dontcrywrite

[dontcrywrite]

If your plot feels flat, STUDY it! Your story might be lacking...

Stakes - What would happen if the protagonist failed? Would it really be such a bad thing if it happened?

Thematic relevance - Do the events of the story speak to a greater emotional or moral message? Is the conflict resolved in a way that befits the theme?

Urgency - How much time does the protagonist have to complete their goal? Are there multiple factors complicating the situation?

Drive - What motivates the protagonist? Are they an active player in the story, or are they repeatedly getting pushed around by external forces? Could you swap them out for a different character with no impact on the plot? On the flip side, do the other characters have sensible motivations of their own?

Yield - Is there foreshadowing? Do the protagonist's choices have unforeseen consequences down the road? Do they use knowledge or clues from the beginning, to help them in the end? Do they learn things about the other characters that weren't immediately obvious?

[dontcrywrite]

As a writer I need everyone to know that whenever I write "exchanged glances" my intent is this

[dontcrywrite]

Small fantasy worldbuilding elements you might want to think about:

A currency that isn’t gold-standard/having gold be as valuable as tin

A currency that runs entirely on a perishable resource, like cocoa beans

A clock that isn’t 24-hours

More or less than four seasons/seasons other than the ones we know

Fantastical weather patterns like irregular cloud formations, iridescent rain

Multiple moons/no moon

Planetary rings

A northern lights effect, but near the equator

Roads that aren’t brown or grey/black, like San Juan’s blue bricks

Jewelry beyond precious gems and metals

Marriage signifiers other than wedding bands

The husband taking the wife's name / newlyweds inventing a new surname upon marriage

No concept of virginity or bastardry

More than 2 genders/no concept of gender

Monotheism, but not creationism

Gods that don’t look like people

Domesticated pets that aren’t re-skinned dogs and cats

Some normalized supernatural element that has nothing to do with the plot

Magical communication that isn’t Fantasy Zoom

��Books” that aren’t bound or scrolls

A nonverbal means of communicating, like sign language

A race of people who are obligate carnivores/ vegetarians/ vegans/ pescatarians (not religious, biological imperative)

I’ve done about half of these myself in one WIP or another and a little detail here or there goes a long way in reminding the audience that this isn’t Kansas anymore.

[dontcrywrite]

my 10 holy grail pieces of writing advice for beginners

from an indie author who's published 4 books and written 20+, as well as 400k in fanfiction (who is also a professional beta reader who encounters the same issues in my clients' books over and over)

show don't tell is every bit as important as they say it is, no matter how sick you are of hearing about it. "the floor shifted beneath her feet" hits harder than "she felt sick with shock."

no head hopping. if you want to change pov mid scene, put a scene break. you can change it multiple times in the same scene! just put a break so your readers know you've changed pov.

if you have to infodump, do it through dialogue instead of exposition. your reader will feel like they're learning alongside the character, and it will flow naturally into your story.

never open your book with an exposition dump. instead, your opening scene should drop into the heart of the action with little to no context. raise questions to the reader and sprinkle in the answers bit by bit. let your reader discover the context slowly instead of holding their hand from the start. trust your reader; donn't overexplain the details. this is how you create a perfect hook.

every chapter should end on a cliffhanger. doesn't have to be major, can be as simple as ending a chapter mid conversation and picking it up immediately on the next one. tease your reader and make them need to turn the page.

every scene should subvert the character's expectations, as big as a plot twist or as small as a conversation having a surprising outcome. scenes that meet the character's expectations, such as a boring supply run, should be summarized.

arrive late and leave early to every scene. if you're character's at a party, open with them mid conversation instead of describing how they got dressed, left their house, arrived at the party, (because those things don't subvert their expectations). and when you're done with the reason for the scene is there, i.e. an important conversation, end it. once you've shown what you needed to show, get out, instead of describing your character commuting home (because it doesn't subvert expectations!)

epithets are the devil. "the blond man smiled--" you've lost me. use their name. use it often. don't be afraid of it. the reader won't get tired of it. it will serve you far better than epithets, especially if you have two people of the same pronouns interacting.

your character should always be working towards a goal, internal or external (i.e learning to love themself/killing the villain.) try to establish that goal as soon as possible in the reader's mind. the goal can change, the goal can evolve. as long as the reader knows the character isn't floating aimlessly through the world around them with no agency and no desire. that gets boring fast.

plan scenes that you know you'll have fun writing, instead of scenes that might seem cool in your head but you know you'll loathe every second of. besides the fact that your top priority in writing should be writing for only yourself and having fun, if you're just dragging through a scene you really hate, the scene will suffer for it, and readers can tell. the scenes i get the most praise on are always the scenes i had the most fun writing. an ideal outline shouldn't have parts that make you groan to look at. you'll thank yourself later.

happy writing :)

[dontcrywrite]

For the relationship, I would tag it "A/B" if they're in romantic or sexual relationship, if you are going for a platonic relationship that's when you'd tag it "A & B" and yes, tagging abusive/coerced relationships and rape, even if its not a relationship, is probably a good idea bc the tags are good ways for people to filter things or just be aware of what the fic contains before they start reading! I hope this helps (and if you have any other questions about tagging I can try to help!)

