Small fantasy worldbuilding elements you might want to think about:
A currency that isn’t gold-standard/having gold be as valuable as tin
A currency that runs entirely on a perishable resource, like cocoa beans
A clock that isn’t 24-hours
More or less than four seasons/seasons other than the ones we know
Fantastical weather patterns like irregular cloud formations, iridescent rain
Multiple moons/no moon
Planetary rings
A northern lights effect, but near the equator
Roads that aren’t brown or grey/black, like San Juan’s blue bricks
Jewelry beyond precious gems and metals
Marriage signifiers other than wedding bands
The husband taking the wife's name / newlyweds inventing a new surname upon marriage
No concept of virginity or bastardry
More than 2 genders/no concept of gender
Monotheism, but not creationism
Gods that don’t look like people
Domesticated pets that aren’t re-skinned dogs and cats
Some normalized supernatural element that has nothing to do with the plot
Magical communication that isn’t Fantasy Zoom
“Books” that aren’t bound or scrolls
A nonverbal means of communicating, like sign language
A race of people who are obligate carnivores/ vegetarians/ vegans/ pescatarians (not religious, biological imperative)
I’ve done about half of these myself in one WIP or another and a little detail here or there goes a long way in reminding the audience that this isn’t Kansas anymore.
https://open.substack.com/pub/kimble/p/media-collection-on-divine-machinery?r=2tarck&utm_medium=ios need to stop using substack like tumblr. but since this IS tumblr i know yall are gonna eat this up
This guy knows what he’s talking about. He’s one of the lead writers for Leverage and if you ever watch the series on DVD, do yourself a favor and listen to him talk about how the scripts got written. Some of the advice he has is stuff I use all the time:
1. Don’t introduce an important plot person or thing after the first half of the story.
2. Always tie up loose ends.
3. Introduce important things in the middle of unimportant things.
4. If you have to infodump, find an emotion to tie it to and it will seem less like infodump and more like a motive rant.
Seriously this guy knows how to write.
as a veteran writer amongst many friends and moots and ppl following me, here is a reminder to keep fighting and keep writing. this is for as much myself as it is you. I'm sorry this community and most others right now are so awful to writers, and I refuse to make excuses for it, but I think the not knowing bit when it comes to writing is worse than just writing something. keep on chiselin' away, my friends
Select from that signal group the word which is most appropriate to the meaning of your sentences.
Note: The same transition word or phrase can sometimes serve different purposes.
To signal an addition:
in addition, furthermore, moreover, also, equally important, likewise, another, again
To signal an example:
for example, for instance, thus, in other words, as an illustration, in particular
To signal a suggestion:
for this purpose, to this end, with this objective in mind
To signal emphasis:
indeed, truly, again, to repeat, in fact
To signal granting a point:
while it may be true, in spite of this
To signal a summary/conclusion:
in summary, in conclusion, therefore, finally, consequently, accordingly, in short, in brief, as a result, on the whole, thus
To signal the development of a sequence:
Value sequence: first, second, secondly, third, thirdly, next, last, finally
Time sequence: then, afterward, next, subsequently, previously, first, second, at last, meanwhile, in the meantime, immediately, soon, at length, yesterday
Space sequence: above, across, under, beyond, below, nearby, nearer, opposite to, adjacent to, to the left/right, in the foreground, in the background
To signal a relationship:
Similarity: similarly, likewise, in like manner
Contrast: in contrast to, however, but, still, nevertheless, yet, conversely, notwithstanding, on the other hand, on the contrary, at the same time, while this may be true
Cause and Effect: consequently, thus, therefore, accordingly, hence,
as a result
To signal an argument:
accordingly, as a result, at the same time, besides, equally important, in fact, otherwise, therefore
To signal a comparison:
also, at the same time, in like manner, in the same way, likewise, similarly, so too
To signal a contrast:
but, however, in contrast with, instead, nevertheless, on the contrary, on the other hand, otherwise, yet
"How do you write such realistic dialogue-" I TALK TO MYSELF. I TALK TO MYSELF AND I PRETEND I AM THE ONE SAYING THE LINE. LIKE SANITY IS SLOWLY SLIPPING FROM BETWEEN MY FINGERS WITH EVERY MEASLY WORD THEY TYPE OUT. THAT IS HOW.
