Hey babe, it's written all over your face

Iadel | 26 | I write sometimes? 

[sincerelyforyouu]

My fics

The Instinct - by sincerelyforyouu

In a world where humans have taken over the population it is hard to really succumb to your instincts, in fact, werewolves have been forced to go into hiding and protect their own, only if you’re one would you be able to find them.

What happens when a seemingly ordinary and human Louis, living his ordinary and human life with his family starts feeling different?

An instinct takes over him when him and his family decide to move out of the city and to a more quiet, secluded town in the northern mountains of Montana.

Unknowingly Louis is on the path to not only discover things about himself he never believed possible or real, but he’ll have to come to terms with the events of his life that were totally out of his control but nonetheless have taken him where he is now.

A story of confusion, longing and becoming.

You can find a list with all the chapters for The Instinct in here

[sincerelyforyouu]

Chapter 6 - The Instinct

Better late than sorry, here’s chapter 6 folks!

[sincerelyforyouu]

Hello, hello, hellooo!!

I can’t believe we’ve made it here, it’s absolutely incredible all the love this fic has got so far, I have no words for how I’m feeling and some people could think that I’m over reacting because is definitely not that big of a deal, but for someone that has written dozens of fics that have never seen the light, because of being self conscious, and then this fic doing so well only a couple of weeks after the first post is just blowing my mind, so thank you so much to everyone that has read it, left kuddos, commented on it, or even reblogged the master post about it!

From the bottom of my heart thank you!!

Here’s all the chapters and the post for reblogging! 

The Instinct

Chapter 1

Chapter 2

Chapter 3

Chapter 4

Chapter 5

[kindofsharethat]

[kiwikiwiandkiwi]

not fans of wearing disguises

[justgottafinishthischapter]

Deciding on a POV

There are many ways to tell a story, and each one comes with a benefit or a downside. Still, I figured it’s worth going over the different ways each can be effective.

First Person

Reliable Narrator: A story with a reliable First Person narrator is one of the most common narrative styles. What this means is that the reader can trust what the narrator is telling them is the truth as it actually happened. Think Percy Jackson in the Percy Jackson and the Olympians Series.The reliable narrator is far more common than the unreliable variety. The benefit of this narrative style is that it mirrors how we tell stories verbally. If something happened to me, and I tell my friend what happened, I am going to use First Person narration to explain the events that transpired. Thus, this can feel like the most organic option. It also allows for total access to the POV character’s thoughts, allowing readers to see how they reached a conclusion, or why they’re acting a certain way. However, this can come with the problem of not being able to get inside the head of anyone except for the narrator. Now, while it’s standard for the First Person narrator to be the main character, it isn’t always the case. If the narrator is some sort of omniscient, bystander, or divine presence, whether they interact with the characters or not, it technically falls under First Person if they voice their opinion using I statements. The figure of Death in The Book Thief is a good example of this, as Death uses I and me in the narrative of the story. Because the story is set in Germany during World War II, the narrator of Death sees the protagonist, Liesel, frequently, and thus we’re able to get a narrator who is observing a protagonist from outside of her immediate story.

Unreliable Narrator: An Unreliable narrator is going to be the exact opposite. They tell the story, but take their story with a grain of salt. Whether their perception of reality is distorted, they’re using metaphors and symbolic imagery to tell the story, or they’re telling the story from a very narrow viewpoint, the unreliable narrator can be a good choice to get the reader to engage with the story and think critically about the work. Rugrats is a good example of this type of storytelling, as the main characters are babies, and therefore often mistake things for something else, making them unreliable narrators. This type works well if you want to tell a more abstract story. For instance, an entire story is about a boy chasing after a red balloon, but that red balloon itself represents accepting his mother’s death. Suddenly everything experienced becomes unreliable, leaving the reader wondering if the foes he defeated or the desert he crossed was literal, and he went on an actual journey to come to terms with his mother’s death, or was everything figurative, and the journey was more symbolic and allegorical? An unreliable narrator can play with these questions, blur the lines between reality and fiction, and leave their readers asking questions.

Third Person

Omniscient: Lemony Snicket is a perfect example of a great omniscient narrator. Mr. Snicket knows everything about every character, knows what’s going to happen before it happens, and comments on everything. Lemony Snicket himself is not a character in the story. Rather he recounts the story much like the First Person style, but from an outside perspective. Instead of being part of the story, Lemony Snicket is telling us about the Baudelaire children through the lens of the all-knowing and opinionated narrator. It’s not entirely uncommon for this type of narrator to be some supernatural force, a wise old sage, or someone who lived through an experience recounting the tale many years later. In fact it could be rather fun to play with this last one, having the story almost be told like a myth or legend, but having the narrator constantly side track to discuss how historians know and gathered the information for this story, only to reveal the narrator isn’t some omniscient being, but just a docent in a museum giving a tour and explaining an old myth to the patrons.

