$LAYYYTER
todays bird
Sade Olutola

#extradirty
The Stonewall Inn

tannertan36
h
cherry valley forever
ojovivo

❣ Chile in a Photography ❣
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hello vonnie
d e v o n
PUT YOUR BEARD IN MY MOUTH
Mike Driver
I'd rather be in outer space 🛸

Jimmy Eat World
Cookie Run:Kingdom Official!
KIROKAZE
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@text-to-speech-impediment
If you want to “shock your audience” maybe you should just try writing a good story.
Preach
okay it’s soooo so easy to make me cry, but a definite surefire way to make me break tf down is quote that euripides quote that was like, it’s not hard work to take care of the one you love or something
this one
i’ve been doing my homework on how to break into a writing career and honestly. there’s a Lot that i didn’t know about thats critical to a writing career in this day and age, and on the one hand, its understandable because we’re experiencing a massive cultural shift, but on the other hand, writers who do not have formal training in school or don’t have the connections to learn more via social osmosis end up extremely out of loop and working at a disadvantage.
like, i didnt know about twitter pitch parties!! i didnt know about literary agents and publishers tweeting their manuscript wishlist, in hopes that some poor soul out there has written the book they really want to read and publish!! this isnt some shit you learn about in school! you really need to know the ins and outs of the writing community to be successful!
for anyone interested, here’s what i’ve learned so far in my quest for more writing knowledge:
1. Writer’s Market 2019 is a great place to start– it gives you a list of magazines and journals that you can send your work to depending on the genre as well as lists a shit ton of literary agents that specify what genres they represent, how you can get in contact with them and how they accept query letters. this is a book that updates every year and tbh i only bought it this year so i dont know how critical it is to have an updated version
2. do your research. mostly on literary agents because if you listed on your site that you like to represent fluffy YA novels and some asshole sends you a 80k manuscript about like…gritty viking culture, you will be severely pissed off. always go in finding someone who you know will actually like your work because they’re the ones who will try to advocate for you in getting published.
3. learn how to write a query letter. there are slightly varying formulas to how you can write an effective query letter. you’re also going to want to get feedback on your query letter because its the first thing the literary agent will read and based on how well you do it, it could be the difference between them rejecting you outright and giving your manuscript a quick read
4. unfortunately, you’re gonna want to get a twitter. Twitter is where a lot of literary agents are nowadays, and they host things like twitter pitch parties, where you pitch your manuscript in a few sentences and hashtag it with #Pitmad #Pitdark, some version of pit. a lot of literary agents and publishers will ALSO post their manuscript wishlists, which is just the kind of books they’d like to represent/publish, and they hashtag this with #MSWL (it is NOT for writers to use, only for agents/publishers)
5. connect with other writers, literary agents, publishers at book events. you will absolutely need the connections if you want to get ahead as a writer. thats just kind of the state of the world.
If you want to “shock your audience” maybe you should just try writing a good story.
Preach
I love when previously neutral third person omniscient narration just utterly rips into a character for no apparent reason.
Saw this on the Twitter and this bleeds true for so many goddamn fandoms!
a hard pill to swallow: if an audience can pick up on where the story is going, it’s a good story.
A kinda related note i hope you don’t mind me adding on: one of the most life-changing bits of story advice i ever received was actually in a class on “Revenge and Vengeance in the Ancient World,” if you can believe it. The professor was talking about how everyone in ancient Greece knew all the Greek myths back to front and told them over and over again - and someone asked why they would keep retelling the same stories if they already knew they ended.
She explained that basically it wasn’t the ending that was the most suspenseful or exciting part, but how you got there. This is why The Iliad spoils its own ending in the opening lines. This is why we have so many different retellings of Shakespeare, of Arthurian legends, of fairy tales.
There are no truly original stories or truly unpredictable endings. So, IMO, it’s better to focus on how you as a writer/filmmaker/artist/whatever can bring something new to the body of the story rather than trying to shock and mislead your audience.
“You are allowed to like no one, you know. The characters are not people. They are aspects of a dilemma or conflict.”
— Persephone the Wanderer, by Louise Gluck
Hey Laini, just wondering what you think about age gap romances, especially in fantasy and such. I'm planning on one in which the characters are 4 years apart in age (17 & 21), but it isn't coming off as pedophilic or anything like that-consent is involved. Plus, the whole age gap thing with ACOTAR and TOG is just not good.
I have a feeling that you’re a younger writer because four years is huge to me. I myself am 21 and I would never even consider dating a 17 year old. I’m in my last year of college and they would be just finishing high school and that’s just yuck. There’s too much of a difference in maturity and life experience.
Honestly, when one character is under 18, any gap of more that 1 year feels like too much. Even if explicit consent is given, there’s such a power imbalance been a 17 and 21 year old that unless there’s some really significant special circumstances, it will still feel manipulative in my opinion.
Without knowing more about the specific circumstances of your characters, I can’t really give a more concrete answer. But you should ask yourself a couple questions: Is there a reason why there needs to be a gap at all? Like what’s stopping you from making them 17 and 18? If the gap must remain, do they need to be romantically involved, or could the character have a different love interest who is closer to their age?
Age gaps are a weird thing in fiction. On the one hand, they do occur in real life, and are not always a bad thing.
