Sometimes what the king says goes because he’s the king but that power only goes so far as people are willing to listen to him. If he’s kind of a weak little idiot he’s probably not fully running the show.
If you’re writing an absolute monarch, why do people listen to them? Do people listen to them at all? It’s quite common historically for people to go “no I’m not listening to you” and put a different guy in charge or for someone in the court to actually be running the show.
Okay, just had a shitshow of a competition. The deadline of the book is tonight, so ill probably post the most decent poem as a celebration(read: participation prize )for myself. Ill also get to the writing asks from months back, sorry to thhose who sent me stuf
I know it for a fact because the vaccine for the sleeping sickness came out when I was ten, and she cried. When she was a kid, parents would have Sleep Overs whenever someone caught it, in the hopes of spread it around - children were statistically more likely to be woken up by "True Love's Kiss" from a parent or family member, after all, whereas if you caught it when you were older, things got more complicated and if you were old, you might be the last one in your family left.
(There’s more to it than that, I know, I've tried reading the papers, but I barely passed biocurse with a C+, and don't even get me started on organic curses. Those two classes were enough to kill any hope I had of becoming a fairy godperson.)
So, when the vaccine against the sleeping sickness came out, my stepmother cried, and my father got me on the list right away; I wasn't high priority, after all; I was young, there wasn't an active outbreak in my school district, and I was otherwise healthy. But they put me on the backup list anyway, so if there was one, just one available, I could get it.
When the fairy godperson's office called, my dad was at work, but my stepmother bundled me up and drove there so fast I thought we were going to be pulled over. (Later, I found out that she'd gotten an automated ticket from one of the red light cameras, a fact that she hid from both me and my dad.) They called my dad, of course, and he left work, but he also gave the okay for my stepmother to be my medical proxy in case he was delayed.
Vaccines don't last forever, and it was decided that I would be given it without him there. At 100 minutes, my stepmother would try kissing my forehead, and if it didn't work, the office would set me up for the 100 hours it would take before my dad could try.
Magic can't be ignored, but it can be tricked.
It didn't matter. At 100 minutes post-vaccine, my stepmother kissed my forehead and I woke up.
So. I know she loves me.
My mom would have been there, if she could, but she died when I was five. She'd gotten Rapunzelean cancer in high school, but she'd beaten it! She was one of the successes!
...Until it came back.
I don't remember much about her, but I remember that she loved me. Even as the golden tumors grew from her bare scalp and sucked the life out of her, she would sing to me, and she wrote me a series of letters for me as I grew up, just in case.
My stepmother took me to her grave sometimes. My dad does too, but it's nice that my stepmother is willing, you know? I had a breakdown one year when I couldn't find my mom's favorite flowers to take to her burial site, and my stepmom drove me all over town until we found one store that had them in the right color. (My dad was at the fairy godperson's office to get some pre-wards before we went to the cemetery. I found out later that his father had caught a curse shortly after my grandmother passed away, specifically geriatric onset donkeyskin, and my father was paranoid of following in his footsteps.)
My dad and my stepmom shuffled their shifts, so that one of them was with me in the morning before school, and one of them was there after, and then both were home for dinner. When I told them I wanted to study to be a fairy godperson, they took me seriously, even though I had wanted to be a pilot and a vet, and and a lawyer and and and - they always supported me, and soon I was being gifted books on the history of magicomedicine and cursebreaking. Some of them gave me nightmares - siren's disease freaked me out for a long time; something about the tongue swelling so much you would suffocate, and the agonizing images of ancient "cures" where the victim had to get their tongue cut out so they could breathe. I don't even know why! There were much worse ones! But something about that was so visceral to me. For the next month, any time my feet hurt even a little was convinced I was coming down with siren's disease.
I worried my parent's so much that they took me to Fairy Elena, my PCFP, and asked if she would be willing to go over how siren's is treated now. She gave me a quick rundown on intubation, pain medication, and told me about Prince's Blood Donations.
It was the first time I learned that magic can be tricked; according to legend, siren's disease could be cured by killing someone's true love and smearing their blood over the patient's legs. At least, that was one line of thought; another line of thought argued that it had to be the blood of royalty. Some fairy godpersons and magicoresearchers got together in the '80s and decided to research it methodically, going through every known case of siren's disease & what worked and what didn't. It turned out royalty was the key, but then it became a question of ethics. I didn't care too much at the time, that was all boring, grown-up stuff, but finally one researcher decided to just make a blood bank company, call it Prince's and see if that worked.
