fictiontheory

[fictiontheory]

Afro-Futurist Reading List Vol 2.

Afro Futurism Reading List Vol 1:

Afro Futurism Reading List Vol 2:

Black Speculative Fiction Breakdown by Genre

African Fantasy (early myths and fables from the continent): Forest Of A Thousand Deamons: A Hunter’s Saga by Daniel O. Fagunwa The Palm Wine Drinkard by Amos Tutuola My Life In The Bush Of Ghosts by Amos Tutuola Simbi and the Satyr of the Dark Jungle by Amos Tutuola The Brave African Huntress by Amos Tutuola Feather Woman of the Jungle by Amos Tutuola Ajaiyi and his Inherited Poverty by Amos Tutuola The Witch-Herbalist of the Remote Town by Amos Tutuola

Utopia (alternate histories written during the jim crow & antebellum eras): Blake Or The Huts Of Africa by Martin Delany Imperium In Imperio by Sutton E Griggs Light Ahead For The Negro Edward A Johnson One One Blood by Pauline Hopkins Black No More by George Shuyler Lord Of The Sea by MP Sheil

Space Opera (far future sci fi worlds of interplanetary travel): Nova by Samuel R Delany Stars In My Pocket Like Grains Of Sand by Samuel R. Delany Binti Trilogy by Nnedi Okorafor An Unkindness Of Ghosts by Rivers Solomon Midnight Robber by Nalo Hopkinson Rayla 2122 Series by Ytasha Womack Trouble On Triton by Samuel R. Delany Babel 17 by Samuel R Delany Empire Star by Samuel R Delany The Galaxy Game by Karen Lord The Best Of All Possible Worlds by Karen Lord Ancient Ancient by Klini Iburu Salaam Escaping Exodus by Nicky Drayden Ascension: Tangled Axon by Jacqueline Koyanagi Teleportality by T Cisco Nadine’s Bible Seris by T Lindsey-Billingsley Nigerians In Space Series by Deji Bryce Olukotun

Aliens (alien encounters): Lilith’s Brood Trilogy by Octavia Butler Lagoon by Nnedi Okorafor Rosewater Trilogy by Tade Thompson The Lesson by Cadwell Turnbell The Wave by Walter Mosley

Dystopia (oppressive futures and realities): Friday Black by Nana Kwame Adjie Brenyah Riot Baby by Tochi Onyebuchi War Girls Series by Tochi Onyebuchi Sunshine Patriots by Bill Campbell Gunmen’s Peace by Milton J Davis Dragon Variation by T Cisco

Experimental (literary tricksters): The Ravicka Series by Renee Gladman The Freedom Artist by Ben Okri The Structure Of Dante’s Hells by LeRoi Jones The House Of Hunger by Dumbudzo Marachera Black Sunlight By Dumbudzo Marachera Yellow Back Radio Broke Down by Ishmaeel Reed The Last Days Of Louisiana Red by Ishmaeel Reed The Sellout by Paul Beatty Koontown Killing Kaper by Bill Campbell The African Origin Of UFOs by Anthony Joseph Quantum Black Futurism(Theory & Practice Volume 1) by Rasheeda Philips by Rasheeda Philips Spacetime Collapse: From The Congo to Carolinas Spacetime Collapse II: Community Futurisms by Rasheeda Philips consent not to be a single being trilogy by Fred Mot

Post-Apocalyptic (worlds falling apart): The Purple Cloud by MP Shiel Dhalgren by Samuel R Delany The Parable Series by Octavia Butler Brown Girl In The Ring by Nalo Hopkinson

Dying Earth (far future post-apocalyptic worlds + magic):

The Broken Earth Trilogy by NK Jemisin The Einstien Intersection by Samuel R. Delany The Jewels Of Aptor by Samuel R. Delany The Fall Of The Towers Trilogy by Samuel R. Delany Who Fears Death by Nnedi Okorofor The Book Of Phoenix by Nnededi Okorofor The Prey Of Gods by Nicky Drayden

