#8 tips for new writers

[mastersindigitalmedia]

Want to conquer the world of freelance writing? You may need a little help. Not to worry! We’ve got the tips you need to get ahead in this competitive sector.

[surpriserose]

So im watching this playlist of a bunch of youtubers reviewing the last decade of goodreads awards winner by genre because i love people rightfully shitting on goodreads but like? One of the ones i watched was romance because yeah obviously and the woman who reviewed was like really into the romance genre and im geniunely not trying to be a cunt but i dont understand how someone can be geniunely into the romance genre like!!!! You like books where nothing fucking happens? And a lot of her criticisms were like there wasnt enough romance because it was just a subplot or there was too much stuff from other genres and like.....yeah? You have to like you cant carry an entire book on one relationship like sure thats an opinion because i literally dont understand romance books but like????? Like idk im not trying to be a cunt but like WHAT is appealing about a pure romance book???

[hayatheauthor]

10 Non-Lethal Injuries to Add Pain to Your Writing

New Part: 10 Lethal Injury Ideas

If you need a simple way to make your characters feel pain, here are some ideas: 

1. Sprained Ankle

A common injury that can severely limit mobility. This is useful because your characters will have to experience a mild struggle and adapt their plans to their new lack of mobiliy. Perfect to add tension to a chase scene.

2. Rib Contusion

A painful bruise on the ribs can make breathing difficult, helping you sneak in those ragged wheezes during a fight scene. Could also be used for something sport-related! It's impactful enough to leave a lingering pain but not enough to hinder their overall movement.

3. Concussions

This common brain injury can lead to confusion, dizziness, and mood swings, affecting a character’s judgment heavily. It can also cause mild amnesia.

I enjoy using concussions when you need another character to subtly take over the fight/scene, it's an easy way to switch POVs. You could also use it if you need a 'cute' recovery moment with A and B.

4. Fractured Finger

A broken finger can complicate tasks that require fine motor skills. This would be perfect for characters like artists, writers, etc. Or, a fighter who brushes it off as nothing till they try to throw a punch and are hit with pain.

5. Road Rash

Road rash is an abrasion caused by friction. Aka scraping skin. The raw, painful sting resulting from a fall can be a quick but effective way to add pain to your writing. Tip: it's great if you need a mild injury for a child.

6. Shoulder Dislocation

This injury can be excruciating and often leads to an inability to use one arm, forcing characters to confront their limitations while adding urgency to their situation. Good for torture scenes.

7. Deep Laceration

A deep laceration is a cut that requires stitches. As someone who got stitches as a kid, they really aren't that bad! A 2-3 inch wound (in length) provides just enough pain and blood to add that dramatic flair to your writing while not severely deterring your character.

This is also a great wound to look back on since it often scars. Note: the deeper and wider the cut the worse your character's condition. Don't give them a 5 inch deep gash and call that mild.

8. Burns

Whether from fire, chemicals, or hot surfaces, burns can cause intense suffering and lingering trauma. Like the previous injury, the lasting physical and emotional trauma of a burn is a great wound for characters to look back on.

If you want to explore writing burns, read here.

9. Pulled Muscle

This can create ongoing pain and restrict movement, offering a window to force your character to lean on another. Note: I personally use muscle related injuries when I want to focus more on the pain and sprains to focus on a lack of mobility.

10. Tendonitis

Inflammation of a tendon can cause chronic pain and limit a character's ability to perform tasks they usually take for granted. When exploring tendonitis make sure you research well as this can easily turn into a more severe injury.

This is a quick, brief list of ideas to provide writers inspiration. Since it is a shorter blog, I have not covered the injuries in detail. This is inspiration, not a thorough guide. Happy writing! :)

Looking For More Writing Tips And Tricks? 

Check out the rest of Quillology with Haya; a blog dedicated to writing and publishing tips for authors!

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[heywriters]

Rescued Writing Links!

When cleaning out the HEY, Writers! Pinterest I moved some links here. The internet has changed a LOT since I started collecting these, so some links may include outdated info. All were still active when I made this, but it's been in my drafts for a hot minute.

Protip! In Firefox, check to toggle reader view when reading these (mobile: the page icon in the url bar; desktop: same icon or hit F9). This removes popups, ads, screen clutter, and often has an audio option.

Survivors of Internet Decay Award!

These active sites featured most often in my collections so they get the top of the list.

Helping Writers Become Authors

Mythcreants

Bryn Donovan

Getting Started (Ideas & Intros)

How to Start Writing a Book: Learn One Writer’s Process | Marian Schembari

How to Start a Story: 30 Opening Scene Examples | Bryn Donovan

Don’t Panic! What to Do When You Have Too Many Story Ideas | Faye Kirwin

How to Write a Killer First Chapter | Rae Elliot

How To Write A Captivating Opening Sentence

Outlining

How to Create a Flexible Outline for Your Novel | Faye Kirwin

Protagonists

How to Write Believable Characters | Bridget McNulty

4 Ways to Write a Likable Protag at the Start of the Character Arc | KM Weiland

5 Tips for Writing a Likable "Righteous" Character | KM Weiland

I Hate Your Protagonist! Want to Know Why? | KM Weiland

The Secret to Writing Dynamic Characters: It's Always Their Fault | KM Weiland

A Protagonist’s Moment of Realisation

Antagonists

Blurring the Lines: What Are Anti-Heroes and Anti-Villains?

Antagonists: Inner & Outer Demons | Kristen Lamb

How to Write Multiple Antagonists | KM Weiland

Character Building

The Epic Guide to Character Creation, Part 1 | Kylie Day

Pick Up A Bad Habit | Maggie Maxwell

How To Write Characters from the Opposite Gender | Rachel Poli

Top 4 Tips for Using Backstory in Your Novel | Diana Anderson-Tyler

Depicting Background Characters | Chris Winkle

Scene Building

The 5 Elements Of A Good Scene | Amanda Patterson

A New Way to Think About Scene Structure | KM Weiland

2 Ways to Make the Most of Your Story’s Climactic Setting | KM Weiland

8 Things Writers Forget When Writing Fight Scenes | Lisa Voisin

Descriptions

Master List of Facial Expressions | Bryn Donovan

Master List of Words to Describe Voices | Bryn Donovan

Master List of Physical Description for Writers | Bryn Donovan

Writer’s Guide to Serious Injuries and Calamities | Bryn Donovan

How to Ground Your Reader (in the setting) | Rachel Craft

The Forgotten Fifth Sense | Writer's Relief

Never Name an Emotion in Your Story | KM Weiland

Show, Don't Tell: How to Write the Stages of Grief | Ruthanne Reid

100 Words for Facial Expressions

Dialogue

How To Write Good Dialogue: Ten Tips | Irving Weinman

Seven Dialogue Don’ts | Jason Bougger

10 Keys to Writing Dialogue in Fiction | Katherine Cowley

Points-Of-View (POV)

What Every Writer Ought to Know About the Omniscient POV | KM Weiland

Motivation & Support

What New Writers Need To Know About Fear | Bryan Collins

How to Discover Your Writing Process with Gabriela Pereira | Kirsten Oliphant

Editing & Revising

18 Overused Words to Replace When Writing | Oxford Tutoring

An Easy Way to Immediately Improve Your Character’s Action Beats | KM Weiland

Want More Depth to Your Writing? | Sacha Black

How Much is Too Much Backstory? | Ellen Brock

Why Your Writing Sounds Weird (And What You Can Do About It) | Joe Brock

Self-Editing for Fiction Writers | Jenny Bravo

Favorite Revision and Editing Tricks

Short Stories & Flashfic

How to Write a Story a Week: A Day-by-Day Guide | Emily Wenstrom

How Flash Fiction / Microfiction Can Help With Your Writing | Rhianne Williams

Worksheets & Downloads

Writing Worksheet Archive

If anyone out there loves making lists and wants to transport this to another site, you have every right to do so! Just let me know in a reblog so I can share it here again :)

---

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Visit my Pinterest & Unsplash for visual inspiration

[frost-queen]

Tempting fate // part 3 (Reader!Featherington x Colin Bridgerton)

