited to a human house to stay and rest, nobody ever fucking believes her: That's not the entrance, that's the whole fucking house. 100% of the human house is aboveground, there is no tunnel to the underground levels. They might have a single storage room down there, but the aboveground section is so fucking big because that's the whole house.

This post was brought to you by: People who butter their bread and who had no idea that there are people who put mayonnaise on their bread, and people who put mayo on their bread and had no idea about people who put butter on their bread discovering that the other kind of people exist.

[roach-works]

goblins assuming that other races use magic spells to peel their eggs because they know other races don’t like the shell, finding out abruptly that other races cook the egg too before they peel it.

[2soulscollide]

Write your book STEP BY STEP

hello hello, it's me again!

today i'm bringing you a step-by-step / checklist to finally get your book done. i know it can be a bit complicated to put everything together to make your idea come to life (you're definitely not alone!)

that's why i compiled some tips and made this post, in hopes to help some author out there :D

let's get started.

PREMISE

assuming you already have a good idea in mind, you should start by writing a premise. to help you with that, try to answer these questions:

who is the main character?

what are their goals?

which troubles will they face / what's stopping them from achieving their goals?

do they have an opponent? if so, who?

now that you know the answers to these questions, it's time to write the premise. the premise consists in a sentence that summarizes your whole idea.

PLOT OUTLINE

there are infinite ways to plot your story. you can do it by writing down ideas and linking them together, following a scheme, or any other method.

the most common plot outlines are these:

synopsis outline: one to two pages, where you hit all the major beats of the story

in-depth outline: outline each chapter/scene

snowflake method: develop the premise into a bigger paragraph, and that paragraph into a page (etc.) until you have the whole outline of your story

booken method: plot the start and end of the story, and the main characters

the novel factory created plot sheets for free, and you can choose from eight different templates. you might want to check it out!

KNOW YOUR CHARACTERS

having your outline defined, you should start developing your characters now. the main character's profile might be more detailed than the others, however, it's up to you. there are many character sheets out there on the internet that will help you create flawless characters.

i have a post with resources that might be helpful when creating a character, check it out!

and here you have some prompts and sheets to create a character:

Quick Character Creator - EA Deverell

Extremely detailed character sheet template - @hawkasss

The Best Character Template Ever - Dabble

Character Twenty Questions Worksheet - The Writers Circle

at this point, you should also define the narrator's voice, tone, etc, as well as the pace of your novel.

LOCATIONS

define the principal locations of your story, the settings, and where the story is taking place. it's important to know how the environment looks, and how your characters feel about it.

for this part, you might find it useful to do some research about some locations, if you're not familiar with them. find inspiration on Pinterest, Tumblr, or even on books, paintings, and art. everything is valid.

if your story takes place in a fantasy environment, you might need to fill out a template to create it or write down the way you imagine it to be. try to get as many details as possible, so there are no holes when developing the novel.

SUBPLOTS

you might want to give more depth to your novel by developing a subplot (or more than one). make sure it doesn't get too confusing or that doesn't take the focus away from the main action.

the subplot can be a romance, another character's relationship, a character's arc, a backstory, etc. this will make your story more real and 3D, more realistic.

develop it as a side story and mix it with the principal plot but don't make it as important as the main story, otherwise, none of the plots will make an impact.

SYNOPSIS

write a synopsis as long as you wish, covering every important part of the story. this will help you to really know your idea, and have a solid structure for it. it can range from 500 to 2,500 words, but you don't have to restrict yourself to a number.

things the synopsis should cover:

the status quo

the complication

initial challenges

midpoint

further challenges

the low point

the climax

the resolution

DRAFT

and we get to the best part which is writing! now that you know everything about your story, characters, locations, and scenes, all you have to do is to put all that together in words. don't feel pressured to make everything look perfect already, just write what comes to your mind. if you have a new idea for the plot, good, write it down! if this character doesn't make sense anymore, okay, get rid of them. just go with the flow, following the structure you've planned, and everything starts to come to life.