And it did.
Magic can be tricked, and my mind was blown.
I also asked my dad if we could put that book away for a little, because it was too scary. He agreed, and we put it on the top shelf, where all the scary books went. I reread it recently, and honestly? I don't remember what I was so afraid of.
Things started changing when I turned 16.
For one, my hair, which had always been brown, started darkening to black. For another, I stopped being able to tan. It was like a light switch went off; magic was determined to turn me into something, and I hated it. My PCFP really went to bat for me, getting insurance to cover the cost of cosmetic glamours and professional tanning sprays. She wanted me to tell my parents, but I didn't want to, not yet, and she was bound by her oath to protect my privacy.
She was right. But... I wanted to ignore it. I wanted to pretend everything was fine.
I didn't want to lose another mom.
And it worked for a while; managed to get to my senior year of high school before the world broke.
Stepmothers don't have the best reputation.
It fucking sucks, and it's not fair, but enough stories have been told about them that magic took an interest, and began manifesting curses that warp stepmothers until they follow the story.
We thought we were safe. My stepmother didn't bring any children into the marriage, so she was safe from the ash-girl curse variant, and I was a tanned brunette, so we were safe from the snow-daughter variant.
And she loved me.
She hid it too, I think. Not intentionally, but some of the symptoms are paranoia and anxiety.
I've done a lot of research. I don't think I'll ever be able to be a fairy godperson, but that doesn't mean I had to stop caring. I swapped my focus to researching curses from the history and literature side of things. I still work with researchers, we just come from different angles now.
Anyway, no one realized anything was wrong until she was french braiding my hair and the next thing I knew, she had locked herself in the bathroom sobbing while EMTs took me to the hospital for overnight observation. I don't actually know what happened. She turned herself over to the cops as soon I was loaded onto the ambulance, and she was taken to a hospital herself. She was sedated at first, as she was so wound up that she was hurting herself, and the hospital couldn't scan her for curses. Once she came out of sedation, she immediately called my dad and offered a divorce, he could take everything, she would leave immediately.
But we'd gotten the results of the scans, and I was fine. As best that the fairy godperson's could tell, the magic was frustrated that we didn't want to go down the snow-daughter route, and had lashed out in an attempt to force it. That was apparently what knocked me unconscious; magic poisoned the comb my stepmother was using in my hair.
That didn't mean she didn't feel guilty - but so did I. If I had told them earlier, would things have changed? If I hadn't tried to hide the signs that magic was fucking with us?
They don't blame me, and I don't blame her.
She loves me. I know she does. We still talk, as best as we can. She can only hear my voice for ten minutes before the curse starts taking over. We can email, though, as long as the orderlies can prescreen the email for any curse triggers. She also can't hear about me directly, but my dad will go and visit her, and tell me how she's doing. He refused to divorce her. His insurance still covers her hospital stay. He says he's married, and wears his ring.
When I applied to college, I wrote about all three of my parents, and how much they had all taught me.
How much they all loved me.
Someday, my stepmother will get her curse lifted, I have to believe that. I've joined a multidisciplinary group of researchers based in the EU. Some of us are looking at ways to trick magic, some of us are looking at ways to rewrite the stories of the wicked stepmothers, and create a new path for the magic to follow. One group of researchers is looking into ways of simulating the punishments that stepmothers receive at the end of tales to see if "punishing" stepmothers would break the curse. Actually going through the punishments would cause any ethical review board to remove someone's license, and there's no way I would want my stepmom to dance in red hot metal shoes.
But lately she's been getting hot stone foot massages before I call her; that's how we got to ten minutes before the curse took hold, and next week we're going to see if holding her feet in a hot bath lets us video call. Maybe someday we'll be able to see each other in person again. Maybe I'll be able to take her home where dad and I can cook dinner for her, and we can be a family again. My family has an apple pie recipe, and we never made it - I understand why, now, but maybe someday we can laugh at this and all make it together. To make your own apple pie, you'll need...
writing advice for characters with a missing eye: dear God does losing an eyes function fuck up your neck. Ever since mine crapped out I've been slowly and unconsciously shifting towards holding my head at an angle to put the good eye closer to the center. and human necks. are not meant to accommodate that sorta thing.
other things I'm bitching about but which could still be useful as writing advice for 1 eyed characters:
2. they're going to favor their sighted side, obviously, but it doesn't always manifest in the way you think. when I walk down a hall I walk much closer to the wall on my sighted side than on my blind side. which is the opposite of how it might seem logical to do that bc it means the world at large is on your bad side, but the reason is I can't fucking See the wall if it's right next to me in the blind side and I end up knocking into it.