Writing a book series can be an incredibly rewarding experience for authors, but it also requires careful planning and execution. A well-crafted book series can captivate readers, build a loyal fan base, and provide a steady stream of income for writers. However, planning a successful book series is no easy feat.
It demands a deep understanding of world-building, character development, and plot progression. In this ultimate guide, I'll help you explore the essential steps to help you plan a compelling and cohesive book series that will keep your readers hooked from start to finish.
Develop a Compelling Premise The foundation of any successful book series is a strong premise. Your premise should be unique, engaging, and have the potential to sustain multiple books. Consider exploring a complex world, a captivating concept, or a character with a rich backstory that can evolve over the course of several books. Ask yourself: What makes your premise stand out? What will keep readers invested in the story for multiple installments?
Create a Detailed Outline Before you dive into writing, it's crucial to create a detailed outline for your entire book series. This outline should include the overarching plot, major story arcs, character development, and key events for each book. Having a solid outline will help you maintain consistency, avoid plot holes, and ensure that each book contributes to the overall narrative. Don't be afraid to make adjustments as you write, but having a roadmap will keep you on track.
World-Building: Crafting a Vivid and Consistent Universe One of the hallmarks of a successful book series is a richly developed and immersive world. Whether you're creating a fantasy realm, a futuristic society, or a contemporary setting, pay close attention to world-building. Establish the rules, customs, histories, and geography of your fictional world. Consistency is key, so ensure that the details align across all books in the series. Consider creating a "bible" or a comprehensive guide that outlines the intricacies of your world, making it easier to maintain continuity.
Develop Compelling Characters Great characters are the heart and soul of any book series. Your protagonists, antagonists, and supporting characters should be well-rounded, multi-dimensional, and undergo significant growth and transformation throughout the series. Craft backstories, motivations, flaws, and strengths for each character, and ensure that their actions and decisions drive the plot forward. Remember, character development is an ongoing process, so be prepared to explore new facets of your characters as the series progresses.
Establish Recurring Themes and Motifs Themes and motifs are powerful tools that can add depth and resonance to your book series. Identify the central themes you want to explore, such as love, redemption, power, or identity. Weave these themes throughout the series, allowing them to evolve and deepen with each installment. Motifs, like recurring symbols or imagery, can also create a sense of cohesion and add layers of meaning to your narrative.
Plan for Cliffhangers and Resolutions One of the key strategies for keeping readers engaged in a book series is the strategic use of cliffhangers and resolutions. Cliffhangers create anticipation and leave readers craving for the next installment. However, be cautious not to overuse this technique, as it can become frustrating for readers. Balance cliffhangers with satisfying resolutions that tie up loose ends and provide a sense of closure, while still leaving room for the story to continue.
Consider Pacing and Narrative Structure Pacing and narrative structure are crucial elements to consider when planning a book series. Each book should have its own narrative arc, with a beginning, middle, and end, while also contributing to the overall story progression. Vary the pacing between books to maintain reader interest, alternating between action-packed and slower, more introspective sections. Experiment with different narrative structures, such as multiple perspectives, non-linear timelines, or frame narratives, to keep the series fresh and engaging.
Manage Continuity and Consistency As your book series grows, maintaining continuity and consistency becomes increasingly important. Keep detailed records of character descriptions, plot points, world-building elements, and timelines. Regularly refer back to these notes to ensure that you're not introducing contradictions or inconsistencies. Consider creating a series bible or a wiki to help you keep track of all the moving parts.
Plan for Character Growth and Evolution In a book series, characters should undergo significant growth and evolution. Plan for character arcs that span multiple books, allowing your protagonists and supporting characters to face challenges, make difficult choices, and emerge as changed individuals. This character development will not only add depth to your narrative but also keep readers invested in the journey of your characters.