Limited: With a Limited POV, the reader learns things as the narrator does. Even though the narrator is the one telling the story, their information is only up to date with whatever is currently happening on the page. This and First Person are the two POV types most likely to appear in a mystery novel, or any novel where a mystery or unanswered questions drives the plot. Harry Potter is a series written in Limited Third Person. The story follows Harry, and the reader only learns information as Harry does. And every year, Harry is faced with the recurring mystery element of figuring out what’s going on, and stopping whatever their plan was. However, because the narrator only knows what the protagonist knows, this can allow you to play around with giving the narrator a personality, and having them comment or react to things as they happen, perhaps even mirroring the way you hope the readers are responding.

Objective: Think of Objective Point of View as watching a tv show. Anyone who’s into shipping has to read into objective romantic coding. Two characters held eye contact for five seconds? You the reader have to interpret that as you will. Objective is strangely both the most human and the most robotic point of view. At its most human, Objective treats the narration like a normal person. They can’t read the thoughts of other characters, they don’t know more than the hero or reader, and you’re effectively just a bystander in the crowd watching things happen with no context clues about what’s happening inside a character’s head. On the opposite end, it can also be the most robotic because it is the most lacking in human connection, as it leaves the reader detached from the characters themselves. However, a liberating or perhaps crippling aspect of this POV style is that it frees the author of show don’t tell because this type of POV can’t enter anyone’s minds or go on a rant about a character’s feelings about someone else. You just have to take what you get at face value and all information has to be conveyed through your characters and story, whether directly through dialogue, or subtly through background details.

Switching POVs

Most stories tend to stick with a single narrator. Stories can be complicated when one person is giving an opinion, but when multiple people are talking, it can be hard to find a voice and plot for each of them. And if you’re planning on writing a series, you may run into the problem of some characters having meatier plots than others. It’s for this reason that when it comes to watching Game of Thrones, I always groan internally whenver the story cuts back to Bran or Jon at the Wall. It’s a scene or two of people standing around being cold or talking about being cold and something something three-eyed raven and then we finally get back to the part I’m more interested in: the political games of manipulation and intrigue. But that’s also a strength of changing POVs. With something like Game of Thrones, you might not necessarily like every storyline happening, but you’re more likely to enjoy one. In a sense, Game of Thrones is like 11 novels stitched together, and because each is so different, you’re more likely to find something in the series that speaks to you. Conversely, when there’s multiple POVs experiencing the same thing, such as with the Heroes of Olympus series, having shifting POVs can be a good way of exploring each character. In The Lost Hero, Piper knows more about the giant waiting to fight them than either Jason or Leo, and because we have shifting POVs, we the reader get access to this otherwise Limited Third Person information from the character who already knows it, thus building dramatic tension of when the others will find out. Another benefit to this is giving unique encounters to the characters. Percy has already met Aphrodite in the past, but through Piper, Aphrodite’s daughter, we’re able to see a different side of this goddess, the goddess as a mother to someone else. This could also manifest in differing opinions of the same things. This is also part of why it works so well in Game of Thrones. Game of Thrones is a civil war story with multiple sides all vying for the same end goal. Because there are so many sides and players in the game, having so many different points of view is valueable to the story being told. If Eddard Stark was the sole protagonist, the only thing that we would know is whatever he knows. Everything Danny is doing across the narrow sea would need to be told to Ned for it to matter. And the same with Jon at the Wall. And if Jon or Danny was the sole narrator, the reader would miss out on everything happening in King’s Landing because neither Danny nor Jon are connected to that part of the plot. An entire element to the story is lost when a major POV character is dropped, which goes to show how strong George RR Martin’s writing really is. Something I like doing with multiple POVs is describing the same character in two different ways from two characters who would see them in a drastically different way. One description might paint a character as dark, alluring, and attractive, while another person might describe them as a rat-faced shifty-eyed snake that stinks of booze and dead fish. It’s the same character, but two different people see that character in entirely different ways. However, this also comes with a major backlash. It can be an absolute nightmare juggling not only so many plots, but trying to make them fit together nicely. You’ll notice this a lot with shows that emphasize drama and interconnecting storylines. They’ll be really strong in their earlier seasons, then peter out once they’ve hit the creative brick wall. It happened to Once Upon a Time and to a lesser extent, Glee. Both shows had tightly knit and compelling drama in season 1, but by season 4, both shows felt like they were just going through the motions and had lost the edge that made them interesting. Even with something as well-written as Game of Thrones, it’s still possible to have someone’s story be weaker than everyone else’s. Arya Stark for instance spent the first couple of seasons focused on learning to sword fighting, then once the Hound died, she went to Braavos, but it always kind of felt more like a detour than really what Arya’s story was supposed to be about. She was a little girl out for vengeance, she went to Braavos for a season or two, didn’t really learn much, and then she came back to Westeros and pretty much went right back to exactly who she was before going to Braavos. Now granted, I’m going by the TV show, but it always felt to me at least that Arya’s vacation in Braavos was just kind of George not knowing what to do with her as he built up to the big climactic battle. So if you’re going to use shifting POVs, it’s important to weigh the pros and the cons carefully.