3. door frames and poles are my enemy. If your character is smart this will not be a problem but for me it is. I am King of walking into shit I could absolutely see but couldn't tell how far away from me it was. on this note, their blind side hand is getting bashed into every jutting out thing in a 5 mile radius.
4. having 0 depth perception is less of a big deal than you'd think it is. Especially with driving. I've become a Much safer and more wary driver because I can't tell how far the other cars are from me. however I fucking suck at parking now. because I can't tell how far the lines are from me either.
5. you know how people who lose limbs get phantom pains? that happens with eyes too but like. phantom sights. for me it's like. a lot of bugs. like every so often my brain will just put something suddenly skittering beside me there. hate that.
6. it is completely possible to "get stuck" somewhere because your ability to tell how wide a space is is just Gone. shopping isles especially where bumping something or Someone is matter of embarrassment or potentially breaking something. it can be legitimately paralyzing and also irritate everyone around you because they can tell there is Plenty of space for you to get your cart through even if you can't.
7. if the eye is still in their skull it can still be the normal kind of painful. Glares off of shiny surfaces causing weird sharp pains you can't figure out the cause of are genuinely one of gods greatest tests of my patience.
I just discovered foodtimeline.org, which is exactly what it sounds like: centuries worth of information about FOOD. If you are writing something historical and you want a starting point for figuring out what people should be eating, this might be a good place?
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)
(Edit from the future: I answered an ask with more explanation on how I use Notion for non-linear writing here.)
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!)
I think I am among many who feel like they should love cozy fantasy and have found it an incredibly lacking genre.
This newly branded "cozy fantasy" genre that has taken readers by storm since 2020 and while it is new that books are now marketed as cozy, the genre itself isn't new. Howl's Moving Castle by Diana Wynne Jones is a great example of the genre before it was labeled and also how to make it work.
Cozy fantasy is defined by many as fantasy with low stakes. Fantasy aesthetic but less sword fights. On paper, it sounds great. But the execution has been less than stellar for readers like me. The lack of physical stakes has also impacted the emotional stakes of these books, creating forgettable characters with boring problems. As a romance reader, I find this frustrating. Romance is known for being a predictable and formulaic genre, the now defunct Romance Writers of America defined romances as needing happy endings, a term romances have continued to follow. Yet these romance texts manage to have low physical stakes (how to date your neighbor, how to confront your toxic friends, etc) while still maintaining high personal stakes that keep readers invested and begging for more. So I was initially confused why cozy fantasy authors struggle to write texts that connect to readers like me.
I think I have found the answer which is the genre is just here for vibes. It is all about aesthetic, not even worldbuilding that fantasy is known for as most cozy fantasy I read have so many problems as soon as you ask one question. It is hard to acknowledge that a genre that is pitched to work for readers like me doesn't work for many of us. Especially because occasionally there is one that works beautifully to my taste.
I often say my favorite cozy fantasies that are more contemporary are short and visual, which I plays into the idea of the genre being an aesthetic. The Bakery Dragon by Devin Elle Kurtz is a good example because it is a simple story that is given the perfect amount of pages and gorgeous visuals without dragging on when the message is very clear and easy to understand. Books like The Phoenix Keeper and Legends and Lattes have absolutely nothing for me, their very clear message hitting the reader over and over so the readers don't miss it and focusing on the aesthetic of worldbuilding rather than the reality of the fantastic elements within the world.
I guess my point is. . . I realize this genre isn't for me since I have realized it is more of an aesthetic than anything. .. .but I want it to be. Should I let it go and put my efforts elsewhere? Or should I keep exploring this new trend and find the hidden gems?
So many cozy fantasies seem to do no work to make you like the characters. They feel like the epilogue to another story, or like fanfic in the sense that you're expected to already care about these people, but they're skipping the leg work to get you there.
