Nelly Writing Source @nellywrisource - Tumblr Blog

A writer’s guide to the historical method: how historians work with sources

In this post, I provide a brief overview of how historians engage with different types of sources, with a focus on the mindset of a historian. This insight could be valuable for anyone crafting a character whose profession revolves around history research. It may also prove useful for authors conducting research for their book.

Concept of historical source

The concept of historical source evolves over time.

Initially, the focus was mainly on written sources due to their obvious availability. However, as time has progressed, historians now consider a wide range of sources beyond just written records. These include material artifacts, intangible cultural elements, and even virtual data.

While "armchair historians" may rely on existing studies and secondary sources, true professional historians distinguish themselves by delving directly into primary sources. They engage in a nuanced examination of various sources, weaving together diverse perspectives. It's crucial to recognize the distinction between personal recollection or memory and the rigorous discipline of historical inquiry. A historical source provides information, but the truth must be carefully discerned through critical analysis and corroboration.

Here's a concise list of the types of sources historians utilize:

Notarial source

Epistolary source

Accountancy source

Epigraphic source

Chronicle source

Oratory and oral source

Iconographic source

Diary source

Electronic source

Example: a notarial source

These are documents drafted by a notary, a public official entrusted with providing legal certainty to facts and legal transactions. These documents can take various forms, such as deeds, lawsuits, wills, contracts, powers of attorney, inventories, and many others.

Here we are specifically discussing a lawsuit document from 1211 in Italy.

A medieval lawsuit document is highly valuable for understanding various aspects of daily life because in a dispute, one must argue a position. From lawsuits, we also understand how institutions truly operated.

Furthermore, in the Middle Ages, lawsuits mostly relied on witnesses as evidence, so we can access a direct and popular source of certain specific social situations.

Some insight into the methodology of analysis:

Formal examination: historians scrutinize the document's form, verifying its authenticity and integrity. Elements such as structure, writing style, language, signatures, and seals are analyzed. Indeed, a professional historian will rarely conduct research on a source published in a volume but will instead go directly to the archive to study its origin, to avoid transcription errors.

Content analysis: historians proceed to analyze the document's content, extracting useful information for their research. This may include data on individuals, places, events, economic activities, social relations, and much more. It's crucial to compile a list of witnesses in a case and identify them to understand why they speak or why they speak in a certain manner.

Cross-referencing with other sources: information derived from the notarial source is compared with that of other historical sources to obtain a more comprehensive and accurate view of the period under examination.

Documents of the episcopal archive of Ivrea

Let's take the example of a specific legal case, stemming from the documents of the episcopal archive of Ivrea. It's a case from 1211 in Italy involving the bishop of Ivrea in dispute with Bongiovanni d'Albiano over feudal obligations.

This case is significant because it allows us to understand how feudal society operated and how social status was determined.

The bishop's representative argues that Bongiovanni should provide a horse as a feudal service. Bongiovanni denies it, claiming to be a noble, not a serf. Both parties present witnesses and documents supporting their arguments.

Witnesses are asked whether the serf obligations had been endured for a long time. This helps us understand that in a society where "law" was based on customs, it was important to ascertain if an obligation had been endured for a long time because at that point it would no longer be contestable (it would have become customary).

The responses are confused and inconsistent, so witnesses are directly asked whether they consider Bongiovanni a serf or a noble. This is because (and it allows us to understand that) the division into "social classes" wasn't definable within concrete boundaries; it was more about the appearance of one's way of life. If a serf refused to fulfill his serf duties, he would easily be considered a noble by bystanders because he lived like one.

Ultimately, the analysis of the case leads us to determine that medieval justice wasn't conceived with the logic of our modern system, but was measured in oaths and witnesses as evidentiary means. And emerging from it with honor was much more important than fairly distributing blame and reason.

Other sources

Accounting source: it is very useful for measuring consumption and its variety in a particular historical period. To reconstruct past consumption, inventories post mortem are often used, which are lists of goods found in households, described and valued by notaries to facilitate distribution among heirs. Alternatively, the recording of daily expenses, which in modern times were often very detailed, can lead to insights into complex family histories and their internal inequalities - for example, more money might be spent on one child than another corresponding to their planned future role in society.

Oral source: in relation to the political sphere, it is useful for representing that part of politics composed of direct sources, that is, where politics speaks of itself and how it presents itself to the public, such as a politician's public speech. However, working with this type of source, a historian cannot avoid hermeneutic work, as through the speech, the politician aims to present himself to a certain audience, justify, persuade, construct his own image, and achieve results. This is the hidden agenda that also exists in the most obvious part of politics.

Iconographic source: it concerns art or other forms of "artistic" expression, such as in the case of an advertising poster. They become historical sources when it is the historian who, through analysis, confers upon them the status of a historical source. Essentially, the historian uses the source to understand aspects of the past otherwise inaccessible. The first step in this direction is to recontextualize the source, returning it to its original context. Examining the history of the source represents the fundamental first step for historical analysis.

Diary source: diaries are a "subjective" source, a representation of one's self, often influenced by the thoughts of "others," who can be close or distant readers, interested or distracted, visible or invisible, whom every diary author can imagine and hope to see, sooner or later, reflected on the pages of their writing. Furthermore, they are often subject to subsequent manipulations, and therefore should be treated by historians only in their critical edition; all other versions, whether old or new, foreign or not, are useful only as evidence of the changes and manipulations undergone over time by the original manuscripts.

Electronic source: historians use Wikipedia even if they often don't admit it out loud.

This blog is supported through tips here on Tumblr. If you’d like to support me, please consider giving a tip.

ahb-writes

Depending on the story I'm writing, I often use a similarly tiered research strategy to identify, document, and assess how a character realistically engages their world (or, engages their world in a way that readers can find more personable).

In brief, and in the least, I track three tiers:

Do we have sources from people who experienced this event/tragedy/phenomenon firsthand? In real time?

Do we have public documentation, legal or otherwise, providing social or cultural context for the person's experience?

How is this individual, their experience, or the event they experienced viewed by individuals or institutions who aren't directly involved or aren't directly affected, but nonetheless believe it their prerogative to contextualize on someone else's behalf? What insights can they provide? What biases might they illuminate?

writerthreads

How to avoid White Room Syndrome

by Writerthreads on Instagram

A common problem writers face is "white room syndrome"—when scenes feel like they’re happening in an empty white room. To avoid this, it's important to describe settings in a way that makes them feel real and alive, without overloading readers with too much detail. Here are a few tips below to help!