Alternate History (alternate timelines and what-ifs): Mumbo Jumbo by Ishmael Reed Everfair by Nisi Shawl The Underground Railroad by Colson Whitehead The Water Dancer by Ta-Nehisi Coates The Insh'Allah Series by Steven Barnes Ring Shout by P Djelia Clark A Dead Djinn In Cairo by P Djelia Clark The Black God’s Drum by P Djelia Clark Washington Black by Esi Edugyan Pimp My Airship: A Naptown By Airship Story by Maurice Beaudice The Dream Of Perpetual Motion by Dexter Palmer Pym by Matt Johnson, Dread Nation Series by Justina Ireland From Here to Timbuktu by Milton J Davis

High Fantasy (magical kindoms and high adventures): The Neveryorn Series by Samuel R. Delany Black Leapard Red Wolf by Marlon James The Deep by Rivers Solomon & Clipping Imaro Series by Charles R. Saunders The Children Of Blood & Bone by Tomi Adeyemi The Children Of Virtue & Vengeance by Tomi Adeyemi The Sorcerer Of The Wildeeps by Kai Ashai Washington A Taste Of Honey by Kai Ashai Washington Beasts Made Of Night Series by Tochi Onyebuchi A Place Of Nights: War & Ressurection by Oloye Karade, Woman Of The Woods: A Sword & Soul Epic by Milton J Davis Temper by Nicky Drayden They Fly At Ciron by Samuel R. Delany Anansi Boys by Neil Gaiman The House Of Discarded Dreams by Etakterina Sedia

Magic Realism (literary naturalism with surreal, dreamlike, and mythic imagery): The Echo Tree & Other Stories by Henry Dumas The Kingdom Of This World by Alejo Carpentier General Sun My Brother by Jacques Stephen Alexis The Famished Road Series by Ben Okri The New Moon’s Arms by Nalo Hopkinson The Salt Roads by Nalo Hopkinson Montaro Caine by Sydney Portier Mama Day by Gloria Naylor Redemption In Indigo by Karen Lord Mem by Bethany C Morrow

Urban Fantasy (modern citybound fantasy): The City We Became by NK Jemisin  Sister Mine by Nalo Hopkinson The Chaos by Nalo Hopkinson The Intuitionist by Colson Whitehead Blue Light By Walter Mosley Fire Baptized by Kenya Wright

Time Travel (stories unstuck in time): Kindred by Octavia Butler Version Control by Dexter Palmer Recurrence Plot by Rasheedah Phillips

Horror (nightmare, terrors, and hauntings): Beloved by Toni Morisson African Immortals by Tananarivue Due Fledgling by Octavia Butler The Gilda Stories by Jewelle Gomez Lakewood by Meggan Giddings The Ballad Of Black Tom by Victor Lavalle Lovecraft Country by Matt Ruff The Changeling by Victor Lavealle Zone One by Colson Whitehead The Between by Tananarive Due The Good House by Tananarive Due Ghost Summers: Stories by Tananarive Due Unhollowed Graves by Nunzo Onho Catfish Lullaby by AC Wise

Young Adult (books for young adults): Akata Witch Series by Nnedi Okorofor Zarah The Windseeker & The Shadow Speaker by Nnedi Okorofor Long Juju Man by Nnedi Okorofor Ikenga by Nnedi Okorofor Tristan Strong Series by Kwame Mbalia A Song Below Water by Bethany C Morrow Daughters Of Nri by Reni K. Amayo A River Of Royal Blood by Amanda Joy 47 by Walter Mosley

Comics (graphic storytelling) George Herriman Library: Krazy & Ignatz (1919-1921) by George Herriman The Boondocks Complete Collection by Aaron Mcgruder Birth Of A Nation by Aaron Mcgrudger, Reginald Hudlin, & Kyle Baker Prince Of Cats by Ronald Wimberly Concrete Park by Erika Alexander & Tony Puryear Incognegro Series by Matt Johnson Your Black Friend & Other Stories by Ben Passmore Bttm Fdrs Ezra Clayton Daniels & Ben Passmore Sports Is Hell is Ben Passmore LaGuardia by Nnedi Okorofor & Tana Ford Bread & Wine: An Erotic Tale Of New York by Samuel R Delany & Mia Wolff Empire by Samuel R Delany & Howard Chaykin Excellence by Brandon Thomas Bitteroot by David F Walker, Chuck Brown & Sanford Greene Black by Kwanza Osajyefo Niobe: She Is Life by Amandla Stenberg & Sebastian A Jones Black Panther by Christopher Priest Black Panther by Reginald Hudlin Black Panther by Ta-Nehisi Coates Shuri by Nnedi Okorofor World Of Wakanda by Roxane Gay Truth: Red, White, & Black by Kyle Baker House Of Whispers by Nalo Hopkinson & Neil Gaiman Naomi by David F Walker, Brian Micheal Bendis, & Jamal Campbell Far Sector by NK Jemison & Jamal Campbell