Anticipate and Address Potential Plot Holes As your book series expands, the potential for plot holes and inconsistencies increases. Be vigilant in identifying and addressing these issues during the planning stage. Regularly review your outline and notes, looking for any logical gaps or contradictions. Enlist the help of beta readers or critique partners to provide fresh perspectives and catch any potential plot holes you may have missed.
Consider the Overarching Story Arc While each book in your series should have its own narrative arc, it's essential to plan for an overarching story arc that spans the entire series. This overarching arc should tie together the individual books, building towards a climactic conclusion that resolves the central conflict or mystery. Ensure that each book contributes to this larger narrative, advancing the plot and raising the stakes for the characters.
Plan for Marketing and Promotion Finally, as you plan your book series, don't overlook the importance of marketing and promotion. Develop a strategy for building buzz and engaging with your audience throughout the release of each book. Leverage social media, author events, book tours, and other promotional opportunities to keep your readers excited and invested in your series.
Remember, writing a book series is a marathon, not a sprint, so be prepared to invest time, effort, and dedication into crafting a truly remarkable literary journey. Hope this helped!
Happy Writing - Rin T.
Hey fellow writers! I'm super excited to share that I've just launched a Tumblr community. I'm inviting all of you to join my community. All you have to do is fill out this Google form, and I'll personally send you an invitation to join the Write Right Society on Tumblr! Can't wait to see your posts!
Welcome to Write Right Society!
At Write Right Society, we are dedicated to nurturing the creative spirit and honing the skills of writers a
Calling all aspiring storytellers with hearts full of whimsy! Get ready to sprinkle a touch of enchantment into your scenes with my Scene Wo
These aren’t anything super game breaking that turns the character into a psychopath, but they can foreshadow bigger, more important issues down the line.
—always making the conversation about themselves
—lying about something incredibly stupid but they refuse to back down from
—expecting others to pay for them at every store, restaurant or hotel
—subtle jabs at other people that they always respond with ‘I wasn’t SAYING it was bad! YOU’RE the one making ME look bad!’ (Watch one of those ‘alpha male vs modern feminist’ videos or clips for inspiration if you are brave enough)
—messy, except this time they have other people in their space (like a dorm, shared apartment, or any kind of shared living space) so their messiness makes everyone VERY upset
—refusing to understand or learn another friend/teammate/partners culture or background to even slightly understand then
—loud obnoxious voiced people who physically can NOT make a subtle entrance or just simply exist in a room without yelling or eating very loudly
—asks for permission to do absolutely anything even with people who are on the same or even a lower level than they are
—doesn’t listen to music with headphones on in a crowded space so EVERYONE has to listen to them
God I hope the last one isn’t just a me-thing because I actively want to strangle anyone who does that
Sometimes, deleting a few words from the manuscript will not be enough to get an immersive story with no draggin bits.
Here are some ideas.
Delete Unnecessary Bits
Delete introspection. Whenever your POV spends time thinking, assessing, remembering, musing or emoting, cut the lot.
Delete the journey. Whenever your character spends time walking, driving, rising or flying to a place, cut it short.
Delete backstory. Readers need to know less backstory than you think.
Shrink the sequels. Sequels are paragraphs where the author shows how characters react to the action in the previous paragraph.
Tighten the Plot
Condense the timeframe. Instead of a year, make it three months. You will have to watch out for continuity errors (no three Christmases in a year, character ages, etc.)
Condense the geography. Instead of fights happening in five different locations, have them happen on one place.
Condense the characters. Whenever there are several people of a kind (two sisters, four colleagues), let there be just one. You can also combine characters - the gym instructor is also the noisy neighbor, the choir conductor is also the owner of that pesky cat.
─── ･ ｡ﾟ☆: *.☽ .* . ───
💎If you like my blog, buy me a coffee☕ and find me on instagram!