Focus on a few key details

You don’t need to describe everything in the scene—just pick a couple of specific, memorable details to bring the setting to life. Maybe it’s the creaky floorboards in an old house, the musty smell of a forgotten attic, or the soft hum of a refrigerator in a small kitchen. These little details help anchor the scene and give readers something to picture, without dragging the action with heaps of descriptions.

Engage the senses

Instead of just focusing on what characters can see, try to incorporate all five senses—what do they hear, smell, feel, or even taste? Describe the smell of fresh bread from a nearby bakery, or the damp chill of a foggy morning. This adds a lot of depth and make the location feel more real and imaginable.

Mix descriptions with actions

Have characters interact with the environment. How do your characters move through the space? Are they brushing their hands over a dusty bookshelf, shuffling through fallen leaves, or squeezing through a crowded subway car? Instead of dumping a paragraph of description, mix it in with the action or dialogue.

Use the setting to reflect a mood or theme

Sometimes, the setting can do more than just provide a backdrop—it can reinforce the mood of a scene or even reflect a theme in the story. A stormy night might enhance tension, while a warm, sunny day might highlight a moment of peace. The environment can add an extra layer to what’s happening symbolically.

Here's an example of writing a description that hopefully feels alive and realistic, without dragging the action:

The bookstore was tucked between two brick buildings, its faded sign creaking with every gust of wind. Inside, the air was thick with the scent of worn paper and dust, mingling with the faint aroma of freshly brewed coffee from a corner café down the street. The wooden floorboards groaned as Ella wandered between the shelves, her fingertips brushing the spines of forgotten novels. Somewhere in the back, the soft sound of jazz crackled from an ancient radio.

Hope these tips help in your writing!

hayatheauthor

The Anatomy of Punching a Character in the Face

Punching scenes are a staple of action sequences in many genres. Whether it’s an intense brawl, a quick defense, or an emotional outburst, a punch can carry a lot of weight both physically and narratively. As a writer, it’s essential to understand what really happens when a fist meets a face—from the immediate impact to the longer-lasting effects on both the person getting punched and the one throwing the punch.

This guide will help you craft authentic, detailed, and believable punch scenes by exploring different areas of the face, types of punches, and the aftermath of such an impact.

literaryvein-reblogs

Writing Notes: Horror

Horror is a genre within creative writing that relies on one thing: instilling a sense of fear in the reader.

The horror genre is multifaceted—there is a kind of horror for every kind of person.

For some, the most effective scare is the idea of being trapped in a haunted house. For others, it’s being chased by a serial killer on Halloween.

Some of the best horror comes from scary things that can manipulate an audience’s feelings, creating a sensation of uneasiness and fear that stretches beyond consciousness and permeates deep within the psyche.

Horror writing is sometimes categorized within the broader category of thrillers, but not all horror follows the thriller structure.

Classic horror fiction—whether expressed as a novel, novella, short story, or film—will tap into topics that reliably frighten most humans.

Common topics include ghosts, werewolves, vampires, zombies, serial killers, murderers, and the fear of the unknown.

These horror tropes can often devolve into clichés.

A downside of horror’s popularity is that many horror books and movies recycle old content in non-creative ways, but when properly executed, horror stories can thrill audiences and even provide commentary on the human condition.

Horror Subgenres

1. Apocalyptic - In this subgenre, the world is ending or society is collapsing. When this happens, it’s usually because of some creature, demon, or religious event (while climate-oriented apocalypses are more sci-fi).

2. Body Horror - Involves the mutilation, experimentation, or violation of the human body. It can focus on disease, dismemberment, infestation, sexual acts, or a complete transformation of the physical form.

3. Comedy - Horror and comedy seem so at odds with each other, but they work so well together (kind of like spice and chocolate). A trademark of comedy horror is how the protagonist somewhat stumbles through the story, arriving at the end through luck and ridiculous happenstance rather than skill or growth.

4. Cosmic/Lovecraftian - With its origins largely attributed to H.P. Lovecraft, cosmic horror makes us feel small against a threat that is ancient, massive, and incomprehensible. Cosmic horror looks at intergalactic entities, ancient gods, the machinations of the universe, and how helpless we are against it all.

5. Dark Fantasy - Another crossover, this time with the fantasy genre. In dark fantasy, you have elements of magic, fictional creatures or worlds, and everything else that makes fantasy great, plus you add in a good dose of scares. This can also involve other subgenres, like body horror.

6. Dark Romance - Another crossover genre, dark romance takes the feel-good romance genre and makes it horrific. While this subgenre can simply include morally questionable characters and a grittier tone than most romance, it can also include kidnapping, forced confinement, BDSM, psychological and physical abuse, and sexual violence or sex where there is no consent. Bear in mind that it still needs to include the tenants of romance stories, though.

7. Extreme Gore - Not for the faint of heart, this subgenre includes books that have detailed torture scenes or otherwise disturbing and depraved acts. This genre is all about shocking your audience with how awful your characters act or are treated.

8. Folk Horror - Embraces urban legends and folktales. These range from old pagan gods in the woods to weird rituals performed by isolated groups or villages. Sometimes there is a supernatural element to them, even if the “supernatural” is simply perceived or believed by some characters (e.g., Midsommar).

9. Found Footage/Documentaries - Though this subgenre is more common in films than books, found footage and documentary horror stories are about a crew of people recording their experiences, usually unaware of the true danger they are about to face.

10. Gothic - The great-grandparent of modern horror, gothic horror is the brooding, atmospheric genre containing what most of us would consider classics (e.g., Dracula and Frankenstein). Sometimes you throw in a dash of romance, but these tales tackle topics like death and mortality.

11. Post-Apocalyptic - After some world-ending disaster, how horrifying have things become? Post-apocalyptic horror shows us a world without rules or structure. It can contain unrealistic elements (zombies, demons, etc.) or realistic possibilities (cannibals, gangs, and so on).

12. Psychological - Places the spotlight on trauma, mental health, manipulation, phobias, and everything else that causes you to become stressed and anxious. Home invasion stories (i.e., The Strangers) fall under this subgenre.