Forever tag:@missmelodramatic, @merlin-dahlia, @alex--awesome--22, @elllie-does-the-posts, @floatlosers, @merlieve, @queen-of-books, @glimmering-darling-dolly @denkisclown, @wildieflower, @meyocoko, @bubblybrianna, @justanothercoco, @subjecta13-thefangirl, @m-rae23, @harleyquinnswifeyfrfr, @swampthing07, @melsunshine, @panhoeofmanyfandoms, @venomsvl, @the-uncoordinated-house-cat, @rosecentury,  @imagines-by-her,  @evilcr0ne, @vviolynn, @iixchloee, @cherrysxuya, @dutifullyannoyingfox, @wolf-phoenix-lover, @mellowdreamlandpost-blog, @markive-m, @esposamultifandom, @mswwvaleska, @itsalyssadawnuniverse, @magical-spit, @winter-solstice24

Summary: Penelope tries her effort into turning Colin's eye to her. Realization hits you as you have a hunch of who the writer of Lady Whistledown is. Bad blood brewing between sisters.  [ part 1 & part 2 & part 4 & part 5 & part 6 & part 7 & part 8 & part 9 & part 10]

You had excused yourself from Colin, heading back inside. Where the warmth wrapped around you like a blanket. The loud muttering deafening out your clear hearing. A pair of dancers almost knocked you over when you rushed by. Coming to the window, where you had spotted your sister, she was gone. The spot empty. Looking around suspiciously, you wanted to know where she had gone too. Some bystanders glanced your way, whispering as you ignored them.

You could care less about them. Getting on the tips of your toes, you tried to overlook a few high heads. With your sister’s new wardrobe it wasn’t easy to spot her. Her bright colours exchanged for more plain colours. Blending more easily with the others. Turning your head, your eyes widened brief seeing that Colin had returned inside.

Looking searchingly around as well. You dropped your feet flat on the ground, lowering in height. Ducking a bit, you didn’t want Colin to find you. Some lords pulled their noses up at your curious and suspicious behaviour. Finding your way to the crowd lowered as if you were looking for a lost earing.

Lifting your head a bit, you came in contact with Benedict Bridgerton. He sat down, mouth half stuffed with a sweet, the half bitten part in his hand. You smiled sheepishly at him. Benedict moved his free hand to the side, pointing. You followed his point seeing him point at your mama. You thanked him with a nervous smile.

Straightening your back a bit, you walked off casually. Benedict quirking his eyebrow up at your strange, but funny acting. You pretended to make your way over to mama, till you hopped aside, disappearing into the crowd. Where ever could she be? Looking left and right. Then your eyes locked. Pinpointing her.

She stood by the walls, her dance card dangling down her wrist. Her gaze was focused elsewhere. Not far from her stood a group of ladies. Chattering away. Your sister tilting her head a bit, as if being able to hear better. Her expression emotionless. Silently you made a big turn around to reach her out of surprise.

You reached the walls, practically glueing yourself to it. Your reputation was already ruined by gossip, so you could care less for your mischievous acts. Quietly you approached her. Coming to stand beside till she noticed the company that had joined her. She glanced at you. – “Are you not dancing sister?” – you asked gesturing at the dancers. Penelope kept looking in front of her. – “I am trying not to draw any attention to myself.” – she replied. – “I saw you with Colin earlier.” – she added leaning a bit to you.

You clasped your hands together below, leaning a bit forwards. – “What a keen observation sister.” – you answered with a hint of sarcasm. You caught her looking, smiling intentionally at her. Penelope smiled back at you. In silence you both stood, looking away from each other. For the first time in forever it felt awkward standing with your sister. As if being near a stranger. You became aware of some curious eyes once more.

Seeing their heads come together to whisper and gossip. Ladies and lords probably discussing your purity. It hurt. Seeing the entire ton be against you, but perhaps you deserved it. After all you did kiss Colin. Not your intended, not your fiancé and certainly not your husband. Despite all the lies and the hurt, a part of you deserved it. Deserved to be judged like that.

“Best not to draw attention to yourself.” – Penelope spoke softly. It made you widen your eyes at her. Turning around, you left feeling already judged too much. You returned to mama, waiting there till the dreadful ball was over. The carriage ride back home was horrible. Your mother sighing loud as she undid one of her pins from her hair. – “This is a nightmare.” – she called out.

“I’ll have to marry my daughters off to farmers at the rate of this. Congratulations daughters, you better get used to the life of work.” – she said sarcastic. Phillipa busted out in tears, leaning her head against Prudence’s shoulder. She sighed again. – “I had such high hopes for you Y/n. Guess I overrated you.” – she turned to look outside.

Her comment made you lower your head, letting your hands slip in the folds of your skirt. The carriage hobbled on the cobble stone as it rode into your street. Mama got out first, your sisters following. You got out last, feeling miserable as hell. You immediately went to your room, crying on your bed.

Penelope lifted her head up as the door to the Parlor opened. Colin Bridgerton entering. – “Colin.” – Penelope spoke getting up. Colin bowed to her, before approaching him. – “To what do we owe the pleasure?” – she let out with curiosity. –“Are… are you here alone?” – he asked. Penelope let out a soft ‘yes’. – “Would you like some tea?” – she offered, gesturing at the small table. Colin nodded. Penelope poured him some tea, handing him the cup.

Colin took a sip as Penelope was staring at him. It made Colin furrow his brows. – “What is it Pen?” – he asked almost humorously. – “Nothing.” – she responded mesmerized back.  It made Colin set the cup down with a sheepish chuckle. – “It is just…” – she started catching his attention. – “Your eyes…” – she began. – “A remarkable shade of blue.” – Gazing wondrously at him.

Colin stared back at her, caught up in her words. The front door opened as you entered alone. You walked past the Parlor, hearing your sister’s voice. – “and yet somehow they shine even brighter when you are kind.” – you heard her speak. Curious as to who your sister was speaking, you cautiously opened the door a smidge. Enough for you to look into the room, with one eye. Your eyes widening seeing her stand with Colin Bridgerton.

Colin cleared his throat, drinking his tea as if parched. You backed away from the door in stunned. Slowly figuring it out, you made your way over to the stairs. Stomping loudly as your presence was known now. Penelope turned around in shock. Colin with a quizzable brow. He moved forward, thinking perhaps an intruder had come to the house. Penelope’s eyes shifting thoughtfully, narrowing her eyes slightly.

Upstairs you rushed to your sister’s room. Swinging the door open as you didn’t bother to close it. Immediately you went towards her desk. Pulling the drawers open. Searching vigorously through the papers. Some flew out of the drawer from your force. On her desk stood a little box as you opened it, ruffling with your hand in it. Nothing. You went towards her dresser, searching through her clothing.

Nothing. The covers got pulled back from her bed. Nothing, not even under the bed. For a moment, you felt impatient. Biting your finger a bit. Till your eyes fell upon something else. You crossed the room, hearing a plank creek. It made you pause. Putting more pressure on it, to hear the difference. It creaked more.

Kneeling down you let your fingers brush over the wooden edges. Till you felt that you could lift the plank a bit up. Eyes widening, you pulled the plank up. Almost aggressively you forced your hands down to the wooden box and papers. Reading head line after head line. Dearest gentile reader. Dearest gentile reader. Dearest gentile reader. Throwing a few pages around you, you couldn’t stop reading them. All editions of Lady Whistledown you had read before.

The realization hitting you. The one who wrote such filth about you, was closer than you thought. Your own dearest sister. Quiet wallflower Penelope Featherington. Shy as a mouse, but loud with a mighty pen. In shock, you got up, holding numerous pages of filth. There were rushed footsteps on the stairs. Penelope barging into the room as she bumped against the doorframe, panting.

Her eyes widened at the sight of you with her papers. You slowly looked up to her, holding the numerous papers up. – “You… you did this…” – you said still trying to process your discovery. – “I can explain.” – she started coming closer.  – “Filth after filth!” – You started throwing pages at her. Penelope got started as some pages flew against her.