Hey, if anybody here writes on AO3, I have an AO3 tagging question (cw for mentions of sex and rape)

For the ship tagging (like A/B), when am I supposed to tag that? Like if the characters are in a relationship or having sex obviously I tag that. Do I tag abusive/coerced relationships? If character A rapes character B, should I tag that? Even if they’re not in a relationship?

Thanks for your help!

[dontcrywrite]

Look.

I have made you a chart. A very simple chart.

People say "You have to draw the line somewhere, and Biden has crossed it-" and my response is "Trump has crossed way more lines than Biden".

These categories are based off of actual policy enacted by both of these men while they were in office.

If the ONLY LINE YOU CARE ABOUT is line 12, you have an incredible amount of privilege, AND YOU DO NOT CARE ABOUT PALESTINIANS. You obviously have nothing to fear from a Trump presidency, and you do not give a fuck if a ceasefire actually occurs. You are obviously fine if your queer, disabled, and marginalized loved ones are hurt. You clearly don't care about the status of American democracy, which Trump has openly stated he plans to destroy on day 1 he is in office.

[dontcrywrite]

Oh my gosh. I just found this website that walks you though creating a believable society. It breaks each facet down into individual questions and makes it so simple! It seems really helpful for worldbuilding!

[dontcrywrite]

🏳️‍⚧️🏳️‍🌈PRIDE THEMED OC ASK GAME🏳️‍🌈 🏳️‍⚧️

Bc I wanted one and didn't find it so. Here

[Send ask aimed at a specific character]

1. What's your oc's gender identity? What's their relationship to their gender?

2. What's your oc's orientation? (Romantic/sexual/platonic alterous ect) Do they have opinions about it?

3. How did your oc discover themself? Did something cause them to question, or did they always know?

4. Is your oc's environment supportive about their identity? How does this impact them?

5. How did you figure out your oc's identity?

6. How does your oc feel about labels? Theirs, or in general?

7. Is there something that could cause your oc to question their identity? What?

8. Have they had struggles with their identity, be it due to internal or external reasons?

9. Are there cultural or lore specific aspects to their identity? If applicable, does their species affect it?

10. Does your oc celebrate Pride? How?

11. Is your oc open about their identity? Are they more lowkey or more blunt about it? Why or why not?

12. Does/did your oc ever wish they could change the way they are? Why? If it's in the past, how did they get over the feeling? (this can be about internalized homo/transphobia)

13. Would your oc be open to a poly relationship? Why or why not?

[Not aimed at a specific character] / [Aimed at creator]

14. Do you have ocs on the aro or ace spectrum?

15. Do any of your ocs use neopronouns? Which ones?

16. Did you ever change an oc's identity when they were already established? Why?

17. Do you share identity with any of your ocs? Which ones?

18. Do you prefer to give your ocs specific labels, or keep it unspecified? Why? If applicable, do you change their labels depending on circumstance?

19. Do you have preferences about depicting homo/transphobia in your stories? What, and why? Does it vary by story?

20. Have your ocs helped you in self discovery? How?

21. Free ramble card wee

[dontcrywrite]

who knew that the best way to write was at work when I'm trying to look busy?

[dontcrywrite]

Some small details for a character learning sword fighting for the first time:

- sore wrists

- blisters on hands

- every movement opens you up to be hit

- they will hit the tops of their arm and own sides with the sword while learning

- there is a primal sixth sense when you know you’re being toyed with

And, for your typically nonviolent characters.

You don’t aim for the swords. You aim for the person holding the sword.

It sounds so obvious but needs to be accepted. Actively. When holding a sword you have to understand you’re attacking another person. Even to block you have to aim your blocks at the other person or they won’t be strong enough to actually protect yourself.

[dontcrywrite]

Top-Tier Villain Motivations

They will be safe. It doesn't matter who else or what else burns as long as They will be safe.

I will be safe. The hunger and the cold will never touch me again.

Fuck any bitch who's prettier(/cooler/better-liked/better at making dumplings) than me.

Yes, Master

Love me. Love me. Love me. Love me. LOVE ME!

I know the terrible things these so-called "heroes" will do if I don't stop them (<- is absolutely wrong)

I don't want a better future, I want a better past!