Legends and lattes worked for me mostly because I had fun with the exploration of how a fantasy setting would reinvent a coffee shop. It also felt a bit like a videogame, delimiting tasks and creating new, small problems each time one goal was reached. Which is to say, it appealed to the part of my brain that likes puzzles, but failed to reach me with its characters. I don't remember a single thing about the love interest aside what she looks like on the cover lol
Stories with high stakes immediately make you see what your character cares about: justice for murdered parents, saving their home from the armies of evil, and so on. In low stakes fantasies, you're handed a character whose values are just the bland goodness people pretty much universally strive for. It makes them both forgettable and unremarkable. And a story that has no plot and very little worldbuilding cannot afford to have weak protagonists on top of it.
Which honestly might bring me back to my main theory of what makes a story good: it's a balancing act of Plot, Worldbuilding, Characters, and usually the stronger a book is in one of these aspects, the more likely I am to overlook flaws in the others. But by definition, cozy fantasy starts off with only two of these, so it makes it all the more important and unforgivable when an aspect is weak. Its like trying to build a stool with two legs.
Hello, professional author here, I have a *slight* tweak of a suggestion to offer, or an alternate take from a slightly different perspective. First, I 100% agree with the meat of what you're both saying here, and I absolutely share your frustrations with the genre of cozy fantasy as a whole -- so many of them have something going wrong with the engine of the story. The car won't start. You turn the ignition and all you get out of it is a weak grumbling. So what's happening here from a mechanical perspective?
We're talking about cozy fantasy being "low stakes", and that's certainly how it bills itself. But low stakes are not the source of the problem -- there are plenty of stories/movies/tv shows with very low stakes that we still enjoy watching! Great British Bake Off, for example. The stakes are only "Will the cake come out right" and "how will the judges react". Right? Those are low stakes! The world is not ending, society is not in danger of crumbling to pieces, there is no great battle between Good and Evil for the fate of all humanity. But we watch GBBO and we're ENRAPTURED. We're INVESTED. Why?
Not because of the stakes, but because of the tension.
wait hang on i need to say this in the loud font because it's crucially important
IT'S BECAUSE OF THE TENSION
Both readers and apprentice writers often confuse "stakes" and "tension" because, frankly, increasing the stakes is often a cheap and easy way to increase the tension. Here's the difference, just to make sure we're all on the same page: Stakes are an external, objective thing -- "will the cake come out right, how will the judges react" -- but tension is internal. It is the pull between two things: On one hand, how much this contestant wants to win, how hard they've been trying, how emotional they're getting about a mishap, and our knowledge from an earlier episode about how their mum always believed in them and how they've struggled to believe in themself but since making it onto GBBO they've been thinking that maybe... maybe they can believe in themself.
And what's pulling from the other side is: How their nervousness and lack of confidence is causing them to make mistakes; how we as the audience don't know whether this challenging thing they're trying is going to turn out well; how they're ever going to recover from a cataclysm like forgetting to turn the oven on; whether they could do their absolute best and try so so so SO HARD and it might not make any difference because the other contestants also were all trying their hardest.
Man, I don't know about you, but even just as I was writing that out, my heart was in my throat and I was getting a little choked up.
THAT'S tension. And that's what a lot of cozy fantasy is lacking, because they say "low stakes" and they think that stakes and tension are the same thing, and so they forget that YOU STILL HAVE TO MAKE YOUR CHARACTERS CARE PASSIONATELY IF YOU WANT THE READER TO HAVE ANYTHING THAT THEY CARE ABOUT. As readers, we care when the character has something that really, really, REALLY matters to them. We literally cannot help it -- look up "mirror neurons" if you want the neuroscience explanation for why we literally cannot help it.
High stakes is a cheap cheat code to tension because something like "We have to save the world to keep the Dark Lord from invading the kingdom and slaughtering everyone" is sort of self-explanatory about why it matters. Ah, yes, We Don't Want To Be Slaughtered. Got it. No explanation necessary. You can get away with not really showing whether it matters to the character, because the audience just naturally ASSUMES that it's a Good and Important thing to be doing.
You can't get away with cutting corners like that if you're doing low stakes. Here, look:
High stakes & high tension = Think Mad Max: Fury Road. It is a LOT and you can't look away but you might feel sort of exhausted afterwards and need a nap.