[foxiswriting]

story outlining methods, pt. 1:

take off your pants!! (“take off your pants!: outline your books for faster, better writing” by libbie hawker)

this outline starts with a character — specifically their biggest flaw — and leads to five points that will make up the core of your story. it’s best for plots and subplots that focus on overcoming the flaw!

this outline doesn’t just have to be used for coming of age novels. it is just as important in your dystopian, fantasy, or thriller novels that the main character learns something or has changed by the end.

STEP ONE: think about your character

your main character — what is their name, and what are their important features?

what are your character’s flaws? what about their FATAL flaw? ex: hubris, overconfidence, stubbornness, etc.

STEP TWO: think about the end of the story

the story (whether the main plot, a subplot, or a facet of the main plot) is the journey lead to overcome the flaw. now that you know the character’s flaw, you know what lesson they need to learn.

the end of the story = the flaw mastered, the lesson learned.

STEP THREE: think about the external goal

the external goal is the plot, the outer motivation to push the character to the end of the story where the goal is mastered. if you remember my post on quests, you know that a quest has two reasons to be there: the external factor (shrek saving fiona for his swamp), and the real reason (the lesson learned)

the external goal should provide a chance for the character to recognize their flaw and begin to change. how does your plot tie into their character development?

STEP FOUR: think about the antagonist

thinking about the external goal should reveal who the antagonist is. the antagonist should want to achieve the same goal or a goal that impedes with the protagonist’s goal. the antagonist should be the biggest obstacle to the character.

STEP FIVE: think about the ally/allies

the character(s) that is capable of forcing the protagonist down the correct path. where your protagonist most likely will resist changing and confronting their flaw, the ally will help force them to do so anyway.

STEP SIX: think about the theme

so what’s the point of your book? if you are struggling to boil it down to one sentence, you might want to think about it a little longer. this is what keeps the story feeling coherent. what are you trying to tell us?

STEP SEVEN: think about the plot

each main plot element should somehow relate to the core of the book, aka the character’s development in overcoming their flaw

OPENING SCENE - set the stage. address the flaw or the theme

INCITING EVENT - what forces the character out of their everyday life and into the story?

REALIZING EXTERNAL GOAL - what makes the character begin seeking their goal?

DISPLAY OF FLAW - if the character’s flaw hasn’t been made blatantly clear, now is the time. make it known to the reader.

DRIVE FOR GOAL - what is your character’s first attempt to reach their goal?

ANTAGONIST REVEAL - how do you first show your antagonist’s opposition to your character?

FIRST THWART - what happens to your character that keeps them from reaching their goal?

REVISIT FLAW - show the character’s flaw again, even if they themselves aren’t aware of it yet.

ANTAGONIST ATTACKS - what does the antagonist do that makes things worse?

SECOND THWART - where your character fails most likely due to the attack

CHANGED GOAL - the character finds a new goal or focuses on the external goal in a different way

ALLY ATTACKS - what does the ally do to force the character to see the flaw?

AWAKENING - the character knows what they must do to reach the external goal. how will you show that the character has also awakened to their flaw? how will you show them changing?

BATTLE - the final showdown with the antagonist!

DEATH - the character’s flaw dies here. how will you show that the character truly is different now?

OUTCOME - show whether the character won or lost the external goal, reveal the theme of the story.

naturally, you don’t have to follow that outline exactly, but it can be a good place to start ;)

[sincerelyforyouu]

Beta Wanted!

Right guys, so, not sure if this is going to work, I haven’t used tumblr in forever :(

So I am currently writing a Larry fanfic and I would love for someone to kind of help me out and be my beta, it would mean the world to me as I am super stuck with it but I really want to see it through! 

So, yeah, if you’d like to help, just let me know! 

[jalboyhenthusiast]

+

[sincerelyforyouu]

Mum and dad

[cuddlerlouis]

Doncaster signing - 03/02

[runningmon-deactivated20150604]

one direction is the weirdest fucking band what have i done

[sincerelyforyouu]

[larryficslibrary]

Doctor/Nurse/Paramedic (Harry)

Please read tags for triggers.