💎Before you ask, check out my masterpost part 1 and part 2
💎For early access to my content, become a Writing Wizard
The Rejection Checklist: Manuscript Pitfalls to Avoid
The literary industry’s writing standard can be hard to meet, especially when you’re a debut author querying your first manuscript. Even with a flawless query letter and a captivating storyline, authors often find themselves facing rejection due to subtle shortcomings in their writing. What seems like an insignificant writing quirk to an author can be the reason for an agent’s rejection.
As an #amquerying author, I have received personalised feedback from agents and editors alike that has helped me curate the best version of my manuscript. If you’re an author looking to get traditionally published, here is my rejection checklist of things to look out for before querying.
Passive Voice
The use of passive voice in your manuscript can be a stumbling block on your journey to securing an agent. This seemingly innocuous writing quirk, if left unaddressed, can lead to rejection. Passive voice occurs when the subject of a sentence receives the action rather than performing it. It often involves the use of auxiliary verbs like "is," "was," or "has been," which can make sentences sound less direct.
Passive voice can introduce ambiguity and make sentences less engaging. It tends to slow down the narrative flow and may distance readers from the action. Agents and publishers often frown upon its excessive use. Consider the following examples to better understand passive voice: "The book was read by Jane" (passive) versus "Jane read the book" (active).
Agents are looking for manuscripts that grip readers from the start. Passive voice can weaken the impact of your prose and hinder reader immersion. Agents may interpret it as a sign of weak writing, leading to rejection. To spot passive voice in your writing, pay attention to the use of passive verbs and phrases. Look for sentences where the subject isn't the primary "doer" of the action. Reading your manuscript aloud can often help identify passive constructions.
Over Description
In your quest to paint a vivid picture with words, it's easy to fall into the trap of over-describing every detail. While rich descriptions can enhance your storytelling, an excess of it can lead to manuscript rejection. Agents and publishers often seek balance in narrative description.
Over description can slow down the pace of your story and, ironically, detract from reader engagement. When every element is meticulously detailed, readers may become overwhelmed, losing sight of the plot's core. Agents may see this as a sign that the narrative lacks focus and that the pacing is sluggish.
Finding the right balance is key. Instead of inundating your readers with exhaustive descriptions, consider focusing on elements that contribute significantly to the scene or character development. Encourage readers to use their imagination, allowing them to fill in some details, which can create a more immersive reading experience.
An easy way to distinguish over description is by considering whether your passage helps set the scene or is distracting from the actual plot. For example, if your character was kidnapped and in a dark room with a blindfold on their eyes describing what they can hear or the harsh ropes on their wrists would be adequate description.
However, if you go too much into it and start writing winding paragraphs about the way the chair feels, the smell of moss in the air, etc. you risk ruining immersion. Are these details interesting? Yes. But do you need them to help set the scene? Not really.
Show, Don't Tell
One of the golden rules of effective storytelling is to "show, don't tell." Agents and publishers look for manuscripts that immerse readers in the narrative by allowing them to experience the story rather than being told about it.
When writers rely too heavily on telling, the narrative can become flat and unengaging. Readers want to see and feel the story unfold through vivid scenes, actions, and dialogue, rather than being handed a summary of events. Agents recognize the power of showing and may be quick to reject manuscripts that fail to employ this technique effectively.
Consider the difference between these two approaches:
Telling: "Sarah felt incredibly nervous about the job interview."
Showing: "As Sarah sat in the waiting room, her palms grew sweaty, and her heart raced. She fidgeted with her resume, her eyes darting around the room as she rehearsed her answers."
The second example allows readers to experience Sarah's nervousness rather than being told she's nervous. To address this issue in your manuscript, focus on crafting scenes that engage the senses, evoke emotions, and enable readers to draw their conclusions.
An important thing to remember is that simply adding a couple of words can also help you show the scene, you don’t have to add new paragraphs to fix every ‘tell’.
Lack of Atmospheric Detail
Creating a rich and immersive story world is essential for drawing readers into your manuscript. When a manuscript lacks atmospheric detail, it can lead to disengagement and ultimately result in agent rejection.