High stakes & low tension = Many Marvel films. Sure ok yeah we're saving the world, that's fun, whatever. Probably saving the world is a good thing to do so that's fine
Low stakes & high tension = GBBO as previously mentioned. Also pretty much any sport (sorry, sports fans, but "will they win the big game" is not high stakes, it just SEEMS like high stakes because of ow much you care about it -- which is TENSION!!!) You will be on the edge of your seat, you will be crying about how amazingly well that border collie/papillon mix did in the agility course.
Low stakes & low tension: Legends & Lattes. Probably if Plan A doesn't work out, the character could just wander off and try Plan B and it wouldn't be that personally upsetting.
So that's my two cents on where a lot of cozy fantasy is going wrong. And like, I can kind of see where my colleagues are coming from and why books like this keep being produced these days??? Like the pandemic really fucked up everybody, and so many of us are incredibly burned out and running on fumes... And so sometimes it feels impossibly challenging to write any book except one where nothing bad happens and nothing is in danger and nobody is really bothered or worried about anything and everything is mostly fine and there aren't any major setbacks.....
But that leaves readers cold. And frankly, I don't feel like it does much of anything to nourish either our souls or theirs. It feels like eating a bag of potato chips for dinner instead of going to the effort of even just heating up a frozen dinner that has a vegetable in it.
idk, man. I've taught university classes about this shit, but what do I know. Maybe I'm talking out of my ass. (Also, if you would like an example of cozy fantasy where it really fucking matters to the person going through it, may I humbly suggest Yield Under Great Persuasion? I wrote it partially as an illustration of how there's a difference between Stakes and Tension. :D)
So... I found this and now it keeps coming to mind. You hear about "life-changing writing advice" all the time and usually its really not—but honestly this is it man.
I love the lawyer metaphor, because whenever I see “John knew that...” in prose writing I immediately think “how? How does he know it?” Interrogate your witnesses. Cross-examine them. Make them explain their reasoning. It pays dividends.
First, let me preface this with something very important: you can treat all of this advice as SECOND-DRAFT ADVICE. It is so much easier to rewrite this kind of stuff once you have words on the page. Telling yourself the first draft is totally appropriate and acceptable.
What we’re talking about here are FILTER WORDS (and to some degree verbs of being). Yes, “thought” words are included. But so are “heard, saw, looked, tasted, smelled” etc.—most words having to do with the senses.
This isn’t black and white advice; sometimes you’ll use these words and that’s okay. They’re not WRONG. They’re just weaker. And they’re weaker because they create distance between the reader and the experience of the character.*
If you want your reader to feel like they’re experiencing the story right alongside the character, you want to cut down on filter words.
*This is particularly important with first person and close third POVs. The reader always knows whose eyes they’re seeing through and thoughts they’re privy to. So you don’t need to tell them “I saw X.” Or “I heard X.” Or “I thought Y.” You can just jump into the action/observation as it’s happening.
This is also where you want to pay attention to verbs of being.
“It was rainy.” Versus: “The rain pounded against the roof.” Or “The rain howled like an injured animal.” Or “The rain tapped against the window like an anxious lover.” All of these are inviting the reader deeper into the experience of the story by using stronger verbs and similes. And, at the same time, they stir feelings (instead of TELLING feelings). And feelings keep your reader engaged. Engaged readers keep turning pages; engaged readers become FANS.
I wish all my writers a happy new year. May all your stories finally be written, sentences be completed, emotions be evoked with beautifully crafted words, readers be moved to tears, the urge to create be satisfied.
Throwback thursday to when I was like 12 and I was putting out new writing DAILY...... Like entire Chapters of my then-current wips just, over an afternoon. What the fuck was I on
A huge part of this is because you've gotten better! And now, when you're drawing/writing/doing whatever creative task, you're not just mindlessly throwing thoughts at your paper, you're thinking as you do it. Children can churn out a lot more work because it's not yet refined, but when you're older and have more practice, you work with all these thoughts running through your head about form and shape, color palettes or word choice. Now, you're making a dozen decisions with every moment of work, and you're also questioning the decisions you've just made, wondering if you can do it better. Don't beat yourself up about producing less work now than you did back then, because every sentence or shape involves a lot more effort for you now, than it did when you were ten and brand new to this hobby.