“You wrote about me!” – you screamed out throwing the last of pages at her. Bending down, you picked up a few more. – “Does this satisfy you sister!” – waving the pages at her. – “I saw you with Colin!” – Penelope called out full of emotion. It made you throw the pages at her out of anger. – “So you decided to write lies about me!” – you yelled at her. – “You know I like Colin!” – Penelope answered justifying her acts. It made you scream in agony. – “If you just stayed away from him, I wouldn’t have to write about you!” – Penelope made clear.

Pacing around, you felt yourself get emotional. Lip trembling as you tried your best not to cry. – “You are the devil!” – you cried out with tears in your eyes. Penelope swallowed, finally cracking to her own emotions. – “It was only meant to teach you a lesson.” – she said. – “Is that what you were doing?!” – you shouted at her. – “By writing about me in your latest sheet! By telling the entire world about things I entrusted you with?” – you finished with anger.

“It was the only way I could convince you to leave Colin alone.” – she responded with emotion in her voice.  You took a step forward to her, wiping your cheek clean. Your expression turning cold. – “The only person you were interested in glorifying was yourself!”

Penelope briefly looked away. – “I do not even know you.” – you said to her taking a step back from her. You turned away from her, wiping more tears away that kept coming. Penelope’s expression changed with anger. – “All you ever do is talk about your sisters!” – Penelope called out in frustration. – “You’ve all these dreams and ambitions, but I am the one who did something great, and you cannot stand it!” – She yelled out.

You returned to your sister, inhaling deep. – “I wish to never see or speak to you again.” – you told her coldly. You went towards the door till you stopped, finger thoughtfully against your lips. – “I wouldn’t put your hopes on Colin, Pen.” – you said to her. – “He’s not interested in you.” – you let her know, wanting to have the final blow.

Your words cut like a knife through her heart, making her gasp soft. You left her room, crying your eyes out. Penelope grabbed a pillow and threw it in agony at the wall. Rushing down the stairs, you didn’t expect Colin to still be here. – “Y/n?” – he said with concern at the foot of the stairs. With a trembling lip, you walked over to him, wrapping your arms around him.

Colin got startled for a second. – “What is wrong Y/n?” – he asked, moving his arms around you. You only wrapped your arms tighter around him, wanting him to comfort you. Colin hugged you better, stroking your back. Penelope had come into sight, standing at the railing of the stairway, looking down at Colin and you. You curled up a smile, knowing your sister was watching.

You moved a bit back in the hug as Colin saw the tears on your face. He touched your chin, concerned for you. – “What happened Y/n? Who hurt you?” – he wanted to know. You simply turned your head, looking at your sister up on the second floor. Colin looked past you to her as well. Penelope gripped onto the railing, staring bitter down. – “Pen?” – Colin asked you confused.

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Read more of my fics on my Masterlists!

[tc-doherty]

TC's Practical Writing Tips

Like I said before, I'm not gonna sit here and pretend that I can teach anyone how to write – that's a level of hubris even I'm not capable of –but in honor of my rapidly approaching ~quarter century of writing original fiction anniversary~, I did figure I would share the tips that I live by when it comes to the act of writing.

So without further ado:

Write it now, fix it later

2. It is always permissible – and usually enjoyable – to write the stupidest possible version

3. "Inspiration" is great for poets, but poison for people who write prose

3.1: if you want to write often, you need to write often, and then you will find that you don't need to be "inspired" because you will have made a habit of it and it will come naturally 3.2: even one sentence a day is still one sentence a day. And even one sentence a week is still one sentence a week. It does not matter how slowly you go as long as you do not stop 3.3: believing in the concept that you need to be inspired to write will trap you into believing in the concept of writer's block 3.4: if you are having difficulty getting out words that satisfy you, lower your standards and keep writing (see point one)

4. A few months down the line you will not remember which words came easily and which words did not

5. It is always permissible to set a project aside for now, or forever, if you need a break

6. Read widely and often, both in your favorite genres and outside of them

6.1: pay special attention to both things that you love and things that you hate - study them, engage with them, learn what makes yourself tick and your writing can only get stronger

7. Never write for the lowest common denominator, via wise words I once heard: "if you open the window and make love to the world, your story will get pneumonia", have an audience in mind and the people who like what you write will find it

8. Never write for the bad faith critic, those people will always exist and you will need to deal with them at some point if you put your writing in the world, but they don't matter and you cannot live in fear of them

9. It's fine and normal to want engagement and praise, however you must find a way to make the act of writing joyful in and of itself – make the praise the cherry on top, not the entire sunday

9.1: writing is hard work, and it's a lot of work, if you lose the ability to enjoy the journey and are proceeding only for external rewards from others, you will gradually write less and less if the ratio of work to rewards is unsatisfying

10. For anything other than final copy editing, always write a new draft into a new document, or else the words you have already written will trap you from being able to make large, sweeping changes

10.1: any change you make will invariably snowball, and you must give space for that snowball to roll

11. If someone tells you that something doesn't work for them, believe them, because people know what they like. But if people try to tell you what to do to fix it, take that with an entire serving of salt because you are the author, not them

12. It is always morally correct to look at a critique that you received, even if you asked for opinions via beta reading, and decide that it's bullshit and doesn't apply to you

13. "write what you know" means "write what you're interested in"

14. "Show don't tell" applies to screenwriting, not novels. This is the thing that drives me the most insane every time I see it. Novels are words on a page, not images on a screen. They require a lot of telling. Not all telling, but a lot of telling. Become comfortable with that.

15. It is always, ALWAYS acceptable to use "said", do not listen to the lies of others

16. Have fun, do it out of love and you will never go astray

17. Become comfortable with who you are. Your work is always going to be yours and it is always going to sound like you wrote it, and this is a good thing! No one else is ever going to write exactly like you, and you should be proud of that

17.1: the concept of "originality" is vastly overrated, every culture has some version of Cinderella and we still love it. Your writing is yours because you wrote it, and it will always be unique because of that

[heretherebeturtles-comic]

How long does the process take you to get one (or more) comic page done? I love the idea of making comics but i suck at structure, you know with the script and posting/layout. I was wondering if you had any tips or what you wish you knew before you started.?

Sorry if this had been asked before

OOOooooo a fun question for me!! I love talking about comic creation :D

I do my best to keep the full process under 2 days (or 12-14 hours of work) per fully coloured page. I'm trying to get faster, but speed comes with time and experience.

Hmmm as for tips and things I wish I knew... so many things... I should let it be known that I am an artist and not really a writer, but your questions are focused on script/planning/structure, so I'm going to focus the advice on that.

Start with something small - Learn about making comics and find a comfortable style through making a couple smaller comics and then try your passion project. Writing and planning smaller comics with fewer pages takes a different kind of puzzle solving and thought process. Smaller page limits can force you to try new things which you can then apply to larger projects to save time; limitations breed creativity after all. Every attempt made (even an unfinished project) is knowledge gained that you can apply again for future projects.

Study comics! - It's hard to create if you aren't feeding the mind and giving it things to learn and create from. Read comics made by professionals and study how they handle pacing. How many pages are they dedicating to each moment? What do you think of their pacing and what would you change? Take a sketchbook and make small rectangles and draw out the panel layout from that comic. What are they doing that works and what don't you like about it? How would you do that differently? ... I think this is me assigning homework... i am so sorry.

Set a hard page limit - Try to get your story told within that limit, and then add more pages if necessary. More pages = more time you have to spend working on it. Most standard single issue American comics are roughly 24 pages. I try to work inside that limit using a rough 5 page per scene structure.

Condense or Cut - I struggle so hard with this one, but comics aren't written in the same way as a novel is. They have a slightly different plot structure and a much more limited amount of pages to tell the story in. Obviously it depends on the story being told, and what kind of scenes are important to that genre of story, but in general, unnecessary scenes should be cut out. examples...

CUT! Having the characters go out to get ice cream is cute, but you don't need to show them each ordering their ice cream unless the flavour they choose is an important plot point. Skip to the last one receiving their ice cream and turning to the others who already have theirs and are having that deep discussion. OR skip that scene entirely and have a quiet panel of them sitting in the park at sunset, already holding their ice cream, before delving into the deep emotional conversation they will be having.

