pjo + writing

Tehreem, Alex, Elle, Mia

[elucubrare]

saw a poll about whether you prefer corruption or redemption arcs and i realized that for me it's not really either, it's a distillation arc: when a character becomes the most intense version of what they could be, everything inessential falling away or being discarded so that only the core remains.

[elucubrare]

great tags by @neuxue #'while you were busy being doomed by the narrative I used it as a whetstone and became the blade'

[valtsv]

"real people don't talk like that" can be a valid criticism of a piece of media but it can also be one of the highest praises i can bestow. there's nuance.

[valtsv]

characters who articulate themselves like online self-help tutorials written by an AI generated command prompt or someone who has never spoken to a real life person in crisis: real people don't talk like that (derogatory)

characters who talk like on some level they understand they're participating in a performance and the limitations of language itself are a burden on their ability to express themselves and be understood: real people don't talk like that (thrilled, delighted, jumping for joy)

[valtsv]

[cutemothman]

i loveeeeeee nonlinear storytelling. show me where we are. now show me how we got here. the end before the beginning. show me how it was inevitable or how many chances we had to change things(nothing was ever going to change). let's meet in the middle as all the puzzle pieces slide into place hell yeah that's the good shit.

[deception-united]

Writing Tips Master Post

Character writing/development:

Character Arcs

Making Character Profiles

Character Development

Comic Relief Arc

Internal Conflict

Creating Distinct Characters

Suicidal Urges/Martyr Complex

Creating Likeable Characters

Writing Strong Female Characters

Writing POC Characters

Character Voices

Plot devices/development:

Intrigue in Storytelling

Enemies to Lovers

Alternatives to Killing Characters

Worldbuilding

Misdirection

Consider Before Killing Characters

Foreshadowing

Narrative:

Emphasising the Stakes

Avoid Info-Dumping

Writing Without Dialogue

1st vs. 2nd vs. 3rd Perspective

Fight Scenes (More)

Transitions

Pacing

Dialogue Tips

Writing Cheating

Book writing:

Connected vs. Stand-Alone Series

A & B Stories

Writer resources:

Writing YouTube Channels, Podcasts, & Blogs

Online Writing Resources

Outlining/Writing/Editing Software

Miscellaneous:

Overcoming Writer's Block

1000 Follower Special

Writing Fantasy

Character Ask Game

Character Ask Game #2

[imastoryteller]

20 Emotional Wounds in Fiction That Make Readers Root for the Character

Abandonment: Characters who have been abandoned by loved ones or caregivers can evoke sympathy from readers.

Betrayal: Being betrayed by someone close can create deep emotional wounds that make readers empathize with the character.

Loss of a Loved One: Whether through death or separation, the loss of a loved one can be a powerful emotional wound.

Rejection: Characters who experience rejection, whether in relationships or by society, can be relatable and evoke empathy.

Abuse: Physical, emotional, or psychological abuse can create complex wounds that shape a character's personality and behavior.

Neglect: Characters who have been neglected, especially in childhood, can evoke sympathy from readers.

Failure: Experiencing a significant failure or loss can create emotional wounds that make characters more relatable.

Guilt: Characters who carry guilt for past actions or decisions can be compelling and evoke empathy from readers.

Shame: Feelings of shame can create internal conflict and make characters more relatable and sympathetic.

Injustice: Characters who have experienced injustice or unfair treatment can evoke strong emotions from readers.

Trauma: Characters who have experienced traumatic events, such as war or natural disasters, can be sympathetic and relatable.

Loneliness: Characters who feel lonely or isolated can evoke empathy from readers who have experienced similar feelings.

Fear: Characters who face their fears or struggle with phobias can be relatable and evoke empathy from readers.

Self-doubt: Characters who struggle with self-doubt or low self-esteem can be relatable and evoke sympathy.

Identity Crisis: Characters who are grappling with questions of identity or struggling to find their place in the world can be sympathetic.