13. Slasher - Involves violent horror that is more about a single killer stalking and eventually killing a group of people (traditionally targeting teens and using a blade). This subgenre isn’t necessarily as violent or gory as others, but uses suspense to make the reader hold their breath.

14. Splatterpunk - Is known for its disregard of limits when it comes to violence—both physical and sexual. Gore and depravity are grossly abundant.

15. Supernatural/Paranormal - Some folks separate these two subgenres into different categories, but there is so much overlap that they’re basically the same. If you have to, think of supernatural horror as stories that involve werewolves, witches, vampires, and other monsters. Paranormal horror, on the other hand, involves ghosts, demons, and haunted houses.

Tips for Writing Horror

1. Read more horror. There’s no better way to understand what a good story looks like than to read one for yourself. Read as much as you can so you are aware of what other horror writers are doing.

2. Focus on your own fears. Much like comedy, horror benefits from authenticity. So get personal: If you can scare yourself, you can probably scare an audience.

3. Create three-dimensional characters. Write characters whose character flaws feed the action of the story. All good literature and film contains well-wrought characters with desires, emotions, and a backstory. The more human you make the characters of your story or screenplay, the more their missteps and bad choices will resonate with an audience.

4. Recognize that the real can be scarier than the surreal. Sure, you can make up an army of googly-eyed bad guys or plant a severed head in your main character’s bed, but will you really scare your reader? Not necessarily. In most cases, psychological horror sticks with audiences far longer than a jump scare or gross-out moment in a slasher film. Toying with people’s real-life fears tends to scare them much more than just grossing them out.

5. Use the environment. Scary movies and television shows can use jump-scares as an easy way to frighten an audience, but writing scary literature requires its own method of manifesting fear. Setup your environment in a vivid way to fully immerse your readers into your setting. Vividly describing an enclosed space can elicit feelings of claustrophobia. A dark and quiet house becomes more frightening when a character suddenly hears the creak of an upstairs floorboard. Being an outsider in an unfamiliar place, like a small town with no cell phone service and where everyone knows each other, is already unsettling—and if you add a malicious paranormal force to such a setting, you can enhance the feeling of isolation and ramp up the anxiety of the scenario.

6. Write longer sentences. You can heighten your readers’ fear by writing paragraphs with longer sentences. Periods provide natural pauses for readers to take a breath, but if you stretch out your sentences, you build anticipation for the reader—which they might not even realize until they reach the end of the sentence. By using tactics like this, you immerse the reader into your horror story, making them feel what the main character feels and creating a heart-pounding connection.

7. Make your readers breathe faster. Whereas long sentences can amplify the intensity of a story, short one-sentence paragraphs can force your readers to take more frequent breaths while following your narrative. Crafting abrupt lines builds tension in your scary story writing, making the readers’ eyes move more quickly down the page searching for the relief that the protagonist is safe. This can make your audience breathe faster, contributing to the feeling of panic and anxiety.

8. Leverage fear of the unknown. Fear of the unknown is a common theme that can be tracked throughout many of the best stories in horror fiction and horror movies. When there is something that negatively affects us that we cannot control or properly identify, it creates a feeling of panic and dread. Teasing your readers with something not quite definable or a bad guy no one knows how to stop can increase the level of tension and fear when writing horror stories.

9. Lean into dark imagery and your readers’ collective imagination. Consider what images might be frightening to a reader (and yourself). How much of a description of a clown do you need in order to make a reader feel uneasy? How large and grotesque does a rat need to be? Leaving some of these images more general than specific will allow a reader to fill in the blanks with what is most horrifying to them. Example: If you read the word beast, what do you see in your imagination? Most words carry connotations and personal connections. Allow your words to work for you to create the maximum scare.

10. Want tension? Sprinkle in some foreshadowing. Foreshadowing is a powerful tool in your writing arsenal, but it is particularly effective in horror, especially when writing in third person. Foreshadowing is when an author alludes to a future event by showing us something now. The key to foreshadowing is to use it sparingly. We want to up the tension and the fear our readers are experiencing while they yell at the oblivious protagonist not to open the door. We don’t want the reader to know every single thing that’s going to happen.

11. Focus on the moment where things shift. You should consider a pivotal scene in your story idea and try to build around that scene or that moment where the plot actually “shifts.” Sometimes that could be reflected in a realization by the protagonist. Other times it can be represented in some type of ironic twist at the end. By looking at that singular element of your story idea, you cut away the fat so that the reader is left only with the most resonant part of the story.

12. Establish the mundane. Mundane is just a fancy way of saying normal, but the message still rings true. Most story structures tell you to start by establishing the Ordinary World: what our protagonist’s normal life is like. This is important for showing us how important the larger conflict is, because it threatens the protagonist’s normal. In horror, establishing the mundane is arguably more important. In a story where connecting with the character and empathizing with them over the godawful stuff you, the author, put them through, the reader needs to understand just how bad life has gotten. Then you can take both your characters and your reader from a place of comfort and familiarity and plunge them into whatever shadowy hell you’ve concocted.

13. Choosing your POV. By choosing to write your story from a first-person perspective, you are putting the reader exactly where your character is. There are 2 types of third-person POV—limited and omniscient. It is advisable to stay away from omniscient. Part of writing a good horror story is withholding information from the reader, which third-person omniscient doesn’t really allow for. Considering the pros and cons of the different points of view, choose the right one for your story.

14. Avoid clichés. Clichés are boring and predictable, and a horror scene that is predictable is likely to not be scary. A good horror story can still use familiar horror tropes, but a great horror story makes them its own. Look beyond the obvious when trying to write a scary scene—what is something readers wouldn’t expect? How can you surprise them with fear? Use enough of the existing tropes to be identifiable as horror, but make sure you insert your own originality into the mix. One of the reasons people gravitate to genres in general is because they have certain expectations for what should happen in the story. Look for ways to flip archetypes on their heads.

15. Practice. If you’re struggling to get a handle on writing a good story that’s scary, practice with story prompts (see some sample prompts below). Writing prompts can expand your range of thinking and open up new avenues of imagination that you hadn’t thought of before.

Horror Writing Prompts

A scary doll comes to life.

A scene from a nightmare comes true the next day.

Days go by, and your parents don’t come home.

You feel yourself slowly becoming a monster.

Your friends start to disappear, and no one else notices.