Agents and publishers seek manuscripts that transport readers to unique and vivid settings. Without atmospheric detail, the story may feel flat and fail to capture the reader's imagination. Agents understand the importance of world-building and its impact on reader immersion.
To address this issue in your manuscript, focus on incorporating sensory descriptions and setting elements that bring your world to life. Consider the mood, sounds, smells, and visual cues that define your story's environment. By painting a detailed and evocative picture, you'll enhance reader engagement.
During the editing process, review your narrative for places where atmospheric detail is lacking. Are there scenes where you can infuse more sensory descriptions or highlight unique aspects of the setting?
Remember that we have five senses for a reason and it isn’t good to solely rely on your characters’ sight.
Character Connections
One of the key elements that agents and publishers look for in a manuscript is the ability to create a deep and meaningful connection between readers and the characters. When you’re researching agents you will often see this listed on their MSWL or website pages.
Agents understand that relatable, well-developed characters are the heart of a compelling story. Without this connection, readers may struggle to empathize or invest emotionally in the characters' journeys. Agents often consider character development as a critical factor in manuscript evaluation.
To address this issue in your manuscript, focus on crafting characters with depth, complexity, and relatability. Consider their motivations, flaws, and unique qualities that make them stand out. Encourage readers to form emotional bonds with the characters by weaving their personal stories, struggles, and growth into the narrative.
During the revision process, evaluate your characters. Are they multi-dimensional and relatable? Do readers have a reason to care about their fates? By enhancing character development and forging emotional connections, your manuscript becomes more appealing to agents and readers alike.
Dialogue and Authenticity
Authentic and engaging dialogue is a crucial element in creating relatable characters and advancing the plot. When dialogue feels forced or unrealistic, it can lead to a rejection from agents.
Agents and publishers recognize that authentic dialogue not only brings characters to life but also deepens reader engagement. Dialogue that lacks realism can disrupt the reader's immersion in the story. Agents may view this as a sign of weak character development or storytelling.
To address this issue in your manuscript, focus on crafting dialogue that reflects the unique voices, personalities, and motivations of your characters. Avoid excessive exposition through dialogue and prioritize the use of conversation to reveal character traits, conflicts, and plot progression.
A good way to edit your dialogue is by reading it out loud or pasting only the dialogue in a new document and see whether it flows well. You can also add certain quirks or words into your characters’ vocabulary to help you make the dialogue authentic to that character.
Pacing and Tension
Pacing is the heartbeat of your story, and it plays a vital role in maintaining reader engagement. When the pacing is off or the tension doesn't build effectively, it can lead to manuscript rejection.
Agents and publishers are attuned to the rhythm of storytelling. They understand that pacing and tension are critical to keeping readers turning the pages. Manuscripts that lack well-managed pacing can lose reader interest quickly. Agents may view this as a sign that the narrative lacks direction or fails to hold their attention.
To address this issue in your manuscript, focus on managing pacing effectively. Consider the balance between action, description, and dialogue. Use pacing as a tool to control the reader's experience, speeding up during action-packed scenes and slowing down for character development or crucial moments. Tension should steadily rise as the story progresses, keeping readers on edge and eager to find out what happens next.
Author Notes
Finally, I would like to remind all querying authors this is an unpredictable and highly subjective industry. Rejection is an inevitable part of the process, and it's important not to let it deter you from pursuing your dreams.
An agent can think you have a great book and love your writing but still reject it because of external reasons like marketability. And that's perfectly alright because as an author you deserve to find an agent who can help you reach your full potential.
Accept feedback with an open mind but also with a grain of salt, as not all agents share the same viewpoint. I've had two agents reject the same sample pages because one thought there was too much description and the other thought there wasn't enough. This goes to show there really isn't a one-size-fits-all formula for securing an agent.
This blog post is a way for me to share knowledge and help fellow querying authors, but it's not a strict guideline you must follow. As you embark on your querying journey, I wish all of you the best of luck in your querying process and remember, one no is never the end of the journey!