Addiction: Characters who struggle with addiction can be complex and evoke empathy from readers.

Betrayal of Trust: Characters who have had their trust betrayed can be sympathetic and relatable.

Unrequited Love: Characters who experience unrequited love can be sympathetic and evoke empathy from readers.

Isolation: Characters who feel isolated or disconnected from others can be relatable and evoke sympathy.

Fear of Failure: Characters who struggle with a fear of failure can be relatable and evoke empathy from readers.

[fellshish]

the way i trick myself into finishing my first draft is trying not to think of it as 'writing' but as 'telling what happened'

[skribblegurl]

some people think writers are so eloquent and good with words, but the reality is that we can sit there with our fingers on the keyboard going, “what’s the word for non-sunlight lighting? Like, fake lighting?” and for ten minutes, all our brain will supply is “unofficial”, and we know that’s not the right word, but it’s the only word we can come up with…until finally it’s like our face got smashed into a brick wall and we remember the word we want is “artificial”.

[heywriters]

I couldn't remember the word "doorknob" ten minutes ago.

[bumblewyn]

ok but the onelook thesaurus will save your life, i literally could not live without this website

[breelandwalker]

REBLOG TO SAVE A WRITER'S LIFE

[otiksimr]

SAVING MY OWN LIFE

[nostalgicmess]

sometimes i need to remind myself that i'm writing fanfiction for free and i'm allowed to have a shitty sentence or two

[captaingondolin]

so many of my fics have remained buried in my drafts because i wrote the cool scenes first and then didn’t have “connective tissue”. but i’m freeing myself from that and just adding shitty “and then a week passed” or “they got to their destination” connections and just posting them and it’s so! freeing! try it!

[shadowen]

I can't tell you how many times I've agonized over a scene transition, only to fill in the missing space with, like, a sentence.

[sister-dear]

Write the parts you wanna write and then go in and slap scotch tape over the rest of it.

[again-please]

Sometimes when I’m feeling self conscious I’ll go and pull a book off my shelf to see how whichever author handled time transitions, and it’s really REALLY common that it’s just, like, “October came and went.” And that’s SO freeing. Just fast forward. Just do it.

[iphysalian]

Writing Exposition (Or Turning a Textbook into a Story)

Exposition concerns every facet of your work from character descriptions, backstories, and relationships, to world history, geography, religions/faiths/superstitions, politics, and current events. Whenever the author takes an aside to say “Joe, Bob’s second cousin, said ‘hello’,” the exposition is establishing that Joe is Bob’s cousin.

So shaming a story for its poor handling of exposition is like shaming a movie for bad visual effects. Yes, some of it is probably bad, but I guarantee that you did not notice every single VFX shot in the movie, and you weren’t supposed to.

Most examples of bad exposition occur when the following happens:

Informed Character A exposits to Informed Character B and tacks on “as you know” with full sincerity

Random Important Detail gets dropped in conversation that does not fit the tone or direction of conversation

Character suddenly monologues about The Thing unprompted

Convenient Breaking News Alerts

Character, out-of-character, begins monologuing about The Thing even when prompted

The pacing screeches to a halt so the Exposition Train can thunder past

Exposition exists to give information, and in order for a reader to understand a story, not all of it can or should be agonized over making perfect. Settings have to be established. Character names and relationships have to be understood. “Telling” over “showing” is, in my opinion, perfectly fine when the “showing” would take more lines, effort, and priority over a single inconsequential sentence. Heck, sometimes the “telling” is better than the “showing”. The trick to understanding when, how, and to what degree to give exposition is making it motivated.

What is motivated exposition?

See this post about character descriptions and the plight of the cliche “mirror” trope for unmotivated exposition.

Motivating your exposition means giving it a reason to exist where it does, prompted by the story you’re telling. Citing the “mirror” trope: I can have my character wake up and describe themselves to you, but in doing so, that rarely tells the audience anything more than just what to picture as they read. Or, I can have my character description spread out as those details become relevant. They’re describing their hair color and texture as it begins to irritate or distract them, telling us both what it looks like, and what our character thinks of it, and a little bit about their personality in how they treat it.