CONDENSE! You can combine two scenes if you need to. If you have one scene where two characters are having a casual conversation and another where they are sneaking into a building? Stick them together. They can sneak AND talk and now you've only used up 5 pages instead of 10.

Comics take a LONG TIME to make!! - you have to make peace with that _(:Ⅰ」∠)_ Comics, especially full colour ones, are an extremely labour intensive and time consuming way of telling a story. If one page takes 1 day (8 hrs of work) and you have 24 pages, that is 24 days of working on one comic.

Thumbnails! - Draw the pages small and rough first! It's easier to plan things and mess around with the layouts when you don't have an emotional attachment to how the art inside looks. Once you have a layout you like, you can then draw it again in full page size and work on it from there.

Page and panel layouts are my favourite part of the whole process, I could talk forever about it, but I do not have the energy for it right now. I'll save panel/page layout for another time.

It doesn't have to be perfect!!! - IT DOESN'T HAVE TO BE PERFECT!!!! (shouted with excitement btw). Panels can be boring! A page can be extremely simple! The art can be messy! The dialog can be simple! The plot can go nowhere! In fact it is really really fun to make a messy imperfect comic on purpose. Destroy the perfectionist in you, because they will always and forever hold you back from actually creating things. "what if it's bad?" what if it's fun? what if you learn cool things?

Anyway, those are my tips/advice, idk if I actually answered what you were asking... sorry about all the time commitment ones, that is something I really wish I had figured out a few years ago lol.

Comics are fun to make and a lot of learning how to make them is just jumping in, encountering a problem, and then learning how to solve it.

[novlr]

How do I strengthen my writing? I tend to fall back on bad habits because I can't find good habits to replace them.

Building sustainable writing habits that really help you improve can be really difficult. Especially if you don't know where to look. So, here are 10 tips for building good writing habits that can help strengthen your writing!

1. Clear out your creative faucets

Step away from your project and do something else! Write something different. Let yourself write badly. Or just plain old take a break. Your writing will suffer if you're constantly forcing yourself to work on something that isn't bringing you joy.

2. Read voraciously

In the immortal words of Stephen King: “If you don’t have time to read, you don’t have time to write.” 

Read widely in your own genre and outside of it. Take inspiration from other authors, and read critically to see what they do well and what they could do better.

3. Read some bad writing, too

Breaking down exactly why a piece of writing doesn't work for you can be super helpful for understanding what to avoid in your own work. 

4. Try on different writing styles

Try out different approaches to storytelling to find the voice that feels most like yours. You might find yourself attracted to descriptive, sensory prose, or more to austere and pointed prose. Your writing will be strongest when you're the most authentic self you can be.

5. Explore characterisation 

People are messy. Accurately and compellingly conveying this innate messiness is essential to creating a powerful story. Explore your characters and who they are, and if it's a character-driven story, don't be afraid to let them drive.

6. Make friends with your thesaurus 

A great way to make a piece of prose shine even brighter is to expand your vocabulary. There are a lot of words in the English language that mean similar things but have slightly different moods and tones. Finding the exact right word to convey what you’re trying to say will help your writing land more emphatically with your reader. 

7. Banish filtering words

Filtering is one of the most common mistakes new writers make. It involves describing a character’s sensations or feelings with filtering words like felt, saw, heard, knew, watched, or realised. This holds the reader at a distance and makes them feel like they’re hearing a story, rather than living it.

An example of filtering would be, “She watched the sun rise majestically over the mountains”. It would feel more immediate to simply say, “The sun rose majestically over the mountains”. The reader already knows your point-of-view character is watching; now, the reader can watch it with them. 

8. Glare disapprovingly at the passive voice

Passive voice isn’t necessarily wrong all the time, but nine times out of ten, it will slow down the pace of your story and encourage the reader to lose interest in your characters. Passive voice means having something done to a character — “John was punched in the face by Nick” — instead of a character actively doing something: “Nick punched John in the face”.

9. Familiarise yourself with story structure

The best stories follow an established plot structure, and follow it so smoothly that the reader doesn’t even realise there’s an ancient storytelling template behind it. These structures are designed to introduce just the right amount of tension and suspense and to give the reader the ideal payoff by the end. Rather than being formulaic, they help with pacing and plot development.

10. Get peer feedback

Finally, the best way to make your work as strong as it can be is to get some feedback from other writers. This can be from a professional editor, a beta reader, or a collaborative writing group. Getting a second pair of eyes can help you catch plot holes or inconsistencies before you send your story out into the world.

Want to know more? Read the full post at the link below!

[2soulscollide]

tips to level up your writing skills

1. read, read, read

okay, I know, everyone keeps saying it... but it's true, and I truly believe the more you read, the better you write, because you come across different writing styles, different voices, new characters, and worlds. This applies to every writer, from amateur to professional.

2. practice makes perfect

another cliché, right.

but hear me out: I feel so much more confident about my writing skills when I write daily, rather than when I write a bit occasionally. you get lots of work done, see your book coming to life, and get better at it.

3. create an outline before you start writing

guysss, I know many people like to go with the flow, but I would recommend planning your novel before writing it, especially if it is one of your first projects.

when I started, I refused to plot my novel because I thought it was a waste of time, and I couldn't plan it all ahead. turns out that I could never finish my novels, because I started to get lost in the plot. as most of you may know, I LOVEEE to plot now!

4. use active voice instead of passive voice

passive voice is alright sometimes. I like to use it, too. but to create an immersive experience for the reader, you should go for the active voice since it creates more impact.

see something like this:

"the letter was written by Marcus who had tears in his eyes." VS "Marcus wrote the letter with tears in his eyes."

such a basic example (don't judge me!!)... but can you notice the difference? it seems so much more expressive.

5. avoid using overly complex language

repeat it after me: short. sentences. are. valid.

don't overcomplicate it! I know it's tempting to write huge sentences sometimes and make your book seem more complex and professional, but sometimes it just doesn't come out as expected, and we end up exhausting our readers.

6. don't just for yourself

this can be a polemic topic. it's quite common to see people saying you should write for yourself, but let's be honest here: if you're trying to get your book published, you should have your target public in mind while developing your book. knowing your audience to know what works and what doesn't work is extremely important. but hey, you must also enjoy what you're writing!

7. use dialogue!!!

I find dialogue so important, and I love it so much! ensure you develop a distinctive voice for your characters to make them seem real to the reader. also, if possible, read the dialogue out loud and imagine if it would work out in real life.

8. don't be afraid to use metaphors

metaphors will turn a "basic" work into something more sophisticated when applied in the right places. you might want to avoid overusing it because it can ruin the experience, but it's something up to you, and what feels better to you.

9. research your topic before writing

okay, this is pretty self-explanatory. if you're writing about a topic or a location you don't know much about, avoid making assumptions or clichés. instead, do some research, take notes, or even ask chatgpt questions to help you.

10. don't be afraid to experiment and try new things

I was a fanfiction writer for a long time and was so scared to try original fiction because it seemed so much different from what I was accustomed to doing. however, once I decided to try something new, I discovered I liked to do it more than fanfiction. you'll never know until you try it!

11. never give up on your writing, keep practicing and learning to improve your skills

it takes time to acquire new skills, so if you're new to writing, please don't give up! It's fun and a long path, and I promise you'll love it, even more, the more you write!