No other way to get performance art funded these days

[dontcrywrite]

show, don't tell:

anticipation - bouncing legs - darting eyes - breathing deeply - useless / mindless tasks - eyes on the clock - checking and re-checking

frustration - grumbling - heavy footsteps - hot flush - narrowed eyes - pointing fingers - pacing / stomping

sadness - eyes filling up with tears - blinking quickly - hiccuped breaths - face turned away - red / burning cheeks - short sentences with gulps

happiness - smiling / cheeks hurting - animated - chest hurts from laughing - rapid movements - eye contact - quick speaking

boredom - complaining - sighing - grumbling - pacing - leg bouncing - picking at nails

fear - quick heartbeat - shaking / clammy hands - pinching self - tuck away - closing eyes - clenched hands

disappointment - no eye contact - hard swallow - clenched hands - tears, occasionally - mhm-hmm

tiredness - spacing out - eyes closing - nodding head absently - long sighs - no eye contact - grim smile

confidence - prolonged eye contact - appreciates instead of apologizing - active listening - shoulders back - micro reactions

[dontcrywrite]

daydreaming about writing: 🥰😍🥹❤️😊🌺✨😘

the act of actually writing: 😭😰😵‍💫😭😰😭☹️😖

[dontcrywrite]

[dontcrywrite]

WIP (RE)INTRO | A KINGDOM BETRAYED

genre | young adult, high fantasy, adventure, lgbtq+

pov | third, limited

status | storyboarding/outlining draft four

synopsis |

Tensions in the kingdom of Arla have never been higher. Their diplomatic relations with other countries across the Lucent Sea are strained. Old magic that hasn't been seen in at least fifty years is bleeding back into the kingdom, causing sickness and fear wherever it goes. Something is deeply wrong. It all comes to a head when the prince returns from a hunting trip half dead, and his entire personal guard killed. Helen Mast is determined to prove herself. A squire in the king's army, all Helen wants is to be granted the rank of knight and protect the kingdom she loves. A chance encounter with Muriel, head of the king's personal guard, leads to Helen being chosen to undertake a quest to retrieve a long lost magical artifact that grants unspeakable power to the worthy few able to wield it. It's the only thing, the king believes, that can give the kingdom enough power to save itself. She's joined by Cordelia Langston, eldest daughter of one of the oldest noble families in Arla. Cory has her own reasons for wanting to join the quest, reasons she's unwilling to share. As the two journey deep into the heart of Arla, they discover secrets more deadly than the last — and a conspiracy that threatens to destroy the kingdom as they know it.

I'm starting a new tag list for this wip, so please let me know if you want to be added!

Character info below the cut!

STARRING

Helen Mast [she/her]: became a squire when she was very young, is desperate to get approval from Muriel (and any other authority figure), has learned a few trivial magic spells but isn't very good at them, has a horse named Whiskey who is her best friend

Cordelia "Cory" Langston [she/her]: eldest daughter of Lord Langston, lives in the palace six months out the year, would rather be out in the woods than stuck negotiating trade deals, loves her friends and family so so much

Moss Pennbrook [he/they]: bard who invites himself onto Helen's quest, a few years younger than Helen and Cory, born with the ability to wield magic (first in their family to do so), has never been serious once in their life

Levi Sherridan [he/him]: only son of King Sherridan and heir to the throne, was officially declared crown prince on his 18th birthday (which took place a few months before the events of the plot), frequently travels across Arla to connect with the people he's supposed to be ruling

Emory Thornfell [they/them]: a squire in Helen's squad, chaotic ball of energy who should really not be given sharp objects, befriends the prince, keeps Helen updated on palace ongoings while Helen is on her quest

[dontcrywrite]

What are some chronic illnesses that can only occur in a fantasy setting?

[dontcrywrite]

things to think about for characters

do they have allergies?

what foods will they not touch?

what kinds of music do they like?

how are they around new people?

do they speak in an accent?

have they tried learning a new language?

how many languages do they know?

what is a song that will always make them cry?

how do they cry? heaving? silently? sobbing?

how do they dress? for practicality or fashion?

what is the first thing they notice about a stranger?

what is their humour like?

do they have scars? what caused them?

do they wear jewelry?

are they a frivolous spender or a miser?

do they prefer luxury or practicality?

who would they quote?

what could make them change their mind?

who is the first person they'd call?

how are they around animals? do they have pets?

what is their favourite childhood food?

what is something they've never told anyone?

childhood friends?

what are habits they've picked up from other people?

what are their guilty pleasures?

what is something they're staunchly against?

do they speak a certain way? do they use contractions? popular turns of phrase?

can they fall in love? what does it look like? does it differ between people -- friends vs family?

what would they rather die than do?

what is their biggest mistake? one that they look out to never do again.