You’re lost in the woods, and you don’t know how you got there.

You’re inhabited by a ghost that controls you and makes you do crazy things.

You have no reflection in the mirror.

The teacher is a monster, but no one will believe you.

You hypnotize your brother, and you can’t snap him out of it.

A fortune teller reveals that you are evil.

Someone follows you home, and it’s your exact double.

You find a diary that tells the future.

Every time you wake up, you’re a different person.

Your parents explain that you are actually an alien from another planet.

You know someone is watching you day and night from the house across the street.

You realize you are shrinking.

While reading a scary book, you realize that you’re a character in it.

Someone is living in your mirror.

Everyone knows the new neighbors are vampires, and the kids invite you over for a sleepover.

All the cats in a small town vanish in the middle of the night….and all that remains is a set of big, scary teeth smashed into a car door.

A group of friends takes on the zombie apocalypse.

Strange things start happening after the grandfather clock starts to speak.

You finally meet your child’s imaginary friend. Who turns out to be a serial killer.

When a local police officer goes to investigate the haunted house down the street, he finds a young girl who died decades ago.

Sources: 1 2 3 4 5 6

necessary-glitter

18th Century Writing Resources

Because I’ve had these in my bookmarks for a while and I thought it was high time I get a little more organized.

Makeup

Historically Accurate Marie Antoinette Makeup Tutorial

Hairstyles and Makeup

The “Toilette” in 18th Century England

Makeup and Lead Poisoning

Makeup in the 18th Century

Fashion

Glorious Historical Costuming Blog

Men’s Hats

18 Century Undergarments

More Clothes (Includes sections for men, women, and children)

Clothing of the Upper Class

Accessories

Wigs and Hats

Crime

Highly frequented locations

Highwaymen

Organized Crime

Rising Crime Rates

Pick-pocketing and Petty Theft

Counterfeiting

Smuggling

Gambling

Prostitution

Punishments for Various Crimes

Crime and Punishment

Crime in Popular Culture

Children

Children’s Toys, Dolls, and Games

Children’s Education

Children’s Literature

Upper-class children: Girls, Boys

Lower-class children: Girls, Boys

Women

Female Journalism

Women Writers

Women’s Emotions

Life as a Woman Interactive Quiz

More on Slavery

Commerce

18th Century Duels

Morality in the 18th Century

Religious Satire

leisureflame

WORLD BUILDING CHECKLIST

If you are writing a book/story that takes place in another world, I have provided for you the complete world building checklist to ensure that you know your world inside out.

Economy A. Currency B. Poverty rate/line

Government A. Crime & Legal System B. Foreign Relations C. Politics D. War

The Land A. Physical & Historical Features B. Climate C. Geography D. Natural Resources E. Population

Society & Culture A. Arts, Entertainment, & Recreation B. Architecture C. Calendar D. Daily Life. E. Diet F. Ethics & Values G. fashion & Dress H. History I. Dining Customs J. Education K. Language L. Gestures M. Manners N. Meeting & Greeting O. Religion & Philosophy P. Social organization

Magic A. Magicians B. Magic and science C. Magic & Technology D. Rules of Magic

Technology C. Technology D. Medicine D. Transportation & Communication you're welcome <3

Fell free to reblog and fill it out if you want. I am curious to see the worlds in my fellow writers heads.

Follow me @leisureflame for more posts like this!

herbariumofletters

Emotions in writing

The following examples have been taken from the book The Emotion Thesaurus: A Writer's Guide To Character Expression by Angela Ackerman & Becca Puglisi - make sure to get the book!

Confidence

Definition: having faith in one’s own influence and ability

Physical signals: Strong posture (shoulders back, chest out, chin high) Walking with wide steps Strong hygiene and personal grooming Holding the hands loosely behind the back Touching one’s fingertips together (tapping, forming a steeple) A gleam in one’s eye, an inner light Smiling, a playful grin Winking or giving someone an easy nod Keeping one’s hands out of the pockets Appearing relaxed (drumming fingers against a leg, humming) Taking up space (legs spread wide, arms loose at the sides) Approaching people with ease Looking others directly in the eye Arms swinging while walking Choosing the middle, not the sides (be it a couch or a room) Using exaggerated movements to draw attention to oneself A booming laugh Showing comfort in the close proximity of others Initiating contact Telling jokes, adding to or steering a conversation Hosting events (getting the guys together for a football game) Openness when dealing with people Appearing unbothered by what others may think Leaning in to talk or listen Increased physical contact, becoming touchy-feely Running hands through one’s hair or flipping the hair back Assuming a pose that draws attention to one’s best attributes Wearing clothes that are flashy or dramatic

Internal sensations: Relaxed muscles Easy breaths Lightness in the chest

Cues of acute or long-term confidence: Doing or saying things outside of the norm without anxiety or concern Obsessively talking about an achievement or material object Reacting with anger or jealousy if one’s reputation is impugned Bragging, showing off

Cues of suppressed confidence: Minimizing compliments Modesty Changing the topic to bring others into the spotlight Downplaying one’s own comfort level to make others feel better Asking for opinions or advice

iphysalian

What No one Tells You about Writing Fantasy, #2!

I did this list about 7 annoyances about fantasy, but I write in this genre for a reason! Fantasy knows no bounds, it can encompass all other genres within it. You can write a fantastical murder mystery, fantasy horror, fantasy romance, political drama, slice-of-life, comedy, whatever you’d like!

Whether it’s urban or high fantasy, supernatural or scientific, here’s seven great benefits of writing in this genre:

1. No modern means of communication

Unless you’re writing a world with phones or phone-adjacent devices. Phones and instant communication seriously inhibits the plausibility of dramatic irony and tension when you have to keep coming up with reasons to keep your characters from calling or texting each other everything they know. It’s exhausting, I tell you, and such a relief when phones aren’t a factor.

With that said, without phones, you have complete freedom to design your own magical channels of supernatural FaceTime, as weird and zany as you want. But without instant connections? Your character who knew too much can’t pass on the intel before they die. Your hero team can’t call for backup in their darkest hour. Otherwise easily preventable tragedies and deadly miscommunications are now very real.

2. The Monster Allegory

Fantasy and sci-fi tend to overlap more than they’re set apart, and in that overlap sits the monster allegory. Everything from werewolves to vampires to witches, reapers, demons, angels, goblins, trolls, wraiths, fairies, mermaids, ghosts, to Eldritch horrors and your classic Hollywood cast of mummies, creatures from the black lagoon, and Frankenstein.