I hope this was helpful! <3 have a nice day

also, i just released a new freebie!!! it's a free workbook for writers with over 90 pages to guide you through the process of plotting a novel. you might be interested in checking it out!! :D click here

[astrobiscuits]

Astro observations part 8

[LONG EDITION] - taken from my phone's notes (also, i was too lazy to edit it so here's a nice chunk of info)

🍂 Sun conjunct Saturn individuals inherit mindsets from the father, grandparents or great-grandparents. They might never fully act like their Sun sign (aka "shine"), since they've been conditioned from a young age to listen to parents, teachers, and later on bosses. They are the type to never divorce, no matter how toxic their marriage is. If these peeps deal well with their Saturn Return, they might become "THE BOSS" (aka the person everyone looks up to due to how accomplished, disciplined and rich they are, they've literally got their shit together and deserve a round of applause, "it wasn't easy to get to the top, but it was worth it" - you might hear them say this). They are also more prone to ingrain stoic principles in their lifestyle

🍂 Mars square Neptune gives off major cult leader vibes. They're the type to fool you with false promises until you sign up for their "camp" but then you realize it's actually an evil cult where all they wanna do is put you to work (and maybe later even kill you lol). These individuals become very scary when angry (you don't wanna see them angry, trust me). If they ever commit suicide, it'll be by drowning, alcohol or drugs

🍂 Mars trine Neptune is one of the best aspects for those who make a living off their talents. The talent depends on the element the trine is in:

If it's in Earth signs - ideal for those who work in the "money handling sector" in advertising, becoming an entrepeneur, holistic care (if Virgo is involved), cooks, those who work in interior design, seamstresses, embroidery/lace makers, models, event planners If it's in Air signs - ideal for those who work in sales (their negotiation skills are ✨chef's kiss👌🏻✨), becoming a spiritual/religious teacher or an art/music/any other creative pursuit teacher (lmao, i can't even speak💀💀), writers, musicians, magicians and astrologers (for the last two - if Aquarius is involved) If it's in Fire signs - ideal for dancers, theater/movie actors, hairstylists, circus performers, photographers (only if Leo is involved) If it's in Water signs - ideal for make-up artists, painters, tarot readers

🍂 Moon sextile Uranus individuals have got the ability to create a positive parasocial relationship with their followers. Since these people often use their devices to validate their emotions, i wouldn't be surprised if most of y'all also have atleast one active profile where you post quite frequently

PRO TIP: Whenever Transit Jupiter is trining/conjuncting your Natal Uranus (to a less extent also the sextile), you'll get a sudden boost in your followers count

🍂 This is a theory of mine that i've come up with and i'd love to hear your thoughts on it. When it comes to intergenerational astrology, i do believe that we inherit all of our personal planets placements from our parents and ancestors. But then you might say "But i don't act like my mother at all! This is bullshit!". I'm not saying we're all carbon copies of our family members. What makes us unique and distinguishes us from our parents and grandparents (or even great-grandparents) are the way the planets aspect each other in our birth charts and the planetary configurations between them. Basically we start from the same ground, but we all use our traits differently, whether for the better or the worst expression of them. Let's not forget that we also tend to go through different life experiences than our parents and grandparents; we might be blessed with different opportunities that might enhance our best traits and help us achieve what our ancestors always wanted to but weren't able to

Hope you enjoyed today's post, loves!💗💗💗 I've been wanting to post for a while now but my inspiration has been wandering alone in the Sahara Desert I can't promise that i'll start posting again more frequently (the new uni year is starting soon for me + i enrolled in a local astrology school 2 weeks ago🥳🥳 ya girl can't wait to officially become an astrologer) but my inbox will be open again for further questions! I must also thank you for helping me hit 500 followers!!! I'm probably gonna do another ask game once i hit 600 followers, as i'm too busy right now. As always, don't forget to drink water and take care of yourselves! Hope to see you soon! ˚₊‧꒰ა ☆ ໒꒱ ‧₊˚

[librarycards]

hello! i apologize in advance this is probably something that you get asked a lot. but do you have any recs on literary magazines to submit to? im a trans poet, ive been writing for over a decade but never shared anything and ive been wanting to try to send my stuff to get it published somewhere. obv ive been google searching but theres so many big and small publications and i was wondering if you have ones you like especially and/or tips on how to choose a magazine/journal to submit to. thanks a lot! <3

no worries, thank you for reaching out!! i've been publishing for like 8 years + an editor for almost 4, so i always appreciate the opportunity to help people new to the world find ethical publications that will treat their work with the care it deserves.

first and foremost: there are going to be pubs out there that are awesome and i don't know about. you may be the one to discover them for yourself! one aid in finding the best mag for your work is the wonderful, writer-created chillsubs. it's a fantastic platform that keeps a huge list of mags and presses and their relevant stats, and lets you create an account and bookmark those you're interested in. everyone i know uses them, and it's very worth it given the sheer volume of mags out there.

i also have some recs of my own, ofc. i'm going to list them below. if they pay (which i prioritize) I'll mark them with a $. some are trans/queer focused and some aren't, but all are pubs i've either edited and/or published with and can confirm their ethics + respect for writers.

manywor(l)ds - my mag! i'm co-founder and eic. break genre _ shapeshift with us. ($)

Sinister Wisdom - old, well-regarded lesbian+ lit mag, now open to everyone who is/loves a dyke. I'm guest-editing an issue on Madness with them, now open for submissions!

fifth wheel press - run by a beloved friend and comrade of mine. i've published here. excellent transparency, care, great for first-timers. ($).

kith books - headed by trans literary icon kat blair. a mag/press/community centered around bodymind non-conformity and noncompliance.

Honey Literary - QTPOC-centered, unabashedly pop-culture + social justice oriented. the vibes are simply immaculate.

Whale Road Review - not queer/trans focused, more oriented toward....'grown up' poetry/prose/pedagogy papers. Katie Manning (eic) is a fucking gem.

Graphic Violence Lit - just had my first experience publishing with them, and their care + consideration for the whole writer is amazing. they publish boundary-pushing work.

beestung - one of the brainchildren of Sarah Clark. nb/gq/2s SFF. I just edited a few guest issues w them and have published with them. amazing work. ($)

A Velvet Giant - genrequeer work. the editors are experienced, enthusiastic, and amazing at promoting writers long after publication. it's a family! ($)

Ethel Zine + Press - handmade with love by Sara Lefsyk (as you can see, trans/nonbinary/2s sarahs dominate indie publishing, as well we should :3). Sara is a sensitive and care-full editor and bookmaker whose every publication is a work of art.

Protean - pro- as in proletariat. awesome left mag with a mix of politics and culture and everything in between. they take reprints! ($)

Mudroom - publish your work along with a picture of your mudroom/shoe rack. very responsive editors who will hype you tf up. ($)

The Institutionalized Review - for psych survivors. the editors concreteness of vision and dedication to their community know no bounds.

Just Femme + Dandy - queer and fashion-focused! led by the inimitable Addie Tsai. They pay *handsomely*. ($)

In addition, there are also some "big" mags I have had excellent experiences publishing with and wanted to shout out. These are harder for a beginner to break into, but worth keeping on your radar + have been fantastic to me as a writer.

Electric Lit

Split Lip Magazine

The Offing

Nat. Brut

Santa Fe Writers' Project

Bodega

New Orleans Review

Augur Magazine

I hope this is helpful to you + others! the literary world is ever-changing and this is just a snapshot. Hopefully you find some that you like!

[thedivineart]

10 THINGS ABOUT YOUR FUTURE SELF AND LIFE

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ONE

cards: anchor, scythe, key, child, tower, snake, lady, cross, book, heart

1. You will be stable person in the future and may also be choosing to live near by the sea or you will own a yacht. This could also mean that you will work in cruise ships or a navy/marine. You will experience a long term relationship and it is pretty stable, and will become more goal oriented person.

2. You will cut something in your life that aren't serving good at all and just bringing negative in your side. On other hand, you could be possibly owning some land in country side.

3. Having child is important for you or your child is important for you. This also talks about that you feel safe being your true self or you learn to heal your inner child traumas.

4. You could work in schools or in education offices. You also be looking young even though you age.

5. You will becoming independent but you might also experience loneliness, if not then you will become cold individual. This could also mean will be powerful in people eyes or someone who were an authority level will feel jealous about you.

6. You will be deceive/manipulate by a woman in the future, this could be that you will experience being cheated.

7. A secret you will know in the future especially it involves someone who's pretty religious or if not, you will connect more into spirit and religious matter or you will be feeling unhappy about your relationship with a certain person before experience a long term relationship.

8. You could also be working as a writer or you will try to write books. This could also mean that you will be very focus about studying stuffs and be more educated/intelligent.

9. You will have a secret crush or a secret admirer or even secret love. This could be also mean that you will be meeting someone new and never been meet before.