I can open the first chapter with a long-winded editorial about the long lost king destined to unite the shattered kingdoms, or I can wait until the tale becomes important to my characters to tell.

I can spin tapestries about politics before you’ve even met your hero, or I can wait until those politics begin to cause the hero problems and then invite the hero to talk about why those politics cause problems.

See this post about pacing and ensuring your scenes always do at least two things at once. Motivated exposition takes bland information’s singular purpose (to inform) and gives it flavor in coloring the personalities of the characters who give and receive it.

When to give exposition

Caveat: Not all front-loaded exposition is poorly-handled. Everyone loves the Star Wars title crawls because they’re a part of the episodic movie experience. Whether it’s a cheap way to deliver information is irrelevant.

Most prologues exist to front-load exposition and, because I love using Lord of the Rings as my shining example in every post, the trilogy opens with a lengthy speedrun of the main villain, some of the important pieces on the chessboard, the importance of the ring, the smeared reputation Aragorn must live up to and repair, and an idea of the stakes should the heroes lose. Not only is it a prologue, it’s a narrated prologue. There’s an impressive amount of information given in not a lot of time.

Last Airbender begins every single episode with a reminder about the 100 year war and the aggression of the Fire Nation and the purpose of the avatar.

With that said, prologues and title crawls are their own tangle of weeds.

As I said above, exposition should be given when the story gives it reason to exist. Don’t talk about the politics until you have a scene where discussing politics is relevant.

If you need to establish your cool, unique magic system, wait until you have a character using that magic and give it in little chewable bites. That character likely isn’t using every trick in the book right then and there. If they wrote Last Airbender as a novel and started explaining the other three bending styles the second Katara levitated some water, it would read sloppy and slog.

Or, leave the exposition as a mystery to be told later. Make your audience crave the hero’s backstory, piecing together little hints throughout the narrative until just the right moment comes along where your hero would realistically start spilling the beans about themselves. Have other characters frustrated at the lack of information. Have other characters missassume and be wrong about the information they think they know.

Have your characters crave knowledge about their world as much as your audience does.

How to give exposition

Exposition can be given three ways: Via the narrator, via dialogue, or via images or texts observed by the narrator (think news broadcasts or the front page of the paper, books, letters, videos, diary pages).

No matter which avenue you give exposition through, the less random it is, the less “hand of the author” the audience sees. Characters given a lucky break by a convenient breaking news alert is a mini deus ex machina —- the heroes do not earn their victory, it’s just given to them. They are not active in the plot making decisions, they are being railroaded by information as it falls into place before them.

Narrated exposition

The narrator’s internal monologue will interrupt the story to explain whatever needs explaining in that moment. The difference between it reading like a textbook and reading like a story is whether or not this information is important to the narrator.

Meaning, what does my hero feel about this new information? Katniss Everdeen in Hunger Games exposits the entire book because she’s alone for a fair chunk of it with no one to talk to, and she’s no stranger to the politics and history of her world. And yet, she has such strong feelings about everything she says that it doesn’t feel like she’s just giving information for the sake of informing. Everything she says and how she says it reflects on her personality and how she views her world.

Dialogue exposition

When Katniss is clueless about the tribute parade process and all the nuances of Capital life, how she asks about this information and how Effie, Cinna, and Haymich tell her also speaks to their personalities and biases about what they’re saying. In essence: Their exposition is in-character, and, thus, services their characters.

This is the complete opposite of when two informed characters exposit to each other information both already know for the sake of the audience because the author has no other way to give said information. A prime example is the hero happening to overhear two minions discussing The Plan dropping lines like “as you know” (which makes it worse every time).

The only time “as you know” works is when it’s in character. As in, the villain expositing to their minion they think is stupid and the minion reacting to that assumption appropriately. Or, the heroes are gathered to discuss The Plan and the leader of the meeting goes “as you know” because that happens in the real world. Bonus points if some characters are irritated by the redundant recap.