For example, there is an 8 year gap between my husband and I. We met/started dating when I was 20 and he was 28, which, honestly, I was a young, dumb kid. But he was very respectful and let me set the pace for our relationship. (I spent months trying to hint that I wanted him to ask me out before I just gave up and asked him)
The older we get, the less the age difference matters. I know I didn’t think it mattered when we first started dating, but in hindsight I can see that our priorities weren’t the same. I was still going to school and didn’t fully know what I wanted to do with my life, he was already working in his field and settled. There was a world of difference in our experiences, which definitely coloured how we each envisioned the future.
Now, I 110% love my husband, and he is amazing, but sometimes I just have to stop and thank the universe that he wasn’t a scumbag because I sure as heck wouldn’t have realized it until it was too late. Which, anecdotally, is what happens 9 times out of 10.
And fiction has a really bad history of romanticizing unhealthy relationships. Not just in regards to age gaps, but we’re only going to focus on that for the moment.
When we can have immortal or semi-immortal characters that look like they’re in their 20s, a gap of 4 years between mortals doesn’t seem that big, y'know? But that doesn’t automatically make it okay.
Look at it this way. Instead of between a 17 and 21 yo, think about what if it were a 13 and 17 yo. That’s still a 4 year gap. But just like in the original pairing, there is a world of difference in life experience, maturity, and even physical development! Be honest, if you saw it in the real world, would you think it was okay?
For an age gap to work, either both characters need to be 25+ or you have to make it explicitly clear that it is a) a healthy relationship and b) why the context of the relationship is forgiving of the age gap.
Which can be hard to do. You need to sit down and ask yourself, do both characters (and especially the younger one) know enough about themselves to even know what they need out of life? Are they sure enough to ask for what they need, and not accept abuse? Do they have an equal amount of respect for their partner as their partner has for them? Do they fully understand what it means to be in a relationship with someone who is such a different age? Are they honestly prepared to face any challenges that might arise due to the differences in ages?
And every teenager I have ever met thinks they can answer yes to all of those questions, but they are literally not old/mature enough to realize their answers should be no.
Which is why it bugs me so much when full grown, supposedly sensible adults write YA fiction where a 16 or 17 yo falls in love with a 20+ yo. I get teens fantasizing about such things. They’re anxious to be adults, and dating someone older feels like a way of showing the world that they are adults despite their age. But as adults, we can see how unhealthy a relationship it would be. Adult YA writers should be held accountable for the types of relationships they present to their readers.
And regardless of whether you, yourself, are a teen or not, if you want to write healthy relationships, maybe skip the age gaps involving teen characters?
Good stuff.
Guys, I edit professionally. This list is legit. Incorporating these suggestions before you hire an editor will save you A LOT of money. Even if you did these and nothing else, you’d see significant overall improvement in your work.
That said, you don’t have to overthink these things when you’re writing a first draft. If you write, “she said angrily” in a first draft, you can always revisit the phrasing in a second draft. I mention this because overthinking style can lead to a loss of momentum, and losing momentum is why so many people never finish a draft. Give yourself permission to write fast, write messy or ugly, and edit your draft into beauty later.
Refuse to differentiate between important and unimportant information in your scene descriptions. “Looking around the ruined street you see a few burnt out houses, various bits of rubble, 4000 demons pointing swords at you, a pile of knocked over street signs and a stray cat.”
All your players, immediately: I PET THE CAT
if yo gurl look like this she a keeper
Writing tip: the purpose of chapter breaks is to divide a work up according to breaks in narrative flow, not to slice a work into arbitrarily equally-sized chunks.
It’s okay to have a chapter that’s ten thousand words long followed by a chapter that’s five hundred words long.
It’s okay to have a chapter that’s one sentence long.
Heck, one of the most famous and well-regarded novels in the whole of the world’s literary canon has a chapter that contains no text at all.
The only reason you’d ever want to try to make chapters equally sized is a. you’re writing for serial publication in a printed magazine and have a fixed page count to work with, or b. your jerkass high school English teacher insisted upon it. In any other circumstance, go wild.
The San Francisco Examiner, California, February 25, 1935
Sometimes I think humankind hasn’t changed at all.
less “chosen one” heroes, more heroes that chose THEMSELVES. give me heroes that see a problem, look around, and think, “WELP, clearly no one ELSE is gonna fix it, so APPARENTLY it has to be me” and goes to their friends and is like “Y’ALL, GET YOUR SHIT, WE’RE GOING ON A QUEST”
“what wait why”
“the world is broken and the people in charge aren’t doing anything, so we’re gonna do something for them”
“didn’t the prophecy say a wise and noble mage would choose someone to conquer the evil?”
“yeah well, i can do magic, and i’m pretty fucking wise and noble, right?”
“…..”
“……………….RIGHT?!”
*hasty statements of agreement*
“exactly. so, i’ve come to the conclusion that i’m the mage of the prophecy. and guess what. i choose myself. now let’s go.”
If you have this player at your table, you are blessed.
“And Susan was bright enough to know that the phrase “Someone ought to do something” was not, by itself, a helpful one. People who used it never added the rider “and that someone is me.” But someone ought to do something, and right now the whole pool of someones consisted of her, and no one else.”–Hogfather (Terry Pratchett, 1996)
simongerman600
i was going to say ‘i have no idea what to do with this information’ but then i realized its a handy guide to generate fake words that sound english
I must be old because I thought how handy this would be if I ever got on Wheel of Fortune