I hope this blog on The Rejection Checklist: Manuscript Pitfalls to Avoid will help you in your writing journey. Be sure to comment any tips of your own to help your fellow authors prosper, and follow my blog for new blog updates every Monday and Thursday.
Looking For More Writing Tips And Tricks?
Are you an author looking for writing tips and tricks to better your manuscript? Or do you want to learn about how to get a literary agent, get published and properly market your book? Consider checking out the rest of Haya’s book blog where I post writing and publishing tips for authors every Monday and Thursday! And don’t forget to head over to my TikTok and Instagram profiles @hayatheauthor to learn more about my WIP and writing journey!
A reader commented on my current long fic asking how I write so well. I replied with an essay of my honestly pretty non-standard writing advice (that they probably didn't actually want lol)
Now I'm gonna share it with you guys and hopefully there's a few of you out there who will benefit from my past mistakes and find some useful advice in here. XD Since I started doing this stuff, which are all pretty easy changes to absorb into your process if you want to try them, I now almost never get writer's block.
The text of the original reply is indented, and I've added some additional commentary to expand upon and clarify some of the concepts.
As for writing well, I usually attribute it to the fact that I spent roughly four years in my late teens/early 20s writing text roleplay with a friend for hours every single day. Aside from the constant practice that provided, having a live audience immediately reacting to everything I wrote made me think a lot about how to make as many sentences as possible have maximum impact so that I could get that kind of fun reaction. (Which is another reason why comments like yours are so valuable to fanfic writers! <3)
The other factors that have improved my writing are thus:
1. Writing nonlinearly.
I used to write a whole story in order, from the first sentence onward. If there was a part I was excited to write, I slogged through everything to get there, thinking that it would be my reward once I finished everything that led up to that.
It never worked. XD It was miserable. By the time I got to the part I wanted to write, I had beaten the scene to death in my head imagining all the ways I could write it, and it a) no longer interested me and b) could not live up to my expectations because I couldn't remember all my ideas I'd had for writing it. The scene came out mediocre and so did everything leading up to it.
Since then, I learned through working on VN writing (I co-own a game studio and we have some visual novels that I write for) that I don't have to write linearly. If I'm inspired to write a scene, I just write it immediately. It usually comes out pretty good even in a first draft! But then I also have it for if I get more ideas for that scene later, and I can just edit them in. The scenes come out MUCH stronger because of this.
And you know what else I discovered? Those scenes I slogged through before weren't scenes I had no inspiration for, I just didn't have any inspiration for them in that moment! I can't tell you how many times there was a scene I had no interest in writing, and then a week later I'd get struck by the perfect inspiration for it! Those are scenes I would have done a very mediocre job on, and now they can be some of the most powerful scenes because I gave them time to marinate.
Inspiration isn't always linear, so writing doesn't have to be either!
Some people are the type that joyfully write linearly. I have a friend like this--she picks up the characters and just continues playing out the next scene. Her story progresses through the entire day-by-day lives of the characters; it never timeskips more than a few hours. She started writing and posting just eight months ago, she's about an eighth of the way through her planned fic timeline, and the content she has so far posted to AO3 for it is already 450,000 words long.
But most of us are normal humans. We're not, for the most part, wired to create linearly. We consume linearly, we experience linearly, so we assume we must also create linearly. But actually, a lot of us really suffer from trying to force ourselves to create this way, and we might not even realize it.
If you're the kind of person who thinks you need to carrot-on-a-stick yourself into writing by saving the fun part for when you finally write everything that happens before it: Stop. You're probably not a linear writer. You're making yourself suffer for no reason and your writing is probably suffering for it. At least give nonlinear writing a try before you assume you can't write if you're not baiting or forcing yourself into it!!
Remember: Writing is fun. You do this because it's fun, because it's your hobby. If you're miserable 80% of the time you're doing it, you're probably doing it wrong!