Short Stories (collections by single authors): Driftglass by Samuel R Delany, Distant Stars by Samuel R Delany Bloodchild & Other Stories by Octavia Butler Unexpected Stories by Octavia Butler Falling In Love With Hominids by Nalo Hopkinson Skin Folk by Nalo Hopkinson, Kabu Kabu by Nnedi Okorofor, How Long Til Black Future Month? by NK Jemisin Nine Bar Blues by Sheree Reneee Thomas

Anthologies (collections from multiple authors) Dark Matter edited by Sheree Renee Thomas So Long Been Dreaming edited by Nalo Hopkinson Conjure Stories edited by Nalo Hopkinso Whispers From The Cotton Tree Root: Caribbean Fabulist Fiction edited by Nalo Hopkinson Afro SF: Science Fiction by African Writers edited by Wor. W. Hartmaan Stories For Chip: A Tribute To Samuel R Delany edited by Nisi Shawl Octavia’s Brood: Science Fiction Stories From Social Justice Movement edited by Adrienne Marie Brown & Walidah Imarisha Mothership: Tales of Afrofuturism and Beyond edited by Bill Campbell The City: Cyberfunk Antholoy edited by Milton J Davis Steamfunk edited by Milton J Davis Dieselfunk edited by Milton J Davis Griots: A Sword & Soul Anthology by Milton J Davis & Charles R Saunders Griots: Sisters Of The Spear by Milton J Davis & Charles R Saunders

Non-Fiction (histories, essays, and arguments) Afrofuturism And The World Of Black Sci-Fi & Fantasy Culture by Ytasha Womack Afrofuturism 2.0: The Rise Of Astral Blackness edited by Reynaldo Anderson & Charles E Jones The Black Imagination: Science Fiction, The Future, and The Speculative by Sandra Jackson & Julie E Woody-Freeman Afro-Futures & Astral Black Travel by Juice Aleem The Sound Of Culture: Diaspora & Black Technopoetics by Louis Cude Soke Black Utopia: The History Of An Idea From Black Nationalism To Afrofuturism by Alex Zamalin Afrouturism Rising: The Literary Pre-History Of A Movement by Isiah Lavendar III A Pure Solar World: Sun Ra & The Birth Of Afrofuturism by Paul Youngquist Where No Black Woman Has Gone Before: Subversive Poryrals In Speculative Film & TV by Diana Adesola Mafe Black Kirby: In Search Of The Motherbox Connection by John Jennings & Stacey Robinson Super Black: American Pop Culture & Black Super-Heroes by Adilifu Nama Black Space: Imagining Race In Science Fiction Film by Adilifu Nama Black Super-Heroes, Milestone Comics, And Their Fans by Jeffery A Brown Emergent Strategy: Shaping Change, Changin Worlds by Adrienne Marie Brown

*cover image from Ytasha Womack’s “Afrofuturism: The World Of Black Sci-Fi & Fantasy Culture”

(please post anything I might have left out in the comments) 

[fictiontheory]

Sometimes I get too in my head with my writing. Especially about my smut. I reread every last word with the most critical of eyes and think, Ooh is that cringe? Will that be too graphic? Will this word or phrase take people out of the scene?

And then I read a book. A published, hardcover, NYT bestsellers list book and...

Did you get that?

Someone looked at this sentence (likely more than one someone, tbh) and was like, 'Yeah. We'll print that.'

So the moral of the story, my fellow heathen smut writers, is that we're fine.

