#New Novels

[morzyin]

Expectativas altíssimas para esse!

Undead Girl Murder Farcer (Ep 1)

[thewriteadviceforwriters]

Hello! Do you have any tips for writing 'geopolitical' relationships between kingdoms in a story?

In The Forgotten Legends of Chima, there are tribes of anthropomorphic animals (separated by species) who have their own lifestyle and culture. There are certain tribes with more privilege than others (e.g. some are more rich than others, some withhold more Chi than others), which of course will cause some kind of resentment from others. Not only that, but the actions the leaders/kings take also affect their relationship with other tribes. The people suffer from all of this too; if a king, for example, dislikes a certain tribe, his people will also dislike it too.

I'm trying to write these kinds of relationships as realistically as possible, because TFLOC's story is almost entirely based on the coexistence of Chima's tribes. How do you, or any other writer, tackle this in their stories? Any tips? Thanks :)

How to Write Geopolitical Relationships Between Kingdoms in Any Fictional Story

Thank you so much for this submission, I'll try my best to give you a professional, and detailed explanation so you don't have to do as much research as I did (lol).

Introduction

Geopolitical relationships are the intricate connections and dynamics that exist between kingdoms in a fictional world. These relationships play a crucial role in shaping the political, social, and economic landscape of your story. By understanding and effectively portraying these relationships, you can add depth and intrigue to your narrative. I'll try my best to provide you information and help you explore the elements of geopolitical relationships and provide tips on how to write realistic and engaging connections between kingdoms in your fictional story.

What are Geopolitical Relationships?

Geopolitical relationships refer to the intricate connections and interactions between different kingdoms in your fictional world. It encompasses various aspects such as geography, history, culture, and economics. These relationships determine how kingdoms interact, cooperate, or clash with each other, shaping the overall political and social landscape of your story.

Why are They Important in Fictional Stories?

Geopolitical relationships are important in fictional stories for several reasons. Firstly, they add a layer of realism and authenticity to your narrative, making the world you've created feel more immersive. By understanding the geopolitical dynamics, readers can engage with the story on a deeper level.

Moreover, these relationships serve as a catalyst for conflict and suspense. They provide opportunities for power struggles, alliances, betrayals, and dramatic plot twists. When done effectively, geopolitical relationships can captivate readers and keep them hooked throughout the story.

How to Write Realistic Geopolitical Relationships

(Now, the good part.)

To write realistic geopolitical relationships in your fictional story, you need to consider several key elements. These elements include geography, history, culture, and economics. Let me help you explore each of them in detail:

Geography

Geography plays a crucial role in shaping geopolitical relationships. Consider the physical location of the kingdoms, including their natural resources and borders. A kingdom located near valuable resources may have an advantage in trade negotiations or military capabilities. By understanding the geographical factors, you can develop realistic relationships between kingdoms.

History

The past interactions between kingdoms significantly influence their present relationships. Historical events such as wars, trade agreements, and alliances shape the attitudes, trust, and animosity between kingdoms. Take into account the history of your fictional world and the impact it has on the geopolitical landscape.

Culture

The different cultures of the kingdoms are an essential aspect of geopolitical relationships. Explore their distinct values, beliefs, customs, and social structures. These cultural differences can create tensions, misunderstandings, and alliances between kingdoms. By delving into the cultural aspects, you can enhance the authenticity and complexity of your geopolitical relationships.

Economics

Economic systems and trade relations are crucial factors in geopolitical relationships. Consider the economic capabilities of each kingdom and how they influence their interactions. Trade agreements, rivalries, and military capabilities are all elements that can be influenced by the economic dynamics between kingdoms. By incorporating these aspects, you can create more realistic and engaging geopolitical relationships.

How to Write Realistic Geopolitical Relationships

Now that we have explored the key elements of geopolitical relationships, let's discuss some practical tips on how to write them effectively:

Do your research: To create believable geopolitical relationships, take inspiration from real-world history and geography. Understanding how real nations interacted can provide valuable insights for crafting realistic relationships between your fictional kingdoms.

Be consistent: Once you have established the geopolitical relationships between your kingdoms, strive for consistency throughout your story. Ensure that the actions and decisions of the kingdoms align with their established relationships. This consistency will make the narrative more coherent and enhance the credibility of your world.

Use conflict: Geopolitical conflict can be a fantastic source of drama and suspense in your story. Introduce clashes of interests, political intrigue, and power struggles between kingdoms. Utilize the tensions and rivalries to create compelling conflict that drives the plot forward.

Don't be afraid to change things: If you find that the initial geopolitical relationships need adjustments to serve your story's plot, feel free to modify them. As long as the changes are well-justified within the context of your story, altering the relationships can add unexpected twists and keep readers engaged.

Conclusion

Geopolitical relationships are a vital component of fictional storytelling. By understanding and portraying these relationships realistically, you can enrich your narrative and captivate readers. Remember to consider the elements of geography, history, culture, and economics when crafting these relationships. By conducting proper research, maintaining consistency, utilizing conflict, and being flexible with adjustments, you can create engaging geopolitical relationships that truly bring your fictional world to life.