10. You will become caring and generous in everything you have. For some here, I feel that you will have a hidden affair with someone else especially a mistress is keeping up showing but I feel you would not be aware of it.

TWO

cards: tree, rider, house, ship, letter, lady + garden, key, heart, bouquet, dog

1. You likely to pursue your dreams, goals and some of them you will achieve it. You probably someone who is future oriented and you want all of your plans to be true. This could be mean that you will own a garden/ a landscape or if not you become mature and stable individual and would take care of yourself. You would also be choosing to live near the nature and trees.

2. You will meet someone new that you never meet before or there will be a new situation that will enter your life and it brings you some new. You could be trying to do some exercise/ sports or if not be sociable

and well dressed person.

3. I think you will become protective about yourself and people you love in the future, this could be mean that you will become family oriented person and your relationship with anyone is stable and comfortable.

4. Your financial security will be found in different place or you will relocate in different place and will stay there longer or permanently. You will desire to live in foreign places or near at the sea.

5. You will love to travel in the future or you will work in foreign places or in cruise ships/navy/marine. This could also be mean that you may fall in love to someone who is foreign or meet someone in any social media platform.

6. You will make yourself proud and as well educated or if not, you will learn to master how to communicate smoothly with people especially if it is required to your career. If you are a man, you will meet a lovely lady who is pretty and with beautiful pair of hands or a beautiful woman is young, somewhat well known and sociable.

7. You might be invited to lots of events, party, occasion etc. This could also speaks about that you will be sociable(outgoing) and popular in the future. You will be the center of attention in the future but I think this would be in a good way. This could also talks about that your success will be known by the public.

8. You will become passionate and generous to people. You could also be feeling happy about your relationship with someone who's happen to be your great love. 9. You could be an owner of flower shop or there will be someone who you meet in Valentines day and will play a role into your life.

10. You will be a good friend to someone or you could meet someone who you will be treating as a great friend. You could be also owning some dogs in the future.

THREE

cards: ship, rider, crossroads, ring, bear, clouds, birds, child, bouquet, tree

1. Travelling will be the big part of your life in future; maybe your job is related to travelling or you could have friends that are foreign or possibly a foreign partner (spouse)

2. Being busy and keeping up active in everyday life. You could also be joining in some type of social activities especially sports.

3. You could be married two times or if not may involve in a third party. This could also mean that you will be giving two important decisions in life that will be hard to choose for you.

4. You might be planning to have a jewelry shop or you will be meeting someone in weddings or engagement party and this person will play an important role in your life. You will be marrying someone who is bossy.

6. Someone may deceit/betray or lie in you and this person you will trust them the most but will done something that will break your trust. For others, you will try to do smoking and drinking.

7. You will have two kids and possibly a twin children. This also mean that a lover (couple) will play a role in your future.

8. You could be also working with the children or if not (if female) you would want to stay at home and take care of your kids. You will also be having beautiful child.

9. You will be feeling happy and becomes friendly in the

future or you will be more attractive in the future.

10. You will balance your health, do some exercise and more connected to spirituality.

[hayatheauthor]

100 Dialogue Tags You Can Use Instead of “Said”

For the writers struggling to rid themselves of the classic ‘said’. Some are repeated in different categories since they fit multiple ones (but those are counted once so it adds up to 100 new words). 

1. Neutral Tags 

Straightforward and unobtrusive dialogue tags: 

Added, Replied, Stated, Remarked, Responded, Observed, Acknowledged, Commented, Noted, Voiced, Expressed, Shared, Answered, Mentioned, Declared.

2. Questioning Tags 

Curious, interrogative dialogue tags:

Asked, Queried, Wondered, Probed, Inquired, Requested, Pondered, Demanded, Challenged, Interjected, Investigated, Countered, Snapped, Pleaded, Insisted.

3. Emotive Tags 

Emotional dialogue tags:

Exclaimed, Shouted, Sobbed, Whispered, Cried, Hissed, Gasped, Laughed, Screamed, Stammered, Wailed, Murmured, Snarled, Choked, Barked.

4. Descriptive Tags 

Insightful, tonal dialogue tags: 

Muttered, Mumbled, Yelled, Uttered, Roared, Bellowed, Drawled, Spoke, Shrieked, Boomed, Snapped, Groaned, Rasped, Purred, Croaked.

5. Action-Oriented Tags 

Movement-based dialogue tags: 

Announced, Admitted, Interrupted, Joked, Suggested, Offered, Explained, Repeated, Advised, Warned, Agreed, Confirmed, Ordered, Reassured, Stated.

6. Conflict Tags 

Argumentative, defiant dialogue tags:

Argued, Snapped, Retorted, Rebuked, Disputed, Objected, Contested, Barked, Protested, Countered, Growled, Scoffed, Sneered, Challenged, Huffed.

7. Agreement Tags 

Understanding, compliant dialogue tags: 

Agreed, Assented, Nodded, Confirmed, Replied, Conceded, Acknowledged, Accepted, Affirmed, Yielded, Supported, Echoed, Consented, Promised, Concurred.

8. Disagreement Tags 

Resistant, defiant dialogue tags: 

Denied, Disagreed, Refused, Argued, Contradicted, Insisted, Protested, Objected, Rejected, Declined, Countered, Challenged, Snubbed, Dismissed, Rebuked.

9. Confused Tags 

Hesitant, uncertain dialogue tags:

Stammered, Hesitated, Fumbled, Babbled, Mumbled, Faltered, Stumbled, Wondered, Pondered, Stuttered, Blurted, Doubted, Confessed, Vacillated.

10. Surprise Tags

Shock-inducing dialogue tags:

Gasped, Stunned, Exclaimed, Blurted, Wondered, Staggered, Marvelled, Breathed, Recoiled, Jumped, Yelped, Shrieked, Stammered.

Looking For More Writing Tips And Tricks? 

Check out the rest of Quillology with Haya; a blog dedicated to writing and publishing tips for authors!

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[adastra-sf]

Stephen King’s Top 20 Writing Tips

King is one of the most successful speculative fiction authors of all time, and among other honors won the National Book Award in 2003.

His memoir / writing manual, On Writing: A Memoir of the Craft, offers a wonderful look inside his writing process. Here are 20 rules for writing success gleaned from the book:

1. First write for yourself, and then worry about the audience. “When you write a story, you’re telling yourself the story. When you rewrite, your main job is taking out all the things that are not the story. Your stuff starts out being just for you, but then it goes out.”

2. Don’t use passive voice. “Timid writers like passive verbs for the same reason that timid people like passive partners. The passive voice is safe. The timid fellow writes, 'The meeting will be held at seven o’clock,' because that somehow says to them, ‘Put it this way and people will believe you really know.' Purge this quisling thought! Throw back your shoulders, stick out your chin, and put that meeting in charge! Write, ‘The meeting’s at seven.’ There, don’t you feel better?” [note: something like "We meet at seven" is even more active.]

3. Avoid adverbs. “The adverb is not your friend. Consider the sentence, 'He closed the door firmly.' It’s by no means a terrible sentence, but ask yourself if ‘firmly’ really has to be there. What about context? What about all the enlightening (not to say emotionally moving) prose which came before ‘He closed the door firmly’? Shouldn’t this tell us how he closed the door? And if the foregoing prose does tell us, then isn’t ‘firmly’ an extra word? Isn’t it redundant?”

4. Avoid adverbs, especially after “he said” and “she said.” “While to write adverbs is human, to write ‘he said’ or ‘she said’ is divine.”

5. But don’t obsess over perfect grammar. “Language does not always have to wear a tie and lace-up shoes. The object of fiction isn’t grammatical correctness but to make the reader welcome and then tell a story… to make them forget, whenever possible, that they are reading a story at all."

6. The magic is in you. “I’m convinced that fear is at the root of most bad writing. Dumbo got airborne with the help of a magic feather; you may feel the urge to grasp a passive verb or one of those nasty adverbs for the same reason. Just remember before you do that Dumbo didn’t need the feather; the magic was in him.”