2. Rereading my own work.
I used to hate reading my own work. I wouldn't even edit it usually. I would write it and slap it online and try not to look at it again. XD Writing nonlinearly forced me to start rereading because I needed to make sure scenes connected together naturally and it also made it easier to get into the headspace of the story to keep writing and fill in the blanks and get new inspiration. Doing this built the editing process into my writing process--I would read a scene to get back in the headspace, dislike what I had written, and just clean it up on the fly. I still never ever sit down to 'edit' my work. I just reread it to prep for writing and it ends up editing itself. Many many scenes in this fic I have read probably a dozen times or more! (And now, I can actually reread my own work for enjoyment!)
Another thing I found from doing this that it became easy to see patterns and themes in my work and strengthen them. Foreshadowing became easy. Setting up for jokes or plot points became easy. I didn't have to plan out my story in advance or write an outline, because the scenes themselves because a sort of living outline on their own. (Yes, despite all the foreshadowing and recurring thematic elements and secret hidden meanings sprinkled throughout this story, it actually never had an outline or a plan for any of that. It's all a natural byproduct of writing nonlinearly and rereading.)
Unpopular writing opinion time: You don't need to make a detailed outline.
Some people thrive on having an outline and planning out every detail before they sit down to write. But I know for a lot of us, we don't know how to write an outline or how to use it once we've written it. The idea of making one is daunting, and the advice that it's the only way to write or beat writer's block is demoralizing.
So let me explain how I approach "outlining" which isn't really outlining at all.
I write in a Notion table, where every scene is a separate table entry and the scene is written in the page inside that entry. I do this because it makes writing nonlinearly VASTLY more intuitive and straightforward than writing in a single document. (If you're familiar with Notion, this probably makes perfect sense to you. If you're not, imagine something a little like a more contained Google Sheets, but every row has a title cell that opens into a unique Google Doc when you click on it. And it's not as slow and clunky as the Google suite lol)
When I sit down to begin a new fic idea, I make a quick entry in the table for every scene I already know I'll want or need, with the entries titled with a couple words or a sentence that describes what will be in that scene so I'll remember it later. Basically, it's the most absolute bare-bones skeleton of what I vaguely know will probably happen in the story.
Then I start writing, wherever I want in the list. As I write, ideas for new scenes and new connections and themes will emerge over time, and I'll just slot them in between the original entries wherever they naturally fit, rearranging as necessary, so that I won't forget about them later when I'm ready to write them.
As an example, my current long fic started with a list of roughly 35 scenes that I knew I wanted or needed, for a fic that will probably be around 100k words (which I didn't know at the time haha). As of this writing, it has expanded to 129 scenes. And since I write them directly in the page entries for the table, the fic is actually its own outline, without any additional effort on my part. As I said in the comment reply--a living outline!
This also made it easier to let go of the notion that I had to write something exactly right the first time. (People always say you should do this, but how many of us do? It's harder than it sounds! I didn't want to commit to editing later! I didn't want to reread my work! XD) I know I'm going to edit it naturally anyway, so I can feel okay giving myself permission to just write it approximately right and I can fix it later. And what I found from that was that sometimes what I believed was kind of meh when I wrote it was actually totally fine when I read it later! Sometimes the internal critic is actually wrong.
3. Marinating in the headspace of the story.
For the first two months I worked on [fic], I did not consume any media other than [fandom the fic is in]. I didn't watch, read, or play anything else. Not even mobile games. (And there wasn't really much fan content for [fandom] to consume either. Still isn't, really. XD) This basically forced me to treat writing my story as my only source of entertainment, and kept me from getting distracted or inspired to write other ideas and abandon this one.
As an aside, I don't think this is a necessary step for writing, but if you really want to be productive in a short burst, I do highly recommend going on a media consumption hiatus. Not forever, obviously! Consuming media is a valuable tool for new inspiration, and reading other's work (both good and bad, as long as you think critically to identify the differences!) is an invaluable resource for improving your writing.