Exposition via dialogue also opens the door for lies, half-truths, and characters simply being wrong or blinded by their biases. Or, characters simply being ignorant of the world they live in. In Lord of the Rings, Gandalf is like 3,000 years old and has been all over Middle Earth. It doesn’t break the plot to have Gandalf exposit because he would realistically have witnessed or have deep knowledge about historical events and politics. Aragorn, too, is 87, and has ranged all over the place. He’s the future king and thus had better know his history and politics. Aragorn expositing makes sense.

Say what you will about Last Jedi but it has a prime example of nuanced exposition: Kylo Ren and Luke Skywalker have incredibly different perspectives on if/how Luke attempted murder on his nephew. There’s 3 sides to every story and the audience is never shown the truth. Had this been given in the title crawl, it would have lost much of its potency.

Dialogue also nurtures the relationships between the characters talking. Telling stories brings people together. If a character is sharing their backstory, why are they telling the narrator, and what does this mean to them as they tell it? If a soldier is sharing his grizzled leader’s backstory around a campfire, how does his relationship with his leader impact how he tells that story, what language he uses, how he sounds, the expressions on his face?

Third party exposition

Information given from an object can be incredibly hit or miss, depending on how hard the heroes worked to obtain it, and whether or not the object in question is meaningful to the heroes.

In the Assassin's Creed games, you abandon the gameplay in whatever historical era you're playing in to watch cutscene after cutscene of exposition (specifically referencing the Ezio Trilogy) by characters no one cares about, giving information that no one cares about, when we'd all rather just keep playing the game.

You can literally have a character read from a textbook, logbook, or daily minutes. What matters is how that info reads, and how the character responds to it. Is the information prejudiced or saturated with bigoted language? Is the mere existence of it where it is horrifying?

In the Mines of Moria (Lord of the Rings) Gimli learns that all his kin have been murdered by goblins once he sees their corpses all impaled with goblin arrows. Later, he finds his dead cousin’s crypt containing a dead dwarf cradling a book that tells of the downfall of Moria. The log entry isn’t finished, and the penmanship rapidly degrades as the dwarf writing it likely dies from his wounds, ending with the ominous, “We cannot get out, we cannot get out, they are coming.”

Had Gandalf warned Gimli ahead of time that all the dwarves were dead, or had they never found the crypt or figured out the owners of the arrows and simply were told “oh yeah we’re about to be attacked by goblins, I suspect they’re the reason Moria is a ghost town” that would have lost all emotional impact, and character development for Gimli.

This doesn’t have to be just objects, get creative! Have the hero watch a parody retelling of the Big Event. Have someone tell it like a ghost story around a campfire. Have it be a crazed rant all across live TV that no one takes seriously. Have six different characters remember it differently and all argue over who’s right. Have someone tell it poorly, thinking it “just a stupid rumor”.

When to withhold exposition

Satisfaction is the death of desire and sometimes uncovering the details of an enticing tidbit of information ruins whatever the audience had imagined to fill in the blanks. In terms of “showing” vs “telling” concerning worldbuilding, deciding whether to have a character speak about the information, or actually writing the scene they’re referring to, is entirely dependant on the story you’re telling.

If you are going to write a flashback, or describe a video of the event, that flashback and video has to be *packed* with as much information as you can cram in there as artfully as you can. Flashbacks and dream sequences take up space and entire scenes and settings need establishing so the audience isn’t floating in the ether trying to follow along. Which tends to mean that the meat of the flashback is barely half of the words you’re now forced to read.

Decide how important it is that the audience sees the incident as it happened, versus told in the aftermath through the biases and flawed memory of another character.