7. Read, read, read. “You have to read widely, constantly refining (and redefining) your own work as you do so. If you don’t have time to read, you don’t have the time (or the tools) to write.”

8. Don’t worry about making other people happy. “Reading at meals is considered rude in polite society, but if you expect to succeed as a writer, rudeness should be the second to least of your concerns. The least of all should be polite society and what it expects. If you intend to write as truthfully as you can, your days as a member of polite society are numbered, anyway.”

9. Turn off the TV. “Most exercise facilities are now equipped with TVs, but TV—while working out or anywhere else—really is about the last thing an aspiring writer needs. If you feel you must have the news analyst blowhard on while you exercise, or the stock market blowhards, or the sports blowhards, it’s time for you to question how serious you really are about becoming a writer. You must be prepared to do some serious turning inward toward the life of the imagination, and that means, I’m afraid, that [the talking heads] must go. Reading takes time, and the glass teat takes too much of it.”

10. You have three months. “The first draft of a book—even a long one—should take no more than three months, the length of a season.”

11. There are two secrets to success. “When I’m asked for ‘the secret of my success’ (an absurd idea, that, but impossible to get away from), I sometimes say there are two: I stayed physically healthy, and I stayed married. It’s a good answer because it makes the question go away, and because there is an element of truth in it. The combination of a healthy body and a stable relationship with a self reliant woman who takes zero shit from me or anyone else has made the continuity of my working life possible. And I believe the converse is also true: that my writing and the pleasure I take in it has contributed to the stability of my health and my home life.”

12. Write one word at a time. “A radio talk-show host asked me how I wrote. My reply—’One word at a time’—seemingly left him without a reply. I think he was trying to decide whether or not I was joking. I wasn’t. In the end, it’s always that simple. Whether it’s a vignette of a single page or an epic trilogy like The Lord Of The Rings, the work is always accomplished one word at a time.”

13. Eliminate distraction. “There should be no telephone in your writing room, certainly no TV or videogames for you to fool around with.”

14. Stick to your own style. “One cannot imitate a writer’s approach to a particular genre, no matter how simple what the writer is doing may seem. You can’t aim a book like a cruise missile, in other words. People who decide to make a fortune writing like John Grisham or Tom Clancy produce nothing but pale imitations, by and large, because vocabulary is not the same thing as feeling and plot is light years from the truth as it is understood by the mind and the heart.”

15. Dig. “When, during the course of an interview for The New Yorker, I told the interviewer that I believed stories are found things, like fossils in the ground, he said that he didn’t believe me. I replied that that was fine, as long as he believed that I believe it. And I do. Stories aren’t souvenir T-shirts or Game Boys. Stories are relics, part of an undiscovered, pre-existing world. The writer’s job is to use the tools in their toolbox to get as much of each one out of the ground intact as possible. Sometimes the fossil you uncover is small, a seashell. Sometimes it’s enormous, a Tyrannosaurus Rex with all the gigantic ribs and grinning teeth. Either way, short story or thousand page whopper of a novel, the techniques of excavation remain basically the same.”

16. Take a break. “If you’ve never done it before, you’ll find reading your book over after a six-week layoff to be a strange, often exhilarating experience. It’s yours, you’ll recognize it as yours, even be able to remember what tune was on the stereo when you wrote certain lines, and yet it will also be like reading the work of someone else, a soul-twin, perhaps. This is the way it should be, the reason you waited. It’s always easier to kill someone else’s darlings that it is to kill your own.”

17. Leave out the boring parts and kill your darlings. “Mostly when I think of pacing, I go back to Elmore Leonard, who explained it so perfectly by saying he just left out the boring parts. This suggests cutting to speed the pace, and that’s what most of us end up having to do (kill your darlings, even when it breaks your ecgocentric little scribbler’s heart, kill your darlings.)”

18. The research shouldn’t overshadow the story. “If you do need to do research because parts of your story deal with things about which you know little or nothing, remember that word back. That’s where research belongs: as far in the background and the back story as you can get it. You may be entranced with what you’re learning about the flesh-eating bacteria, the sewer system of New York, or the I.Q. potential of collie pups, but your readers are probably going to care a lot more about your characters and your story.”

19. You become a writer simply by reading and writing. “You don’t need writing classes or degrees any more than you need this or any other book on writing. Faulkner learned his trade while working in the Oxford, Mississippi post office. Other writers have learned the basics while serving in the Navy, working in steel mills or doing time in America’s finer crossbar hotels. I learned the most valuable (and commercial) part of my life’s work while washing motel sheets and restaurant tablecloths at the New Franklin Laundry in Bangor. You learn best by reading a lot and writing a lot, and the most valuable lessons of all are the ones you teach yourself.”

20. Writing is about getting happy. “Writing isn’t about making money, getting famous, getting dates, getting laid, or making friends. In the end, it’s about enriching the lives of those who will read your work, and enriching your own life, as well. It’s about getting up, getting well, and getting over. Getting happy, okay? Writing is magic, as much the water of life as any other creative art. The water is free. So drink.”

[physalian]

8 Signs your Sequel Needs Work

Sequels, and followup seasons to TV shows, can be very tricky to get right. Most of the time, especially with the onslaught of sequels, remakes, and remake-quels over the past… 15 years? There’s a few stand-outs for sure. I hear Dune Part 2 stuck the landing. Everyone who likes John Wick also likes those sequels. Spiderverse 2 also stuck the landing.

These are less tips and more fundamental pieces of your story that may or may not factor in because every work is different, and this is coming from an audience’s perspective. Maybe some of these will be the flaws you just couldn’t put your finger on before. And, of course, these are all my opinions, for sequels and later seasons that just didn’t work for me.

1. Your vague lore becomes a gimmick

The Force, this mysterious entity that needs no further explanation… is now quantifiable with midichlorians.

In The 100, the little chip that contains the “reincarnation” of the Commanders is now the central plot to their season 6 “invasion of the bodysnatchers” villains.

In The Vampire Diaries, the existence of the “emotion switch” is explicitly disputed as even existing in the earlier seasons, then becomes a very real and physical plot point one can toggle on and off.

I love hard magic systems. I love soft magic systems, too. These two are not evolutions of each other and doing so will ruin your magic system. People fell in love with the hard magic because they liked the rules, the rules made sense, and everything you wrote fit within those rules. Don’t get wacky and suddenly start inventing new rules that break your old ones.

People fell in love with the soft magic because it needed no rules, the magic made sense without overtaking the story or creating plot holes for why it didn’t just save the day. Don’t give your audience everything they never needed to know and impose limitations that didn’t need to be there.

Solving the mystery will never be as satisfying as whatever the reader came up with in their mind. Satisfaction is the death of desire.

2. The established theme becomes un-established

I talked about this point already in this post about theme so the abridged version here: If your story has major themes you’ve set out to explore, like “the dichotomy of good and evil” and you abandon that theme either for a contradictory one, or no theme at all, your sequel will feel less polished and meaningful than its predecessor, because the new story doesn’t have as much (if anything) to say, while the original did.

Jurassic Park is a fantastic, stellar example. First movie is about the folly of human arrogance and the inherent disaster and hubris in thinking one can control forces of nature for superficial gains. The sequels, and then sequel series, never returns to this theme (and also stops remembering that dinosaurs are animals, not generic movie monsters). JP wasn’t just scary because ahhh big scary reptiles. JP was scary because the story is an easily preventable tragedy, and yes the dinosaurs are eating people, but the people only have other people to blame. Dinosaurs are just hungry, frightened animals.

Or, the most obvious example in Pixar’s history: Cars to Cars 2.

3. You focus on the wrong elements based on ‘fan feedback’

We love fans. Fans make us money. Fans do not know what they want out of a sequel. Fans will never know what they want out of a sequel, nor will studios know how to interpret those wants. Ask Star Wars. Heck, ask the last 8 books out of the Percy Jackson universe.

Going back to Cars 2 (and why I loathe the concept of comedic relief characters, truly), Disney saw dollar signs with how popular Mater was, so, logically, they gave fans more Mater. They gave us more car gimmicks, they expanded the lore that no one asked for. They did try to give us new pretty racing venues and new cool characters. The writers really did try, but some random Suit decided a car spy thriller was better and this is what we got.