Most of the time, the monsters aren’t just monsters, they represent a monstrous aspect of society the author wants to challenge and caricaturize in a fun and entertaining way. Or, the monsters are the good guys and the humans are the real terrors. Or, you’ve got two kinds of monsters to allegory two human sides. Sometimes they represent metaphorical demons, like vampires often representing addiction and werewolves repressed identities.

What all of this boils down to is the hyperbolic nature of science fantasy that allows you to go over-the-top with your metaphor and allegory in a way that a book grounded in reality just can’t.

3. Magic Systems!

Do you love world building? Do you love filling pages upon pages with your cool and unique set of superpowers you want your characters to have? Do you dream about your fight scenes and dramatic slow-mo shots?

Then Fantasy is for you!

There are zero limits to how you want to define your magic system. You can go classic with the familiar archetypes of elemental magic, wizards, sorcerers, and witches. Or you can step off the beaten path and design a whole new funky system of power sets. Best part? Your readers will have an awesome time imagining themselves with those powers, and debating endlessly about how it works.

4. Real-World Politics, who?

Amazon’s Rings of Power was twice-doomed when they only got the rights to adapt the appendices of The Silmarillion and when they decided to inject current political problems into a timeless story written purposefully to be divorced from those politics. You *can* write about human politics, but in fantasy, you don’t have to. You *can* interpret Lord of the Rings to be an allegory about the World Wars, but no matter how hard you argue, it wasn’t written with that intent.

Which means: Even if your story is set in the reality-adjacent fantasy version of 1543, you are free from the following: Racism, homophobia, sexism, religious bigotry, mental health bigotry, gender norms, anti-feminism, toxic masculinity, and more. “But that’s how it was-”

Nope. This is fantasy. You built this world, you decided to keep in the discrimination. Or… You can fill your fantasy world with a rainbow of gays, POCs in power, women in power, men unafraid to be compassionate and caring, a religion that doesn’t foster hate and division, the list goes on. You. Are. Free.

5. Nothing is too “unrealistic”

Both that you will always have people whining about how X would never happen so write the book you want to read, but also because fantasy is fake. Fairies aren’t real. Mermaids aren’t real. There are no rules for how they must be written and that’s how we have so much variety with so much room for interpretation by so many creators. Twilight made how much money writing about vampires that sparkle like diamonds in sunlight and crack like marble?

This is fantasy, it’s supposed to be unrealistic. Yes, your plot should make sense, but don’t be afraid to get weird. Write at least some of your story dependant on those fantasy elements. Write a story that can’t just be told in the real world minus the spectacle. Don’t be afraid to be sincerely fantastical and weird. People love weird. People love loving weird.

6. You are in complete control

But you do still need to research, unfortunately. Unless this is urban fantasy that depends at least a little on the human world, yours is completely your own to govern like a god tweezing weeds from their garden. You get to design your own geography and weather patterns and seasons. Your own countries and kingdoms and politicians. Your epic pre-canon fantasy war and the stakes that it was fought over. Your species, races, and ethnicities.

It’s a shame that a movie like Avatar (2009) set out to be this wholly unique take on aliens with music completely divorced from earthly bonds, new languages and a visually and culturally distinct alien species… and ended up a largely generic blue Pocahontas in space. It forgot that it was fantasy and didn’t go weird enough. They have horses, monkeys, wolves, rhinos, and deer just re-skinned with some extra limbs and colors. It’s pretty but it’s so, so shallow.

It could have become a cult classic like many a positively *weird* 80s off-beat fantasies, and now it just… exists. It makes a whole lot of money but its impact on the cultural zeitgeist is negligible. I’m the only person I know that can name every major character in the movie, and I’m no Avatar obsessor. They had complete creative control, and this is what they did with it. Don’t be Avatar. Take your creative freedom and run.

7. Even if it has been done before, do it again

You can say this about any genre, particularly romance, but fantasy and sci-fi, by the gatekeep-y nature of their fans, can be a lot less forgiving when it comes to claims of “unoriginality”. No one hates Star Wars more than Star Wars fans. Fans of these genres can get… concerningly attached to their favorite stories (mostly because the people who like them had only their fictional heroes to protect them from very real bullies).

But Game of Thrones exists because the author likes Lord of the Rings and went “yes, but what if it was an R-rated parade of misery?” Dungeons and Dragons exists because people wanted to roleplay in an LotR-esque world. Legolas and Gimli single-handedly defined what a badass elf and dwarf looks like in high fantasy. And people still gobble up media ripping shamelessly, or even good-naturedly, from this one story.

So on my other list, I argued that the sum of your parts is still original, even if the components aren’t. On this list, I implore you this: It’s not stealing or appropriating to write another Legolas if you love Legolas. Everyone loves Legolas. How many generic buff action heroes do we have and love? How many Hallmark romances tread the same predictable path? Who gives a damn if it’s unoriginal? Just make it entertaining and have something fresh to say in the end (or don’t, that’s fine too), and people will read it.

And when people say “Oh, you mean like Legolas”, take it as a compliment, not an insult. Yes, exactly like Legolas. Here’s my new elf because I adore this other book, now watch him go on a new adventure that I wrote for him.

heavenlyraindrops

World Building Checklist

Have you ever started writing a story and realized your world has a bunch of unexplained shit and you have to fill in the gaps as you go? Me too, buddy. Me too. Here’s a checklist so that you can fully flesh out your world to the max. (I’m dying)

How does Time work? (Minutes, hours, days, the daylight cycle, years, ect.)

Species (if Fantasy. Will probably make another post on this.)

Countries, Nations, Tribes, ect. (nationalities/ races. Will probably make another post on this.)

The geography of the world (draw a map. Doesnt have to be good. Just for a general idea.)

Rivalries between races (includes prejudice, racism, ect.)

Religions

Technology

The Magic system. (Will probably make a whole other post on this.)

animals, plants, ect.

The sky: Sun, Moon(s), Stars, Constellation, Are there rings? (If the planet has rings)

Educations system

Government system

Politics

Methods of transport (Vehicles)

Medicine

Can’t really think of anything else. If you have more to add then reblog and add to the list! :) bye bee

deception-united

Let's talk about internal conflict.