As a matter of fact, we're actually fucking amazing.

[fictiontheory]

Daily Writing Challenge

Write 5 sentences for your WIP right now. (x)

Imagine a place where you would like to be and write about what you would do there. (x)

What are your OCs pet peeves? (x)

Write a 10 sentence long short story about the object next to you. (x)

Write a summary for a book you would love to read. (x)

Write down 10 words that describe your MC. (x)

Write a micro story about an unusual love. (x)

Explain your MCs motivation in 3 sentences. (x)

Write a poem about an empty house. (x)

Write a 5 sentence long short story from three different perspectives. (x)

What nicknames does your MC have and who gave them to them? (x)

Write a new piece of lore for your WIP. (x)

Write a micro story about someone saying "thank you". (x)

Write about one your OC's tattoos or someone getting one done. (x)

What do you admire about your MC? (x)

Write the dialogue for a scene that's been on your mind. (x)

Write a road trip scene. (x)

Write about your MCs favourite outfit. (x)

Write about something that you can see from your window. (x)

Write about a normal day in your MC's life. (x)

Write 100 words today. It doesn't matter about what. (x)

Write a funny scene. (x)

Write down everything on your mind for five minutes. (x)

Write about your OC's first meeting. (x)

Write a scene in a grocery store. (x)

Write a micro story about an artist and their muse. (x)

Write an end scene, without the beginning. (x)

Write 10 sentences for your WIP right now. (x)

If you like my blog and want to support me, you can buy me a coffee or become a member! And check out my Instagram! 🥰

[fictiontheory]

Followers, please circulate this around (all, like, five of you)

For those who didn't know: https://slate.com/technology/2024/09/national-novel-writing-month-ai-bots-controversy.html

As a disabled person, seeing the "but, but, disabled people" defense of AI is strange to me. Were a lot of disabled people campaigning to have AI?

I'm personally not happy about it. I'm also not convinced that it would really be as useful to disabled writers as some people are saying, especially in this context. I also haven't heard any of the disabled writers I know saying they felt a need for it.

But I don't know every disabled writer in the world, so I'm asking the question.

And if we could keep comments respectful of each other's basic humanity, that'd be great.

[fictiontheory]

hot artists don't gatekeep

I've been resource gathering for YEARS so now I am going to share my dragons hoard

Floorplanner. Design and furnish a house for you to use for having a consistent background in your comic or anything! Free, you need an account, easy to use, and you can save multiple houses.

Comparing Heights. Input the heights of characters to see what the different is between them. Great for keeping consistency. Free.

Magma. Draw online with friends in real time. Great for practice or hanging out. Free, paid plan available, account preferred.

Smithsonian Open Access. Loads of free images. Free.

SketchDaily. Lots of pose references, massive library, is set on a timer so you can practice quick figure drawing. Free.

SculptGL. A sculpting tool which I am yet to master, but you should be able to make whatever 3d object you like with it. free.

Pexels. Free stock images. And the search engine is actually pretty good at pulling up what you want.

Figurosity. Great pose references, diverse body types, lots of "how to draw" videos directly on the site, the models are 3d and you can rotate the angle, but you can't make custom poses or edit body proportions. Free, account option, paid plans available.

Line of Action. More drawing references, this one also has a focus on expressions, hands/feet, animals, landscapes. Free.

Animal Photo. You pose a 3d skull model and select an animal species, and they give you a bunch of photo references for that animal at that angle. Super handy. Free.

Height Weight Chart. You ever see an OC listed as having a certain weight but then they look Wildly different than the number suggests? Well here's a site to avoid that! It shows real people at different weights and heights to give you a better idea of what these abstract numbers all look like. Free to use.

[fictiontheory]

You should never create anything with a wide audience in mind. The so-called "general audience" doesn't exist; it's a fiction made up by advertising executives. Most of the time, great art and literature is made with the intention of pleasing no more than 4 or 5 specific perverts of the author's acquaintance

[fictiontheory]

I used to work for a trade book reviewer where I got paid to review people's books, and one of the rules of that review company is one that I think is just super useful to media analysis as a whole, and that is, we were told never to critique media for what it didn't do but only for what it did.