Sometimes the fewest amount of words pack the biggest punch. You can have a shattered soldier describe the battle of which they’re the last survivor in gory detail, or you can have them simply say “it was hell” and let the oomph hit in their expression, how their voice cracks, how vacant their eyes look. The injuries they sustained, the traumas visible in how they hold themselves. At that point, the audience can imagine whatever hell they want. At that point, what you are "showing" (the emotional and physical toll taken on the speaker) is likely way more important than the battle itself.

Concerning pacing — no matter how hard you worked on designing your politics and royal lineages and fantasy geography, odds are if that information isn’t important to your characters, it isn’t important to your readers. It’s not motivated.

I love trivia and fantasy maps as much as everyone else, but I like them on the wikis and next to the table of contents, not interrupting an engaging story.

And, give your audience credit where credit is due. How many fan theories stand on the basis of a few scant lines of narration or zoomed-in snippets of background characters (R+L=J anyone?) and pieces of costume? The mystery is what makes it fun, and I just watched the criminally disappointing second adaptation of the Lightning Thief completely robbed of that mystery every chance they had.

—

In short, the amount of exposition isn’t what makes it well or poorly handled, it’s how and when it’s delivered. Inception is my favorite sci-fi movie and the entire script is exposition, but the way it’s given is entertaining. Motivating your details to exist for a reason, to be given exactly when the time is right and not a moment before, is the spoonful of sugar helping the medicine go down.

Make it timely

Make it relevant

Make it important to the cast

Make it earned by the cast

Make it entertaining

[unnerd]

Places you should add to your little town/city in your fantasy world!!

Post offices. Wild, I know. But give me the unhinged kind. Pingeons and little postal dragons all over the place. You enter. The most disgusting smell fucking assaults your nostrils. You know what it is. Letter in hand, you go up to the counter. The postal worker is just a slightly bigger pigeon. You shed a tear.

PLAYGROUNDS!! Create the most dangerous kinds of playgrounds, the ones suburban moms would TRIP if they ever saw one. Monkey bars that are way too tall, swings that go full circle... The metal slide stays the same, it's already painful enough.

PARKS!! MAKE IT ALIVE!! Show people going on walks, reading beneath trees. C'mon most of them are already hundred years old (And are going to die after that CR 15 creature wrecks the town) anyways!! Show couples and picnics, show a family enjoying the sunday, give me someone picking flowers for their loved ones.

A bakery! Do you know how much these places are underrated? And do you know how much plot potential they have? Every good story starts with food poisoning or granny's recipe! Give me a place your players/readers are going to treat like home and, for once, it's not a tavern or a guild.

Government buildings! Give me a town hall that has a kilometric line in front of it. Give me a registry that is as old as this town. Give me police stations! Give me courtrooms! Make one of your players get arrested and now all of the party has to go through burocracy like a bunch of normal people!

(Who am I kidding? You don't need to make them get arrested. They are going to do that for you.)

Touristic attractions! Give me a full-on statue of the country's leader! Give me museums! Give me streets, ruins and whatnot that attract thousands of tourists everyday! Give me an annoying city guide that tries to get the party's attention everytime!

Magazine stands! Magazines don't exist? Newspaper stands! From the Queen's Journal to the most questionable new piece of Fox's Tailtracker, you have it all! Make your players doubt what's actually happening, sprinkle a little fake news... Or is it fake at all?

...Toy stores. OK HEAR ME OUT. Make magic toys; miniature skyships that actually fly, metal toy dragons that expel fire, little wands that make little light spells, wooden creatures that can move and make noises... Make children happy! And your players too because they will waste their money on these stuff.

Instrument store!! Make your bards happy with special instruments or just weird ones! Give me a battle in one of those that is just filled with funny noises and the worst battle soundtrack ever!!

Not exactly a place but... Cleaning carts!!! Show me people cleaning the streets, picking up the trash, cutting trees!! Make the town look clean!! Give me an old man that is really proud of his work!!!