Having clear external conflicts is essential to driving forward your plot, but internal conflicts help add depth and complexity to your characters. They'll make your characters better rounded-out, more believable, and relatable.

Internal conflicts are the struggles, doubts, and desires that exist within a character's mind and heart. They indirectly hinder them from reaching their ultimate goal by influencing their decisions, actions, who they choose to befriend, their fears, or how they react in different situations.

Here are some ways to integrate and determine your characters' internal conflicts:

Explore their desires and fears: Figure out what goals are they striving to achieve and their motivations behind it. From here, delve into their fears and insecurities that could obstruct their progress by causing internal turmoil. This duality adds depth to their personalities and motivations.

Show conflicting emotions: Characters should experience a range of emotions, sometimes simultaneously. They may feel torn between loyalty and self-interest, love and duty, or ambition and morality. Allow these conflicting emotions to drive their decisions and actions, leading to internal tension and growth.

Develop a backstory: Every writer's favourite step. Determine how their past experiences, traumas, and relationships create internal conflict for them. Past events or unresolved issues play a key role in shaping their beliefs, values, and behavior, influencing their present-day struggles.

Use moral dilemmas: Present your characters with ethical dilemmas or moral choices that force them to confront their beliefs and values. These situations can reveal the depth of their character and provoke internal conflict as they wrestle with the consequences of their decisions, as well as providing further insight into their personality and character.

Show internal growth: Allow your characters to evolve and grow throughout the story by facing and eventually overcoming their internal conflicts. Make them struggle. Have them make bad choices out of fear, or love, or jealousy. Force them to deal with the consequences. And turn that—the confrontation of their fears, reconciliation of their desires, the difficult choices—into a transformative journey.

Hope this was helpful! Make your characters suffer ❤

deception-united

Let's talk about strong female characters.

And, more specifically, the problem with them. Don't get me wrong, I am all for a fierce leading lady who can hold her own in any situation. Inspiring, intimidating, capable. All-around badass. But it seems like lately, every other female character we meet is cut from the same warrior cloth, and it's starting to feel a bit predictable.

First, let's give credit where credit is due. The influx of strong, capable, and independent female characters in recent media is undeniably empowering. Seeing women take charge, wield swords, and save the day sends a powerful message to audiences young and old: girls can do anything. And that's a message worth celebrating.

However, there's a flip side to this trend that's worth examining. In the rush to break away from the tired old tropes of delicate damsels in distress, it seems like some writers have swung too far in the other direction. How many recent female protagonists can you name who aren't strong and independent? Who have weaknesses that they aren't afraid of showing, or aren't able to hide? We're seeing a lot of new male leads with these characteristics, which is great, but it's like we've traded one stereotype for another.

All this results in a lot of one-dimensional female characters. I want to see girls who are witty, goofy, immature, sensitive, cocky. While it's great to see women kicking ass and taking names, it's also important to remember that strength comes in many forms.

One of the things that makes characters truly compelling is their complexity. Sure, it's empowering to see a woman single-handedly lead or defeat an army, but what about her flaws? Her insecurities? Her moments of vulnerability? Those are the things that make her relatable, that make her human. That makes her resonate with readers.

Take the classic "strong female character" archetype and add some depth to her. Maybe she's a skilled warrior, but she's also quick with a sarcastic quip. Or perhaps she's fiercely independent, but she's also afraid of being vulnerable with others. Or maybe she's not. Maybe she's not strong or independent or fierce at all. Maybe her strength lies somewhere else. Give her layers, give her contradictions, give her flaws.

And let's not forget about the other roles that female characters can play. The witty sidekick, the comic relief, the immature goofball, the sensitive soul—these are all valid and important character types, and they deserve to be represented just as much as the badass warrior woman.

So, to all the writers out there: by all means, keep giving us strong female characters. But let's make sure they're more than just stereotypes. Let's make them human. Let's give them depth and complexity and nuance. Because in the end, that's what makes a character truly unforgettable.

deception-united

Let's talk about killing off characters.

Killing off characters is a dramatic device often used to advance the plot, create tension, or evoke emotional responses from readers or viewers. We love doing it. The initial shock, the mourning after. The effects of it on the other characters. It's fun.

Nevertheless, you can still achieve the desired impact on your plot and characters without necessarily resorting to fictional murder.

Here are some alternatives to drive the plot forward:

Character Transformation: Instead of killing off a character, you can have them undergo significant personal growth or change. This could involve overcoming challenges, facing moral dilemmas, or undergoing a shift in beliefs or values. Their transformation can still drive the plot forward and impact other characters. (I especially love it when the transformation is negative—like when a traumatic experience of some sort completely strips a character of their soul. But that's a sentiment for another day.)

Betrayal or Conflict: Introduce betrayal or conflict between characters that challenges relationships and creates tension. This can lead to significant plot developments and character arcs without resorting to death. And it can be cause for quite a lot of angst.

Separation or Estrangement: Have characters physically or emotionally separated from each other, causing tension and driving the plot forward as they strive to reconnect or deal with the consequences of their estrangement.

Sacrifice without Death: Characters can make significant sacrifices that don't necessarily involve their death. This could be sacrificing personal goals, relationships, or values for the greater good or to achieve a specific objective.

Injury or Disability: Instead of killing off a character, you can incapacitate them through injury or disability. This will create challenges for the character and those around them, leading to character development and plot progression as they're forced to adapt to their new circumstances.

Redemption Arcs: Characters who have committed wrongdoings can undergo redemption arcs where they seek forgiveness, make amends, or strive to become better individuals. This can drive the plot forward while also adding depth to the character. Keep in mind that this may not be a suitable alternative to death for some characters—for instance, the protagonist forgiving their abusive parent despite all they were forced to go through may evoke a sense of indignation rather than admiration for their supposed selflessness.

Revelations or Secrets: Introduce revelations or uncover secrets that have significant impacts on characters and their relationships. This can lead to conflict, tension, and plot twists without the need for death.

Forced Alliances or Unexpected Partnerships: Characters can be forced into alliances or partnerships with unlikely allies, leading to interesting dynamics and plot developments as they navigate these new relationships.

Loss of Power or Status: Characters can experience a loss of power, status, or reputation, which can drive the plot forward as they strive to regain what they've lost, seek revenge on those responsible, or adapt to their new circumstances.