So, for instance, I couldn't say "this book didn't give its characters strong agency or goals". I instead had to say, "the characters in this book acted in ways that often felt misaligned with their characterization as if they were being pulled by the plot."

I think this is really important because a lot of "critiques" people give, if subverted to address what the book does instead of what it doesn't do, actually read pretty nonsensical. For instance, "none of the characters were unique" becomes "all of the characters read like other characters that exist in other media", which like... okay? That's not really a critique. It's just how fiction works. Or "none of the characters were likeable" becomes "all of the characters, at some point or another, did things that I found disagreeable or annoying" which is literally how every book works?

It also keeps you from holding a book to a standard it never sought to meet. "The world building in this book simply wasn't complex enough" becomes "The world building in this book was very simple", which, yes, good, that can actually be a good thing. Many books aspire to this. It's not actually a negative critique. Or "The stakes weren't very high and the climax didn't really offer any major plot twists or turns" becomes "The stakes were low and and the ending was quite predictable", which, if this is a cute romcom is exactly what I'm looking for.

Not to mention, I think this really helps to deconstruct a lot of the biases we carry into fiction. Characters not having strong agency isn't inherently bad. Characters who react to their surroundings can make a good story, so saying "the characters didn't have enough agency" is kind of weak, but when you flip it to say "the characters acted misaligned from their characterization" we can now see that the *real* problem here isn't that they lacked agency but that this lack of agency is inconsistent with the type of character that they are. a character this strong-willed *should* have more agency even if a weak-willed character might not.

So it's just a really simple way of framing the way I critique books that I think has really helped to show the difference between "this book is bad" and "this book didn't meet my personal preferences", but also, as someone talking about books, I think it helps give other people a clearer idea of what the book actually looks like so they can decide for themselves if it's worth their time.

Update: This is literally just a thought exercise to help you be more intentional with how you critique media. I'm not enforcing this as some divine rule that must be followed any time you have an opinion on fiction, and I'm definitely not saying that you have to structure every single sentence in a review to contain zero negative phrases. I'm just saying that I repurposed a rule we had at that specific reviewer to be a helpful tool to check myself when writing critiques now. If you don't want to use the tool, literally no one (especially not me) can or wants to force you to use it. As with all advice, it is a totally reasonable and normal thing to not have use for every piece of it that exists from random strangers on the internet. Use it to whatever extent it helps you or not at all.

[fictiontheory]

We’re crowdfunding again 🤪

After securing a cheaper apartment & new jobs, our only car was stolen the day we moved in. we have been unable to consistently secure groceries and are hemorrhaging money paying for me to get to work at a job that is deeply affecting my health, keeping me from working regular hours.

please consider helping us buy groceries & pay for transportation!

cash: torkz428

paypal: torkz

[fictiontheory]

Creating Authentic Deaf and Hard of Hearing Characters: A Writer's Journal

Introduction

Creating authentic characters in your writing is essential for engaging storytelling, and this includes characters who are deaf or hard of hearing. To craft a character that accurately represents this community, it's crucial to do your research, gain a deep understanding of their experiences, and portray them with sensitivity and respect. In this journal, we'll explore how to write a deaf or hard of hearing character, including key information and preparation steps.

Understanding Deaf and Hard of Hearing Characters

Research: Start by researching deaf and hard of hearing individuals' experiences, challenges, and culture. Read books, articles, and personal stories, and watch documentaries or interviews featuring members of the Deaf community.

Consult with Experts: Reach out to members of the Deaf community or experts in Deaf studies to gain insights into their experiences. They can provide invaluable guidance and help you avoid common misconceptions.

Diversity Within the Community: Understand that the Deaf and hard of hearing community is diverse. Some individuals communicate using sign language, while others rely on lip-reading, cochlear implants, or hearing aids. Be aware of these differences when creating your character.

Character Development

Backstory and Identity: Consider your character's background. Were they born deaf or did they become deaf later in life? How do they identify within the Deaf community? Understanding their identity and experiences will shape their character.

Language and Communication: Decide how your character communicates. Are they fluent in sign language, or do they primarily rely on lip-reading and spoken language? Their communication style will influence their interactions with other characters.