When I write, I usually lay down, close my eyes, and play the scene I'm interested in writing in my head. I even take a ten-minute nap now and then during this process. (I find being in a state of partial drowsiness, but not outright sleepiness, makes writing easier and better. Sleep helps the brain process and make connections!) Then I roll over to the laptop next to me and type up whatever I felt like worked for the scene. This may mean I write half a sentence at a time between intervals of closed-eye-time XD
People always say if you're stuck, you need to outline.
What they actually mean by that (whether they realize it or not) is that if you're stuck, you need to brainstorm. You need to marinate. You don't need to plan what you're doing, you just need to give yourself time to think about it!
What's another framing for brainstorming for your fic? Fantasizing about it! Planning is work, but fantasizing isn't.
You're already fantasizing about it, right? That's why you're writing it. Just direct that effort toward the scenes you're trying to write next! Close your eyes, lay back, and fantasize what the characters do and how they react.
And then quickly note down your inspirations so you don't forget, haha.
And if a scene is so boring to you that even fantasizing about it sucks--it's probably a bad scene.
If it's boring to write, it's going to be boring to read. Ask yourself why you wanted that scene. Is it even necessary? Can you cut it? Can you replace it with a different scene that serves the same purpose but approaches the problem from a different angle? If you can't remove the troublesome scene, what can you change about it that would make it interesting or exciting for you to write?
And I can't write sitting up to save my damn life. It's like my brain just stops working if I have to sit in a chair and stare at a computer screen. I need to be able to lie down, even if I don't use it!
Talking walks and swinging in a hammock are also fantastic places to get scene ideas worked out, because the rhythmic motion also helps our brain process. It's just a little harder to work on a laptop in those scenarios. XD
In conclusion: Writing nonlinearly is an amazing tool for kicking writer's block to the curb. There's almost always some scene you'll want to write. If there isn't, you need to re-read or marinate.
Or you need to use the bathroom, eat something, or sleep. XD Seriously, if you're that stuck, assess your current physical condition. You might just be unable to focus because you're uncomfortable and you haven't realized it yet.
Anyway! I hope that was helpful, or at least interesting! XD Sorry again for the text wall. (I think this is the longest comment reply I've ever written!)
And same to you guys on tumblr--I hope this was helpful or at least interesting. XD Reblogs appreciated if so! (Maybe it'll help someone else!)
Euphonics is all about how certain sounds creates mood & atmosphere. While euphonics cannot create the atmosphere that doesn't exist, it can help you amplify the emtions in your scenes through effective word choice.
When to use "b" sounds:
to create an atmosphere of violence
for physical fights
to show bullying
to characterise a person who enjoys intimidating others
One thing you’ll hear a lot is that to be a professional writer/artist/etc. is that you have to have thick skin. This isn’t true. Or at least, it’s not entirely true.
You’re allowed to feel upset when you get negative feedback on your work. You’re allowed to cry, or scream into a pillow, or want to destroy your work and your laptop and give up on your dreams. You’re allowed to feel whatever you feel in the moment.
What you actually need as a writer is not to numb these feelings out, but to make sure you don’t act on them. Cry, but don’t beg your editor or beta reader to take back their comments. Scream into a pillow, but don’t argue with the people who gave you feedback. Shut your laptop and think about getting rid of your work, but please please don’t actually delete anything.
Because really, to be a writer isn’t to have thick skin but rather the determination and courage to keep going despite negative feedback. To critically reflect on feedback rather than just tossing it out because it upset you, and to keep your work even if you’re frustrated with it. If you can keep going, you can be a writer—no matter what your initial emotional reaction is.
Hello all!
As many of you know, I’m a part-time editor of non-fiction and writer of all things fiction, but I would love to get more experi
Listen, I’ve been told that I put my characters through hell with their backstories, but I still think one of the saddest tropes is a lone wolf who is actually one of the most social, teamwork oriented people on the planet, but circumstances keep snatching that away from them. There’s no “I must keep my distance, I’ve become jaded”, it’s “maybe this time I can close the gap, please God.”