I've been feeling insane about this for a good ten years because I remember that the books that I read as a kid all had stories where the protagonist was completely normal and they found an object or a book and learning to read the book or use the magical object was what made them into the cool hero, and then part way during my childhood suddenly all the new books had heroes that were the hero because they were born the hero, and they were just temporarily uncool because they didn't know that they were born special.
And I know that these things are trends that come and go, but I'm 30 years old now and the "you can only be born special, you can't work to achieve great things" narrative just WILL. NOT. DIE. as a trend in YA lit.
Can we PLEASE go back to "find a weird book in the library and accidentally become an all powerful wizard because you can read aloud" being the dominant narrative of youth fiction?
The Taste of the World: Writing Food as Storytelling
Food is never just food. It’s culture, history, survival, and, perhaps most importantly, a language that characters and worlds use to speak when words fail. The way food is grown, prepared, and consumed reveals the structure of a society—its priorities, its fears, and its memory. And in storytelling, the smallest detail about what’s eaten or how it’s shared can carry a world’s worth of meaning.
When used well, food becomes a subtle but powerful tool. It can reflect emotional tension without anyone saying a word, or quietly thread deeper themes through the narrative. It doesn’t have to overwhelm your story with excess description; it works best when it’s an organic part of the world, shaped by the same forces that drive everything else.
Let’s break down how to think about food as more than a detail, crafting it as an integral part of the characters, the setting, and the stakes.
Why Food is Fundamental to Worldbuilding
Culture and Identity
Food defines a culture as much as its language or traditions. The ingredients people rely on are determined by the land they inhabit, the technology they have access to, and the values they hold. It’s not just about what is eaten, but how—and why.
Think About:
What ingredients are unique to this region, and how did they come to rely on them?
How is food served—shared communally or divided by status?
Are there specific rituals tied to preparing or consuming meals?
These questions help frame food not as a decorative detail, but as a way to demonstrate how a culture lives and interacts with its environment.
Food as Survival
Food exists on a spectrum from abundance to scarcity, and its availability often tells the story of who holds power and who doesn’t. This doesn’t need to be stated outright—simple contrasts in what’s on the table (or missing from it) can highlight social divides or tensions.
Consider:
What foods are considered everyday staples, and what are reserved for moments of celebration or mourning?
How do people preserve food in harsh climates or through difficult seasons?
What compromises are made when survival is at stake?
Survival shapes cuisine, and cuisine, in turn, shapes the people. Food that may seem unremarkable to outsiders can carry in-depth meaning for those who rely on it to live.
Food as Memory
Meals are tied to memory in ways that few other experiences can match. They evoke places, people, and moments that might otherwise be forgotten. For characters, food can serve as a reminder of what was lost or what still needs to be protected.
Ask Yourself:
What does this food remind your characters of?
How does this memory shape their present choices?
What foods do they miss, and why can’t they have them anymore?
The emotional weight of food often lies in its connection to something larger—home, family, or an ideal that has slipped unreachable.
Integrating Food Into Your Narrative
The Subtle Art of Symbolism
Food works best as a storytelling element when it doesn’t announce itself. It’s not about drawing attention to the dish for its own sake but letting it naturally reinforce the scene or the character’s state of mind.
Example in Practice: A meal served quickly, with little conversation, could underscore a sense of unease or urgency. Meanwhile, the deliberate preparation of a dish might reflect care, control, or tradition.
It’s less about describing what’s on the plate and more about how the act of eating—or not eating—interacts with the story.
Building Tension Through Meals
Sharing food is inherently social, and like any social act, it can carry undercurrents of conflict or connection. Meals can be settings for negotiation, subtle power plays, or suppressed resentments. What’s not said during a meal can matter more than what’s served.
Think About:
Who prepares the food, and what does that say about their role or status?
What’s the mood at the table? Is the act of eating itself a kind of performance?
Are there unspoken rules about who eats first, how much they take, or what they avoid?
Food as tension is about the surrounding interaction, not the food itself.
Grounding the World in Small Details
Food is a powerful tool for grounding your world in a sense of place. By focusing on how ingredients are sourced, prepared, or consumed, you create an ecosystem that feels real without needing an info dump. A brief reference to a seasonal delicacy or the preparation of a daily staple can communicate volumes about the setting.