Cultural Awareness: Explore the cultural aspects of the Deaf community. Understand the importance of Deaf culture, including its history, art, and values. Incorporate these elements into your character's life when relevant.

Writing Tips

Dialogue and Communication: When writing dialogue for a deaf or hard of hearing character, be mindful of their unique communication style. Use visual cues, body language, and facial expressions to convey emotions and context.

Access to Information: Consider the challenges your character may face in accessing information. This could involve issues with closed captioning, subtitles, or accommodations in educational or work settings.

Social Interactions: Depict social interactions realistically. Show how your character navigates conversations, group dynamics, and social events within their community and with hearing individuals.

Preparation

Sensitivity Readers: Consider hiring sensitivity readers who are part of the Deaf or hard of hearing community to review your work and provide feedback. Their insights can help you avoid stereotypes and inaccuracies.

Learn Sign Language: If your character uses sign language, take the time to learn at least basic signs. This will not only enrich your writing but also demonstrate your commitment to accuracy.

Beta Readers: Seek feedback from a diverse group of beta readers who can assess the authenticity of your character and offer constructive criticism.

Engage with the Community: Attend Deaf community events, workshops, or online forums to immerse yourself in the culture and better understand the perspectives and experiences of deaf and hard of hearing individuals.

Creating a deaf or hard-of-hearing character that resonates with readers requires dedication, empathy, and thorough research. By following these steps and embracing the rich culture and diversity of the Deaf community, you can create a character that is not only authentic but also promotes understanding and inclusivity in your writing. In addition—when writing dialogue for your deaf/hard of hearing character, remember:

It's important to clarify why, when writing dialogue for a deaf character, you should continue to use structured English grammar and not Sign Language structured grammar.

Maintaining Structured English Grammar:

Readability: Writing in structured English grammar ensures that the text remains accessible and comprehensible to all readers, including those who may not be familiar with sign language or Deaf culture. It avoids potential confusion that could arise from using sign language grammar in written text.

Universal Understanding: English is a global language, and adhering to its grammar rules allows for a wider audience to understand and engage with your story. Sign language grammar varies between different sign languages, making it less universally applicable in written form.

Respect for the Medium: While sign language is a rich and expressive mode of communication, it is primarily a visual and gestural language. Attempting to replicate sign language grammar in written text can be cumbersome and may not fully capture the nuances of sign language communication.

Balance of Realism and Readability: Striking a balance between authenticity and readability is crucial in storytelling. Maintaining structured English grammar while depicting a deaf character's interactions helps convey the character's experience without compromising the reader's ability to follow the narrative.

In summary, using structured English grammar when writing dialogue for a deaf character is a practical and respectful choice that ensures your writing remains inclusive and accessible to a broad audience while still authentically representing the character's identity and experiences.

As an illustration, consider the following text:

Dialogues with Descriptive Sign Language:

Sarah greeted John with a warm smile, her hands moving gracefully as she signed, "Hi, how are you?"

John returned the greeting in sign language, his expressions mirroring his words. "I'm good, thanks. Did you see the new movie?"

Sarah's eyes lit up as she signed back enthusiastically, "Yes, I loved it!"

[fictiontheory]

i'm AWARE this is a stupid hill to die on, but like. trope vs theme vs cliché vs motif vs archetype MATTERS. it matters to Me and i will die on this hill no matter how much others decide it's pointless. words mean things

[fictiontheory]

Zomg.

I haven't devoured a book this quickly or been so captivated by one since I myself was a confused neurodivergent baby queer dealing with religious abuse. Not as intense as the main character endures, but it was real.

I'd give anything for a time machine to hand this book to my younger self and many others around me at the time who couldn't, at that moment, picture what breaking free and taking ownership of ourselves would even look like.