1k - 5k

All I Need for Perfection is You by tomlinsuckthis (1k) (Mpreg)

don’t you see the starlight? (don’t you dream impossible things?) by eyesonfire (1k)

Fight Me by Noventia (1k) (Nurse Harry)

Check up on it, Imma let you work up on it by bravepayne (2k)

Green Jello by Nutella_enthusiast (2k) (Nurse Harry)

Love Amongst the Bubbles by phdmama  (2k)

Play doctor with me by starscries (2k) ( Series )

We Were in Screaming Color by fireproof_harry (2k)

I guess you were my destination by DiAnna44 (3k) (Paramedic Harry)

i just wanna make you smile by nouiszouis (3k)

i’ll just wait by lpalms15 (3k) (Nurse Harry)

I Need A Miracle by awholenewlevelofcharming (3k)

This Can’t Be Over Now by awholenewlevelofcharming (3k)

Doctor’s Orders by larrymylove (4k)

I Can Love You Much Better (You Know Some Day I’m Gonna Make You Mine) by patdkitten  (4k) (Kidfic)

It Was Worth It by leedsharry (4k)

Purple and Blue by SunshineH (4k) (TW : Major Character Death, Major Character Injury, Accident, Sad ending)

That’s All That Matters by awholenewlevelofcharming (4k)

Twist of Fate by phdmama (4k)

A Good Impression by nothing_but (5k)

5k - 10k

And all I feel in my stomach is butterflies by insufferablelovebirds (5k) ( Series ) (Nurse Harry)

Forever and Always by BraveryForever (5k) (TW : Major Character Death)

all kings is mostly rapscallions, as fur as I can make out by etamine (6k)

Shot of Pure Gold by gezurak (6k)

your heart is a slow train coming by radiatesunlight (6k)

Safe and Sound by alovelikelarrys (7k) (Nurse Harry)

In the beginning a flame by Mimilou96 (8k)

Magic in your smile (keep me close) by lastandleast (9k)

10k - 15k

A Long Way From the Playground by nightwideopen (10k) (Kidfic)

decorated emergency by harrapunzel (10k) (TW : PTSD, Medical Trauma) (Nurse Harry)  ( Series )

For Better and For Worse by phdmama (12k) (TW : Accident)

i don’t want to close my eyes (i don’t want to miss a thing) by hilourry (13k) (Mpreg)

Hold My Heart by Awriterwrites, phdmama (14k)

15k - 20k

In A World Full Of Wrong (You’re The Thing That’s Right) by LiveLaughLoveLarry (15k) (TW : Violence, Past Character Death)

Baby, You Saved Me by lovely_louis (16k) (TW : Accident, Minor Character Death) (Mpreg)

Summer Loving Happened So Fast by kikikryslee (16k)

The Knight of London Is A Huge Jackass (And Harry’s Boyfriend) by mybrotherharry  (17k) (TW : Medical Trauma)

The Skeleton Key by photo41 (18k) (Nurse Harry) (TW : Major Character Death, Graphic Descriptions of Violence, Mention of Suicide, Supernatural)

20k - 30k

Best fake smile by Justanotherlarry  (22k)

Cool for Cats by rockinaintnowalkinthepark (23k)

30k - 40k

here comes the sun by tomorrows  (30k)

You and Me, We’re in this Together by themitamlads (32k) (Major Character Injury)

I See You by loving1dwp (37k)

40k - 50k

Fire For A Heart by anhcor, tvshows_addict (43k) (TW : Major Character Death, Real death experience, Panic attack, Homophobic language)

50k - 100k

Forever Home by thedeathchamber (51k) (Nurse Harry) (TW : Implied/Referenced Child Abuse, Mental Health Issues)

The Hospital Hazza Tale by Stylinsontimes (90k)

Both H & L

Love Amongst the Bubbles by phdmama (2k)

Something Great by HiLovelyComeIn (3k)

your heart is a slow train coming by radiatesunlight (6k)

Safe and Sound by alovelikelarrys (7k)

decorated emergency by harrapunzel (10k) (TW : PTSD, Medical Trauma) ( Series )

Best fake smile by Justanotherlarry  (22k)

here comes the sun by tomorrows  (30k)

The Hospital Hazza Tale by Stylinsontimes (90k)

[pizzacast]

I need new people to follow.

Reblog if you like

Supernatural

Marvel (no tony, steve or Wanda haters)

Stucky

DC

Doctor who

Sherlock

Riverdale (no Archie haters)

Better call saul

Breaking bad

Hannibal

Hannigram

The walking dead (no Daryl haters)

Rickyl

Marvel Netflix

One direction

5sos

The 1975

Larry

[louisismuqueen-deactivated20230]

ohhhhh, whyyyyyy

[sincerelyforyouu]

Nice day, nice place. ☀️

[sincerelyforyouu]

🍃🌾