Use Sparingly: The best world building happens in glimpses. A short mention of pickling methods during a harsh winter or the fragrance of a common herb can paint a vivid picture without dragging the narrative down.
Applying Food to Character Development
What Food Says About Relationships
Meals are a social construct as much as they are a necessity. Who characters eat with, what they share, and how they interact during a meal reveal their connections—or lack thereof.
Consider:
Do your characters share food equally, or does one person dominate the meal?
Is a meal an act of kindness, a manipulation, or an obligation?
How does the way they eat reflect their personality?
Preferences, Habits, and Rituals
The foods a character gravitates toward can say as much about them as how they speak or dress. Perhaps a soldier instinctively chooses ration-style meals even in peacetime, or a merchant avoids exotic imports as a quiet protest against their origins.
Ask Yourself:
Does your character have a ritual or habit when it comes to food?
How do they react to unfamiliar dishes?
What’s their relationship with food—joy, necessity, or something else?
The Absence of Food
Every so often, what’s missing can be more telling than what’s present. A lack of food could signify poverty, oppression, or desperation. Even in abundance, what isn’t served can carry weight—certain foods might be taboo, seasonal, or too painful to prepare because of their associations.
The absence of food doesn’t need to be highlighted directly. Instead, its weight can be felt through the absence of conversation, the careful rationing of resources, or the visible strain it places on characters.
Final Thoughts: Food as a Storytelling Tool
Food is one of the most powerful yet understated tools in your storytelling arsenal. It connects your world to its people and its people to each other, revealing layers of culture, memory, and emotion without needing to over-explain.
When used thoughtfully, food doesn’t just flavor your story—it deepens it, grounding your world in something tangible and human. Instead of asking, What do my characters eat? ask, Why does it matter? Because when food becomes more than sustenance, it transforms into something far greater—a story in itself.
Just a short pet peeve of mine, inspired by a shower thought, where I remembered the most terrifying description I'd ever read.
It wasn't bad, or even horror. It was well written.
However. The POV character described his *sister* in a way akin to this (my recreation, not the actual text):
Braden met his sister at the gate. They'd been apart for several years, and in that time, she had truly become a woman. Her curves had filled out, and her red silk dressed strained across her tight figure. Her long black curly hair shone in the late evening light, while her blue eyes watched him intently.
No, this wasn't a brocon thing. The (male) writer was just horny for his female character and ... kinda forgot that his MC, her brother, would not feel the same way.
Now, of course siblings growing up together are going to notice the other one maturing, but it's not going to be ... that. This is how I describe 17-year-old Uileac looking at his little sister, 13-year-old Cerie, in 9 Years Yearning:
She'd shot up in height this past year - almost as tall as him, to his dismay. Whatever they were feeding her in the meronym was quite good for her metabolism, as she'd put on a bit of healthy weight. Her cheeks were losing their baby roundness, and the autumnal light accentuated the sharp intelligence behind her green eyes.
In this description, you can feel Uileac's paternal attitude toward his little sister. "Oh, she's put on a bit of weight and isn't a total twig anymore! I'm glad they're feeding her well. Her face looks more adult. Fuck, she's almost as tall as me now ... I wish I weren't so goddamn short ...."
This is a much more normal way for siblings to talk about each other, if a bit more "dad mode" than the typical older brother.
Siblings who grew up together are not going to say "holy shit I can really tell my sister has become a woman, wow her dress is tight over her curves." If my brother had said that about me while we were kids, I'd throw up and dump a pot of soup over his head.
This kind of thing is generally accidental and has to do with how *you* feel about a character. But the thing is that even the sexiest femme fatale is just going to be Jennifer, The Stupid Annoying Sister, to their sibling. Our brains are literally wired not to see our siblings as sexy if we grew up with them.
There are many other ways that you must take perspective into consideration when writing descriptions. Here are just a few of them.
Sexual attraction/orientation
You're going to focus on different things if you're sexually attracted to someone; namely, you'll focus in on things like breasts, legs, abs, etc. You'll also likely devote more attention to describing people of your particular sexual orientation than you would one that you are not attracted to, and you will focus on different things.
This is part of why we hate "men writing women:" they describe every woman as if they want to fuck them. (See the first example.) It has to do with the places that their gazes naturally linger on any woman, which is what they consider important and what they focus on.