Time Constraints or Pressure: Introduce time constraints or pressure situations that force characters to act quickly and make difficult, split-second decisions that may end up being quite regrettable later on. This can raise conflicts of who's to blame, or what should have been done.

I feel like I strayed off a little, but there you have it. Hope this was helpful! ❤

deception-united

Let's talk about character development.

Creating multidimensional characters make them more relatable to your readers. They add richness and complexity to the narrative, enhancing its overall depth and resonance.

So. How?

Complex Motivations: Characters should have motivations that go beyond simple desires or goals. Delve deep into their past experiences, fears, and desires to understand what truly drives them. Keep them consistent yet nuanced for realistic character growth and change throughout the story.

Flaws and Vulnerabilities: Avoid creating characters who are too perfect or flawless. Imperfections make characters relatable and interesting. Give them vulnerabilities, weaknesses, and struggles to overcome. This adds depth to their personalities and creates opportunities for character development.

Internal Conflict: Explore the internal conflicts within your characters. This could be moral dilemmas, inner turmoil, or conflicting emotions. Internal struggles can be just as compelling, if not more so, than external conflicts, and they add layers to your characters' development. (See my previous post about this!)

Consistent Behavior: Make sure to keep your characters' actions, reactions, and decisions consistent with their established personalities, backgrounds, and motivations. Inconsistencies can break the reader's immersion and credibility in the story. And the fandom will hunt you down mercilessly.

Unique Voice: Each character should have a distinct voice and mannerisms that reflect their personality, background, and worldview. Pay attention to the way they speak, their vocabulary, and their gestures. This will really help to bring your characters to life.

Dynamic Relationships: Develop dynamic relationships between your characters. Interactions with other characters should reveal new facets of their personalities and contribute to their growth or downfalls. Explore different types of relationships (friendships, romances, rivalries, family dynamics, etc.) to add depth to your characters' experiences.

Arc of Change: Consider how your characters evolve over the course of the story. What lessons do they learn? How do their experiences shape them? Every significant event should impact your characters in some way, leading to growth, transformation, or regression.

Happy writing ❤

ldknightshade

morality: a character creation guide

creating and understanding your oc’s personal moral code! no, i cannot tell you whether they’re gonna come out good or bad or grey; that part is up to you.

anyway, let’s rock.

i. politics

politics are a good way to indicate things your character values, especially when it comes to large-scale concepts such as government, community, and humanity as a whole.

say what you will about either image; i’d argue for the unintiated, the right image is a good introduction to some lesser discussed ideologies… some of which your oc may or may not fall under.

either way, taking a good look at your character’s values on the economic + social side of things is a good place to start, as politics are something that, well… we all have ‘em, you can’t avoid ‘em.

clearly, this will have to be adjusted for settings that utilize other schools of thought (such as fantasy + historical fiction and the divine right of kings), but again, economic/social scale plotting will be a good start for most.

ii. religion + philosophy

is your oc religious? do they believe in a form of higher power? do they follow some sort of philosophy?

are they devout? yes, this applies to non-religious theist and atheist characters as well; in the former’s case… is their belief in a higher power something that guides many of their actions or is their belief in a higher power something that only informs a few of their actions? for the atheists; do they militant anti-theists who believe atheism is the only way and that religion is harmful? or do they not care about religion, so long as it’s thrust upon them?

for the religious: what is your oc’s relationship with the higher power in question? are they very progressive by their religion’s standards or more orthodox? how well informed of their own religion are they?

does your oc follow a particular school of philosophical thought? how does that interact with their religious identification?

iii. values

by taking their political stance and their religious + philosophical stance, you have a fairly good grasp on the things your character values.

is there anything they value - due to backstory, or what they do, or what they love - that isn’t explained by political stance and religious and/or philosophical identification? some big players here will likely be your oc’s culture and past.

of everything you’ve determined they value, what do they value the most?

iv. “the line”

everyone draws it somewhere. we all have a line we won’t cross, no matter the lengths we go for what we believe is a noble cause. where does your character draw it? how far will they go for something they truly believe is a noble cause? as discussed in part iii of my tips for morally grey characters,

would they lie? cheat? steal? manipulate? maim? what about commit acts of vandalism? arson? would they kill?

but even when we have a line, sometimes we make exceptions for a variety of reasons. additionally, there are limits to some of the lengths we’d go to.

find your character’s line, their limits and their exceptions.

v. objectivism/relativism

objectivism, as defined by the merriam-webster dictionary, is “an ethical theory that moral good is objectively real or that moral precepts are objectively valid.”

relativism, as defined by the merriam-webster dictionary, is “a view that ethical truths depend on the individuals and groups holding them.”

what take on morality, as a concept, does your character have? is morality objective? is morality subjective?

we could really delve deep into this one, but this post is long enough that i don’t think we need to get into philosophical rambling… so this is a good starting point.

either way, exploring morality as a concept and how your character views it will allow for better application of their personal moral code.

vi. application

so, now you know what they believe and have a deep understanding of your character’s moral code, all that’s left is to apply it and understand how it informs their actions while taking their personality into account.

and interesting thing to note is that we are all hypocrites; you don’t have to do this, but it might be fun to play around with the concept of their moral code and add a little bit of hypocrisy to their actions as a treat.

either way, how do your character’s various beliefs interact? how does it make them interact with the world? with others? with their friends, family, and community? with their government? with their employment? with their studies? with the earth and environment itself?

in conclusion:

there’s a lot of things that inform one’s moral compass and i will never be able to touch on them all; however, this should hopefully serve as at least a basic guide.

deception-united

Let's talk about character voices.

Giving a character a unique voice in your writing involves several elements, including word choice, sentence structure, dialogue quirks, and mannerisms. By incorporating these elements into your writing, you can create characters with distinct voices that resonate with readers and bring your story to life.

Here are some tips to help you create distinctive voices for your characters:

Distinct Vocabulary: Choose words that reflect the character's background, personality, and education level. Consider their profession, interests, and experiences when selecting vocabulary. For example, a well-educated professor would likely use more sophisticated language.

Dialogue Quirks: Give each character specific speech patterns or quirks that set them apart. This could include repeated phrases, stuttering, using or avoiding contractions, or speaking in a particular dialect or accent. Be careful not to overdo it, though, as too much can become distracting.