i know it's so tempting to go back, read what you wrote, and start editing and polishing, but trust me, don't do that! it's a waste of time, and you will take so much more time to finish your first draft. in fact, i've given up on so many stories because of that...

just when you finish the first draft, you will re-read everything and start editing, fixing plot holes, changing what doesn't fit well, etc. but for now, just write, get the first draft done. enjoy the process, don't rush.

thanks for reading!

i hope this post was helpful!

also, you might be interested in these things below:

free notion template for writers

february writing challenge

free notion template to track your readings

resources for this post:

How to Choose a Plot Outline Method: 4 Techniques for Outlining Novels

How to Write a Novel: A Step-by-Step Guide

[leonardcohenofficial]

i think that all stories are about consumption, performance, and/or narrative, and the best combine elements of all three

[leonardcohenofficial]

a thesis as a series of posed questions

consumption: who and what is consuming or being consumed? who is invited to the table? who is given scraps and who eats well? is the consumption an act of love or of violence? is the act of consuming performed alone or with others? is the act of consumption one of ritual, survival, eroticism, pain? who is fed and who starves?

performance: who and what is performing? is there an audience? what is an audience? is the performative act a conscious one? is it a performance if there is no audience? who is watching? who is watching the watchers? does it matter?

narrative: whose story is being told? who is telling the story? whose story is being erased? who is aware they are in a story? who is trying to escape? is the narrative linear, does it loop, does it move backwards? is there a resolution? is the story about the conclusion or the action itself? what haunts this story?

[leonardcohenofficial]

i think about this post a lot and i think that while this last category runs in connection with all three of the previous ones, i’d be remiss to not detail it on its own

love: who and what is loving or being loved? where does the love come from? what form does it show up in? how is it communicated? is it reciprocated? is it hidden, is it obvious? is it platonic, familial, romantic, erotic, divine? is love fought for or does it show up easily? is love absent? why? if it is absent, how is it found? 

[leonardcohenofficial]

in my mind stories look like this

[2soulscollide]

WEBSITES FOR WRITERS {masterpost}

E.A. Deverell - FREE worksheets (characters, world building, narrator, etc.) and paid courses;

Hiveword - Helps to research any topic to write about (has other resources, too);

BetaBooks - Share your draft with your beta reader (can be more than one), and see where they stopped reading, their comments, etc.;

Charlotte Dillon - Research links;

Writing realistic injuries - The title is pretty self-explanatory: while writing about an injury, take a look at this useful website;

One Stop for Writers - You guys... this website has literally everything we need: a) Description thesaurus collection, b) Character builder, c) Story maps, d) Scene maps & timelines, e) World building surveys, f) Worksheets, f) Tutorials, and much more! Although it has a paid plan ($90/year | $50/6 months | $9/month), you can still get a 2-week FREE trial;

One Stop for Writers Roadmap - It has many tips for you, divided into three different topics: a) How to plan a story, b) How to write a story, c) How to revise a story. The best thing about this? It's FREE!

Story Structure Database - The Story Structure Database is an archive of books and movies, recording all their major plot points;

National Centre for Writing - FREE worksheets and writing courses. Has also paid courses;

Penguin Random House - Has some writing contests and great opportunities;

Crime Reads - Get inspired before writing a crime scene;

The Creative Academy for Writers - "Writers helping writers along every step of the path to publication." It's FREE and has ZOOM writing rooms;

Reedsy - "A trusted place to learn how to successfully publish your book" It has many tips, and tools (generators), contests, prompts lists, etc. FREE;

QueryTracker - Find agents for your books (personally, I've never used this before, but I thought I should feature it here);

Pacemaker - Track your goals (example: Write 50K words - then, everytime you write, you track the number of the words, and it will make a graphic for you with your progress). It's FREE but has a paid plan;

Save the Cat! - The blog of the most known storytelling method. You can find posts, sheets, a software (student discount - 70%), and other things;

I hope this is helpful for you!

(Also, check my blog if you want to!)