But the thing that they miss is that just because we are sexually attracted to a specific gender does not mean we would want to bang anyone of that gender. I am a lesbian, but the way I would describe my mom or my therapist is vastly different than how I would describe a woman I am actually attracted to.
Romantic interests should get a more sexualized gaze; not exploitative, just more in-depth, and with more focus on their figure, specific details, etc. Everyone else should get a more basic look at eyes, hair color, height, build, and so on.
Feelings about a particular person
You're going to be more forgiving and complimentary toward someone you care about than someone you hate. Things that would be charming on a friend will be downright annoying on that one asshole at work who always throws projects to you at 5pm on a Friday.
A lover's thick eyebrows might be called "dashing" or "strong," while on an enemy, they'd be "overbearing" and "harsh." Your bestie's lisp is cute, while it seems babyish on your school rival. Your dad's meandering sentences give him a sense of harmless musing, but they make someone else look like an idiot.
If you have a character that is prejudiced toward a given group, they are always going to describe that group more harshly than they would a favored group. If they don't like authority figures, a police officer leaning toward them will seem menacing, when they wouldn't even notice it otherwise.
It can be very fun to give two characters similar traits but describe them differently based on the POV character's perspective of them. Readers might not even realize that it's the exact same physical feature!
Previous experiences at a given place
When describing settings, we're going to give more attention to somewhere we care about, like our home. I imagine you can tell me about every chip in the paint in your bedroom, or that one weird stain in the floorboard that you've tried everything to fix. Many times, this is a good time to add depth to the character's backstory by briefly mentioning previous occurrences there.
Would you notice any of those things about a place you're visiting for the first time? Probably not. You'll give a more global attention to the scene and provide impressions, not specifics.
Depending on how nervous or adventurous you are, you'll look for similarities or differences to things that you're accustomed to. You might compare it to other places you have been, trying to get a frame of reference.
If you're on a vacation and were really looking forward to coming to this specific spot, you will likely hone in on exactly what you came to see, whether that's the scene from a particular hilltop or a cafe, and this will get the most description.
Current Mood
Descriptions change with a character's mood, even if they've been in that place a millions times. People just notice different things depending on their mood; if they're happy, they'll look for things that support that mood, while if they're upset, they're pointing out the negatives.
For example, consider someone walking into a court room when they are on trial versus when they are there as a simple court reporter. The person on trial is probably going to be glancing longingly at the door, picking out the angry faces of observers (or assuming the observers are angry), focusing attention on the security guards, staring at the plaintiff with hate in their eyes.
The court reporter will likely pick out anyone they know in the room before looking at anything else. Then, they'll check out the defendant and plaintiff with idle curiosity. Since they are more familiar with the room, they'll gloss over the boring details that they have already seen a million times, giving them only a cursory once-over to see if anything has changed.
Current Need
Your character's objectives need to taken into consideration as well. As an example, remember the last time that you really needed to pee while you were out. Were you slowly and casually admiring the scenery? No! You were hunting for the bathroom. If literally anything registered for you, it was anything that looked vaguely bathroom-sign-shaped. Everything around that bathroom sign, and on your path toward the bathroom, got more attention and description to you than anything else.
Your character's interests
When describing a scene, you don't need to take time and define every single little thing in a character's path. It's annoying and overwhelming. You need to give us a basic overview (it's a forest, it's a grocery store, it's an abbatoir) and then hone in on the specific details that your character finds interesting in order to fill out the entire scene.
We, as people, focus on things we care about, things that we feel are relevant to us. Different people will notice completely different things when they walk into the same room. An animal trainer will appreciate a big pet bed and an ergonomic food bowl. An artist will admire the artwork on the walls. A computer nerd is going to roll their eyes at the scuffed-up Mac laptop.
This doesn't mean that you can't describe other things, too; it just means that your character's attention is going to be drawn to stuff that they, in particular, like or dislike.
Things like where a character's gaze lands, how they describe things, and how much detail they give to any particular element are an important part of secondary characterization: how we get to know a character beyond what they do or tell us. It helps to create a fuller picture of their relationships, their interests, and their thought process, and it deserves just as much attention as actions and dialogue.
If you enjoyed reading this, perhaps you'll consider purchasing my book, 9 Years Yearning. No weird sibling vibes I prommie
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