(or ways to make your players feel even worse when the villain destroys the town later on :) )

[madicanart]

Redraw by me of offical art by viria, offical art is public domain and edits are done in other fandoms with official art all the time so please be chill‼️

[heywriters]

the point of creating is not to create something that has never been done before. it is to take an idea, explain it your way, and put it out there for people who are experiencing that idea for the first time. to those people, your version of The Idea is now their touchstone. they cannot judge you based on what came before, but they may judge all others by you

[macabremoons]

crying and sobbing y'all when people said that you only add scenes that advance the plot they didn't JUST mean the overarching plot. they meant the plot of the book... entirely. like a conversation between two friends can advance the plot by characterizing them and grounding them with a meaningful relationship. if your book doesn't have "filler" it's missing emotional beats. which are plot. which are important. fun and whimsy aren't mutually exclusive from what "needs" to happen in your book. the advice isn't bad it's just taken too literally stop come back.

[readwithlivvy]

who do you think is the best bf/gf in pjo based on how well they treat their significant other?

percy

annabeth

leo

nico

jason

piper

frank

hazel

calypso

will

Voting ended onMar 3, 2024

[sanguinarysanguinity]

Expanding a thought from a conversation this morning:

In general, I think "Is X out-of-character?" is not a terribly useful question for a writer. It shuts down possibility, and interesting directions you could take a character.

A better question, I believe, is "What would it take for Character to do X?" What extremity would she find herself in, where X starts to look like a good idea? What loyalties or fears leave him with X as his only option? THAT'S where a potentially interesting story lies.

In practice, I find that you can often justify much more from a character than you initially dreamed you could: some of my best stories come from "What might drive Character to do [thing he would never do]?" As long as you make it clear to the reader what the hell pushed your character to this point, you've got the seed of a compelling story on your hands.

[thewritinghole]

Tips on keeping your scenes engaging

So I’ve been getting a few messages lately to the effect of “I’m not sure how to keep my descriptions interesting” or “I don’t know how to make this scene sound more interesting.” So while I could answer each of them one by one, it’s been a while since I’ve personally made a post on this blog and it’s a common problem anyway, so here’s some advice on constructing an engaging scene that I find to be helpful in my writing.

Learn how to juggle dialogue and descriptions. One of the biggest problems I see in beginning writers is they don’t yet know how to simultaneously describe a scene (what it looks like, what the characters are doing, etc.) and also keep dialogue between characters going. The trick here is not to lump all of your description in one big long paragraph and then have a long stretch of dialogue; instead, make the two weave in together so that you’re doing both at the same time and cutting out any unnecessary rambling.

Make sure you’re not adding unnecessary dialogue or details. If a scene drags, it might be because you’re spending too long on one bit of the story that doesn’t really matter. A scene where your characters are learning about the country they’re going to is fine, but don’t bog the reader down with a bunch of superfluous information about their economic structure or what the trees look like in autumn. Similarly, writing dialogue can be fun, but having your characters ramble at each other and not really get anywhere is just as boring. Everything you write needs to be moving the plot forward and be absolutely necessary for the reader’s understanding of the book.

If the content is what’s boring, try introducing a major event. Again, every scene needs to exist for a specific reason. If you feel like your prose isn’t what’s the problem, maybe ask yourself if the scene itself is dragging because it doesn’t really seem to be going anywhere. A scene in which all of your characters sit around and talk can be good for character development, but it may not feel like enough action is going on to justify it. Try adding in some sort of major event, or even ending the scene sooner so you can get to the major event that it necessitates.

If the scene isn’t working out, kill your darlings. Following up on that last point, if you’ve tried that and can’t figure out how to work an event into the scene or how to make it better, sometimes you just have to let it go. This is especially true if you’re only keeping the scene around because you really like it, even if you can’t figure out how to make it work. If I’m on the brink of deleting an entire scene from my project, usually I’ll copy/paste it into a new file, save it separately, and then cut it from my project. That way, if I decide I need to keep it, I can always pull it back up without having to worry.