So:

Amazingly written neurodiverse characters. ✅

Amazingly accurate depictions of what having sensory issues is like. ✅

Amazingly accurate depictions of what it's like when your brain devours facts and loves to share them. ✅

Amazingly written queer characters who get happy endings. ✅

Non-supernatural things done by human beings to other human beings being the real horror. ✅

A main character that drives the story like a freight train because curiosity and the refusal to surrender it is a superpower. ✅

Characters who's acceptance and accommodation of each others needs is a day saver and an underrated miracle. ✅

Best portrayal of the damage done by gaslighting and how it's an insidiously underestimated tool in an abuser's toolbox. ✅

"Because I can" being more than sufficient reason to give a damn about others and help them out. ✅

A character experiencing the roller coaster of learning how much bullshit the world's been full of the whole time and then realizing it's not all bullshit - but that doesn't negate that, yeah, she can be trusted to know when something really actually is bullshit. ✅

A literal liar, liar pants on fire situation. ✅

Best self created scripture since Parable of the Talents by Octavia Butler. ✅

Capitalism as the most cursed enabler of evil and inventing work polo gothic as an aesthetic, thus saying so much without having to say anything at all. ✅

Proves Ian Malcolm's entire "Life finds a way" monologue applies equally to love. Because love is real. Not even the most oppressive, brutal, powerful regimes in history have been able to stamp it out. ✅

Leaves me wanting more books like this from Chuck Tingle and hoping us buckaroos won't have to wait too long for more, while being grateful for all the work and bravery it took to get this out into the world. ✅

[fictiontheory]

Writing tip #1: Write what makes YOU so excited that you pee your pants, not what you think will make OTHER people so excited that THEY’LL pee THEIR pants. This is called “The Pee Principle” and is the first and most important rule of writing.

[fictiontheory]

[fictiontheory]

Sorry if you've already covered this! How can you describe related events that have happened offscreen/are happening during the current scene without it becoming an info dump?

I know it's not necessary to actually have all these events as scenes since it would just become a bit tedious and make my plot drag, but I still need to reader to be aware of what's happening.

Working in Backstory & Off-Page Events

The first step is to figure out what information (from these backstory scenes and off-page events) is vital for the characters and/or reader to know. The second step is to work that information into the narrative bit by bit rather than all at once. Sometimes it helps to make a little timeline of your story, then look at all that vital information from the backstory and off-page scenes, and note when it's important for the characters to know that information. For example, if your characters need to know the outcome of an off-page battle right before the story's climax, you would start by marking the battle down on the timeline. If it's a battle that occurs over multiple days, mark the battle's beginning and end and any crucial points in the battle. Now you can look at how that battle plays out in comparison to on-page events, and you can think about how the characters might learn information about what's going on. Maybe a courier is sent from the battlefield to update the other characters, and that is the moment you work in that the battle isn't going very well. Then, later on, maybe the characters hear rumors that the battle has been all but lost, and maybe they hear details about a particularly bad skirmish. Finally, when the battle is over, maybe a survivor shows up to fill the characters in on the important details of what happened. See how this works the details in throughout the important points in the narrative rather than dumping it all at once? :)

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[fictiontheory]

I know adverbs are Controversial, but “said softly” means something different than “whispered” and this is the hill I will die on.

[fictiontheory]

Iiiiiiiiiii'm still standing

For all my tens and tens followers, thanks for still being here. For a while now I've kind of been Going Through It On Beast Mode, but it's slowly getting better.

I've been working on more writing infographics, and I'm also actually making progress on my current novel.

Right now my brain isn't processing long form reading, but it also doesn't want short stories, so I've started downloading lots of samples of books on my kindle again and I'm going to try to regularly post why I either didn't go for the book or why I did just based on that sample.

If anyone has any books they want me to sample - any ADULT genre - let me know. I'll read the sample and give my thoughts. As long as it's an ADULT genre.

[fictiontheory]

�� FELLOW WHITE WRITERS: THIS IS A VERY IMPORTANT ANNOUNCEMENT 🚨

just a reminder:

a black girl character growing her hair out long breaks more stereotypes than a black girl character having short hair

a black girl character getting to be soft and fragile breaks more stereotypes than a black girl character being strong all the time

a black girl character being protected and comforted by others breaks more stereotypes than a black girl character having no one to look out for her but herself

a black girl character being considered pretty or cute by other characters breaks more stereotypes than a black girl character being considered unattractive

not everything that is empowering for white girls is empowering for black girls

the sexism we face overlaps, but it is not the same