The elements your sequel focuses on could be points 1 or 2, based on reception. If your audience universally hates a character for legitimate reasons, maybe listen, but if your audience is at war with itself over superficial BS like whether or not she’s a female character, or POC, ignore them and write the character you set out to write. Maybe their arc wasn’t finished yet, and they had a really cool story that never got told.

This could be side-characters, or a specific location/pocket of worldbuilding that really resonated, a romantic subplot, whatever. Point is, careening off your plan without considering the consequences doesn’t usually end well.

4. You don’t focus on the ‘right’ elements

I don’t think anyone out there will happily sit down and enjoy the entirety of Thor: The Dark World.  The only reasons I would watch that movie now are because a couple of the jokes are funny, and the whole bit in the middle with Thor and Loki. Why wasn’t this the whole movie? No one cares about the lore, but people really loved Loki, especially when there wasn’t much about him in the MCU at the time, and taking a villain fresh off his big hit with the first Avengers and throwing him in a reluctant “enemy of my enemy” plot for this entire movie would have been amazing.

Loki also refuses to stay dead because he’s too popular, thus we get a cyclical and frustrating arc where he only has development when the producers demand so they can make maximum profit off his character, but back then, in phase 2 world, the mystery around Loki was what made him so compelling and the drama around those two on screen was really good! They bounced so well off each other, they both had very different strengths and perspectives, both had real grievances to air, and in that movie, they *both* lost their mother. It’s not even that it’s a bad sequel, it’s just a plain bad movie.

The movie exists to keep establishing the Infinity Stones with the red one and I can’t remember what the red one does at this point, but it could have so easily done both. The powers that be should have known their strongest elements were Thor and Loki and their relationship, and run with it.

This isn’t “give into the demands of fans who want more Loki” it’s being smart enough to look at your own work and suss out what you think the most intriguing elements are and which have the most room and potential to grow (and also test audiences and beta readers to tell you the ugly truth). Sequels should feel more like natural continuations of the original story, not shameless cash grabs.

5. You walk back character development for ~drama~

As in, characters who got together at the end of book 1 suddenly start fighting because the “will they/won’t they” was the juiciest dynamic of their relationship and you don’t know how to write a compelling, happy couple. Or a character who overcame their snobbery, cowardice, grizzled nature, or phobia suddenly has it again because, again, that was the most compelling part of their character and you don’t know who they are without it.

To be honest, yeah, the buildup of a relationship does tend to be more entertaining in media, but that’s also because solid, respectful, healthy relationships in media are a rarity. Season 1 of Outlander remains the best, in part because of the rapid growth of the main love interest’s relationship. Every season after, they’re already married, already together, and occasionally dealing with baby shenanigans, and it’s them against the world and, yeah, I got bored.

There’s just so much you can do with a freshly established relationship: Those two are a *team* now. The drama and intrigue no longer comes from them against each other, it’s them together against a new antagonist and their different approaches to solving a problem. They can and should still have distinct personalities and perspectives on whatever story you throw them into.

6. It’s the same exact story, just Bigger

I have been sitting on a “how to scale power” post for months now because I’m still not sure on reception but here’s a little bit on what I mean.

Original: Oh no, the big bad guy wants to destroy New York

Sequel: Oh no, the big bad guy wants to destroy the planet

Threequel: Oh no, the big bad guy wants to destroy the galaxy

You knew it wasn’t going to happen the first time, you absolutely know it won’t happen on a bigger scale. Usually, when this happens, plot holes abound. You end up deleting or forgetting about characters’ convenient powers and abilities, deleting or forgetting about established relationships and new ground gained with side characters and entities, and deleting or forgetting about stakes, themes, and actually growing your characters like this isn’t the exact same story, just Bigger.

How many Bond movies are there? Thirty-something? I know some are very, very good and some are not at all good. They’re all Bond movies. People keep watching them because they’re formulaic, but there’s also been seven Bond actors and the movies aren’t one long, continuous, self-referential story about this poor, poor man who has the worst luck in the universe. These sequels aren’t “this but bigger” it’s usually “this, but different”, which is almost always better.

“This, but different now” will demand a different skillset from your hero, different rules to play by, different expectations, and different stakes. It does not just demand your hero learn to punch harder.

Example: Lord Shen from Kung Fu Panda 2 does have more influence than Tai Lung, yes. He’s got a whole city and his backstory is further-reaching, but he’s objectively worse in close combat—so he doesn’t fistfight Po. He has cannons, very dangerous cannons, cannons designed to be so strong that kung fu doesn’t matter. Thus, he’s not necessarily “bigger” he’s just “different” and his whole story demands new perspective.

The differences between Empire Strikes Back and Return of the Jedi are numerous, but the latter relies on “but bigger” and the former went in a whole new direction, while still staying faithful to the themes of the original.

7. It undermines the original by awakening a new problem too soon

I’ve already complained about the mere existence of Heroes of Olympus elsewhere because everything Luke fought and died for only bought that world about a month of peace before the gods came and ripped it all away for More Story.

I’ve also complained that the Star Wars Sequels were always going to spit in the face of a character’s six-movie legacy to bring balance to the Force by just going… nah. Ancient prophecy? Only bought us about 30 years of peace.

Whether it’s too soon, or it’s too closely related to the original, your audience is going to feel a little put-off when they realize how inconsequential this sequel makes the original, particularly in TV shows that run too many seasons and can’t keep upping the ante, like Supernatural.

Kung Fu Panda once again because these two movies are amazing. Shen is completely unrelated to Tai Lung. He’s not threatening the Valley of Peace or Shifu or Oogway or anything the heroes fought for in the original. He’s brand new.

My yearning to see these two on screen together to just watch them verbally spat over both being bratty children disappointed by their parents is unquantifiable. This movie is a damn near perfect sequel. Somebody write me fanfic with these two throwing hands over their drastically different perspectives on kung fu.

8. It’s so divorced from the original that it can barely even be called a sequel

Otherwise known as seasons 5 and 6 of Lost. Otherwise known as: This show was on a sci-fi trajectory and something catastrophic happened to cause a dramatic hairpin turn off that path and into pseudo-biblical territory. Why did it all end in a church? I’m not joking, they did actually abandon The Plan while in a mach 1 nosedive.

I also have a post I’ve been sitting on about how to handle faith in fiction, so I’ll say this: The premise of Lost was the trials and escapades of a group of 48 strangers trying to survive and find rescue off a mysterious island with some creepy, sciency shenanigans going on once they discover that the island isn’t actually uninhabited.

Season 6 is about finding “candidates” to replace the island’s Discount Jesus who serves as the ambassador-protector of the island, who is also immortal until he’s not, and the island becomes a kind of purgatory where they all actually did die in the crash and were just waiting to… die again and go to heaven. Spoiler Alert.

This is also otherwise known as: Oh sh*t, Warner Bros wants more Supernatural? But we wrapped it up so nicely with Sam and Adam in the box with Lucifer. I tried to watch one of those YouTube compilations of Cas’ funny moments because I haven’t seen every episode, and the misery on these actors’ faces as the compilation advanced through the seasons, all the joy and wit sucked from their performances, was just tragic.

I get it. Writers can’t control when the Powers That Be demand More Story so they can run their workhorse into the ground until it stops bleeding money, but if you aren’t controlled by said powers, either take it all back to basics, like Cars 3, or just stop.

—

Sometimes taking your established characters and throwing them into a completely unrecognizable story works, but those unrecongizable stories work that much harder to at least keep the characters' development and progression satisfying and familiar. See this post about timeskips that take generational gaps between the original and the sequel, and still deliver on a satisfying continuation.

TLDR: Sequels are hard and it’s never just one detail that makes them difficult to pull off. They will always be compared to their predecessors, always with the expectations to be as good as or surpass the original, when the original had no such competition. There’s also audience expectations for how they think the story, lore, and relationships should progress. Most faults of sequels, in my opinion, lie in straying too far from the fundamentals of the original without understanding why those fundamentals were so important to the original’s success.

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