Helpful links:

Writer’s Digest’s 10 Ways to Launch Strong Scenes

Writer’s Edit’s 6 Quick Tips For Writing Gripping Scenes

8 Steps to Writing a Perfect Scene—Every Time

How to write a scene: Purpose and structure

[writingwithcolor]

A Careful Balance: Portraying a Black Character's Relationship with their Hair

@writingraccoon said:

My character is black in a dungeons and dragons-like fantasy world. His name is Kazuki Haile (pronounced hay-lee), and his mother is this world's equivalent of Japanese, which is where his first name is from, while his father is this world's equivalent of Ethiopian, which is where his last name is from. He looks much more like his father, and has hair type 4a. I plan to make his character very finnicky about his hair, both enjoying styling it, but also often being unsure how to style it (not in that he doesn't know how to, but has so many options for how to style it, he has trouble choosing). However, I know that there are some very harmful ways to write black hair, especially in regards to how the black character themselves feels about it. Kazuki does not hate his hair, in fact he takes joy in it, and I'm researching black hair and hair styles to be as accurate as possible. But I'm unsure if portraying a black character as occasionally overwhelmed by or vain about his hair is negative. How would you suggest either changing this or making it work? Does it need to be changed in the first place?

Black Character Overwhelmed by Curly Afro Hair

Your Black character wanting his hair to look its best and at times feeling overwhelmed seems reasonable and natural to me. It appears their challenge comes with how to style it. Not so much with struggling how it looks or how hard it is to manage. That is good, as this further helps avoid placing a strong negative focus on Black hair. 

Him caring a lot about how it is style should not be deemed vain or frivolous, either. In any case, hair care is self care. There’s nothing wrong with having pride with your hair, especially hair that mainstream society, historically and present, might say is not beautiful. This still matters, even in a fantasy world, since your readers still exist in this reality. It’s empowering and a welcome change to see someone who loves their afro hair, actually.

There are unique factors someone with coily afro hair would experience vs. straight, wavy, or looser curls, but people struggling with their hair (too frizzy, too flat, too limp, too thin, too thick!) is universal. 

There is a delicate balance to achieve.

Avoid Writing a Black Hair Journey Experience 

An overall negative Afro hair journey might be the reality for many, especially when society deems Afro hair as unacceptable and slaps so many uninvited opinions, laws and policies over its existence and on certain styles (again, historically and very much at present), but that’s the kind of story that is best handled by someone with the background. Someone willing to commit to the research might also be able to pull it off, although it’s truly not the kind of thing an escapism novel needs in my opinion. If the story is not meant to delve into “A Black /Black Hair Experience” then I'd avoid going that route. That is moving a bit towards a struggle narrative, depending on how much it defines your character’s story.

Add positive and neutral hair language and interactions

For your writing, I’d avoid using unchallenged negative language about his hair. Being overwhelmed at times and frustrated is one thing and expected. If his hair is constantly brought up, and is associated with uncontrollable, ugly, or too [insert struggle here], then rethink the direction you’re going. 

Add some positive or neutral terms, reactions, and interactions in the narrative towards afro hair, such as describing color and texture.

“His fine coils bounced in the wind.” 

“Hair black and shiny” 

“She wore her hair in two large, fluffy buns.”

“He admired his fresh, neat braids in the mirror, smiling at his reflection, before turning to leave.”

Another tip: It may have been for research purposes, but leave out any hair number categorizing in the story and rely on description. I’d say this goes for any story, as reading the number would feel off. 

“He had coily 4a hair.” Nahh! :P 

Also, I would suggest sending all passages that focus on his hair to a Black sensitivity reader for review.

More reading:

Describing Black Hair in Fantasy (Locs, Braided Styles, etc)

Image: Describing Black Hair in Fantasy, Braided Styles How do you describe afro hairstyles in a world where the words don’t exist?  My advi

Words to Describe Hair

Image: Words to Describe Hair: Afro | Curly | Straight | Look | Texture | Style | Color  Photo credits: Alex Nemo Hanse This began as a guid

~Mod Colette