Sentence Structure: Pay attention to the rhythm and structure of their sentences. Some characters might speak in short, abrupt sentences, while others might use long, flowing ones. This can convey their confidence, hesitation, or urgency.

Internal Monologue: Show the character's unique thought process through their internal monologue. This can help readers understand their motivations, fears, and desires, further distinguishing them from other characters. (This may not necessarily apply to your story if you're writing in a third person omniscient perspective, or if you intend to exclusively follow the internal monologue of the main character.)

Physical Gestures and Actions: Incorporate the character's physical gestures and actions into their dialogue to add depth to their voice. For example, a nervous character might fidget, slouch, or avoid eye contact while speaking, while a confident character might stand tall and make direct eye contact.

Background and History: Consider the character's background and history when crafting their voice. Their upbringing, cultural influences, and past experiences can all shape the way they speak and interact with others.

Consistency: It's important to maintain consistency in the character's voice throughout the story. Pay attention to their speech patterns, vocabulary, and mannerisms to ensure they remain true to their established personality.

Listen to Real Conversations: Pay attention to how people speak in real life, including their tone, vocabulary, and speech patterns. Drawing inspiration from real conversations can help you create authentic and believable dialogue for your characters.

Read Aloud: Reading your dialogue aloud can help you identify areas where the character's voice may not sound authentic. If it doesn't sound like something they would say, revise.

Avoid Stereotypes: While it's okay to draw inspiration from archetypes, be careful not to rely too heavily on stereotypes. Instead, strive to create complex, multidimensional characters with unique voices.

Hope this helps!

deception-united

Let's talk about transitions.

Transitioning between fast-paced and slow-paced scenes is essential for maintaining the flow of your narrative and keeping readers engaged throughout your story, allowing for moments of reflection, introspection, and character development.

Here are some strategies to smoothly transition between different pacing levels:

Use scene endings and beginnings: End a fast-paced scene with a cliffhanger or revelation that propels the story forward, then transition to a slower-paced scene that allows characters (and readers) to process the events. On the flip side, begin a slow-paced scene with a hook or question that intrigues readers and draws them deeper into the story.

Bridge paragraphs: Include bridge paragraphs between scenes to provide a smooth transition. These paragraphs can briefly summarize the previous scene's events, set the scene for the upcoming events, or transition between different settings, characters, or points of view.

Change in tone or focus: Shift the tone or focus of the narrative to signal a change in pacing. For example, transition from a tense action scene to a quieter moment of reflection by shifting the narrative focus from external events to internal thoughts and emotions.

Utilise pacing within scenes: Even within a single scene, you can vary the pacing to create transitions. Start with a fast-paced opening to grab the reader's attention, then gradually slow down the pacing as you delve deeper into character interactions, dialogue, or introspection. Conversely, speed up the pacing to inject energy and excitement into slower scenes.

Symbolic transitions: Use symbolic elements within the narrative to signal transitions between pacing levels. For example, transition from a fast-paced scene set during a stormy night to a slow-paced scene set in the calm aftermath of the storm, mirroring the shift in pacing.

Foreshadowing: Use subtle foreshadowing in fast-paced scenes to hint at upcoming events or conflicts that will be explored in slower-paced scenes. This creates anticipation and helps to smoothly transition between different pacing levels by maintaining continuity in the narrative arc.

Character reactions: Show how characters react to the events of fast-paced scenes in the subsequent slower-paced scenes. Use their thoughts, emotions, and actions to provide insight into the impact of these events on the story and its characters, helping to bridge the transition between pacing levels.

See my post on pacing for more! ❤

slayingfiction

Mastering the Art of Dialogue

Dialogue is the lifeline of any narrative. It brings characters to life, propels the plot, and creates depth in the story. However, writing dialogue that feels real and engaging can be challenging. Here are some tips to help you refine your dialogue-writing skills:

1. Listen to Real Conversations

The foundation of great dialogue is authenticity. Spend time listening to how people speak in real life. Notice the flow of conversation, the interruptions, the ums and ahs, and the unfinished thoughts. Real speech is rarely grammatically perfect or fully articulated. Incorporating these nuances can make your dialogue more relatable.

2. Each Character Should Have a Unique Voice

Your characters should be distinguishable by their dialogue alone. A teenager will speak differently from an elderly person; a doctor will use different terminology than a street artist. Think about their background, education, and personality. These factors should influence their speech patterns, vocabulary, and even the rhythm of their dialogue.

3. Use Dialogue to Show, Not Tell

Dialogue is a powerful tool for showing the reader what’s happening without explicitly telling them. Through conversations, you can reveal your characters' thoughts, feelings, and intentions. For example, instead of narrating that a character is nervous, you could show it through their stammering dialogue or their avoidance of direct answers.

4. Keep It Concise

In real conversations, people often meander through their thoughts. In written dialogue, however, it's important to be concise. Every line of dialogue should serve a purpose, whether it’s moving the plot forward, revealing character, or creating tension. If a piece of dialogue doesn’t add value to your story, consider cutting it.

5. Read Your Dialogue Aloud

One of the best ways to test your dialogue is to hear it. Reading your dialogue aloud can help you catch awkward phrasings or unnatural speech patterns. Better yet, have someone else read it to you. This can provide insight into how your dialogue will sound to your readers.

6. Use Subtext to Your Advantage

Not everything needs to be said explicitly. Subtext—the underlying meaning behind the spoken words—can add depth and complexity to your dialogue. Characters might say one thing but mean another, based on their emotions, relationships, or situations. This layering of meaning can make your dialogue more engaging and thought-provoking.

7. Balance Dialogue with Action and Description

While dialogue is critical, it should be balanced with narrative description and action. This balance helps maintain the pacing of your story and ensures that your scenes are visually and emotionally compelling. Action and description can also provide context that enhances the meaning and impact of your dialogue.

Conclusion

Great dialogue can transform a good story into an unforgettable one. By applying these tips, you can craft dialogue that captures the essence of your characters and engages your readers on a deeper level. Remember, writing is a craft that improves with practice. Keep experimenting with your dialogue, and don't be afraid to rewrite until it sounds just right.

Writing dialogue is a skill that can be honed over time. The more you practice and read, the better you'll become at capturing the essence of conversation on the page.

Trending Blogs

Recently Viewed Blogs

Nelly Writing Source