(That was a handful of words lol)

Additional Tips I Use for Writing Geopolitical Relationships in Fictional Stories:

Think about the motivations of the different kingdoms. What are their goals? What are their fears?

Consider the role of individual characters within the geopolitical landscape. How do they influence or interact with the different kingdoms?

Use the geopolitical relationships to create conflict and suspense in your story.

Don't hesitate to change the geopolitical relationships as your story progresses. Flexibility can lead to more exciting plot developments.

Copyright © 2023 by Ren T.

TheWriteAdviceForWriters 2023

[bimbo-graphic-novel]

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(a/n: I’m sorry for getting this chapter out so late. I’m currently living in and out of the hospital and going through a rough patch, so irregular updates may be expected for the next couple of parts, until I find some balance in my life. Thank you for understanding.)

[sithbelle]

Hi there. I'm going to be vulnerable for a moment. I wrote this book (working title "Synia") over the last 5 years, and finished it up back in April. Since then, I've been holding onto it, willing myself to send out queries. But the fear of rejection, and the knowledge that it's likely not a "sellable" book, has kept me back from actually sending out any letters. To force myself to do something, I'd like to share the prologue with you all. The story is about a pair of siblings who are Syniae, or creatures who have magical gifts based on synesthesia.

If you would like to know more, I'll be happy to blab on about it ad nauseam. If you know of any publishers or literary agents who are interested in such a story, please let me know. If this falls into the empty void, well...that's also feedback that I need. Thank you for reading the above, and I hope you enjoy the prologue below:

-----------------*-*-*-*-*---------------

Grey.

Everything was grey. The sky, the walls, the fog inside her head. Even her tormentor’s eyes were a piercing, unforgiving grey. It was the color that invaded her every thought from the moment she awoke until the moment she finally passed out.

Long ago, there used to be a spectrum. She vaguely recalled the melody of a forest green, the sweet sound of a tempting red, the echo of a vibrant yellow. That was an æon ago. Now, she was reduced to monochrome, the lifeless color of a rainy day.

Today, she had opted for a change of scenery. Instead of spending the entire day in bed, staring at the grey ceiling, she instead sat next to the grey-filtered transpane along one of the walls, watching the mist that enveloped the view.

Suddenly, the dreaded low, silky voice behind her called through the mental mist:

“Oh good, you’re up. I was beginning to wonder if I had finally broken you.” The disembodied tone had an air of amusement to it, as though it had told some clever inside joke.

She scowled in reply, but did not turn to search for the source of the voice. She had no words for the man. Words had color to them, and this Orb didn’t allow for that.

“I see. Just as conversational as ever,” mused her captor. “Come now, there’s no need for such reticence. We’re far beyond that. After all, we’ve both held up our ends of the bargain so far, and you can clearly see the benefits. You’re fully cooperative now and haven’t tried to escape in quite some time, and in return, your living quarters are quite generous, and I do try to make sure you’re well fed. For all intents and purposes, you are far more my guest than my prisoner at this point.”

And it was true. The sleeping room she was currently sitting in was rather large, and contained a bed, a small table, and two chairs, one of which she occupied. Attached to it was a respectable bathing room, complete with a tub. There was even a small cooking and eating room across a small, narrow hallway. She should have been comfortable. There were just two major problems: she was here against her will, and everything was that same damnable shade.

When she didn't hear the sound of her "host's" footsteps echoing away from her prison,

her curiosity and anger got the better of her. Almost subconsciously, she turned and gave the lurking man in the entryway a withering glance. To the prisoner, he was barely more than a silhouette. What little she could see was distorted into the same washed-out shade by the specially- filtered light. Slate shoes and the bottom half of a charcoal suit protruded into frame, along with a pair of ashen hands clasped in front of his sharkskin belt.

He responded to her glare by tugging slightly at the cuff of his sleeve, almost as if he were uncomfortable. It was a ruse, she knew; they had played this scenario out before. She turned back to face the table and transpane as the Grey Man strode in from the entryway behind her. His footsteps tapped a muffled rhythm on the shaggy grey carpet. In another life, she could have made a song from it. Now, it was just another sound to interrupt the monotony echoing pointlessly in her mind.

When he reached the remaining chair across from her, he paused before sitting, and instead looked down at her calculatedly for a moment. Then, he pulled her forward across the small, round table by her chin, forcing her brown eyes to meet his grey, separated only a couple centimeters. She was a bit taken aback at the action, but did not dare show it on her face. He had never been this aggressive before.

“Tell me, Synia, what makes you hate me so much? After all, you invited me. I merely gave you everything you asked for,” he purred.

Her eyes widened for a fraction of a second, then just as quickly returned to the hostile glare she had perfected in the last year. He had just given her the ability to escape, but he didn’t know it.

Yet.

She fought to keep her thoughts from showing on her face, taking care to ensure that the mask was firmly in place. Fortunately, he misunderstood the lapse.

“Ahhh, yes. The truth is rather uncomfortable, isn’t it? Just think: if your curiosity and desperation hadn’t gotten the better of you, you wouldn’t be here, and this whole mess could have been avoided. How selfish of you,” he said, almost a whisper. The man thrust her chin away, forcing her to break eye contact and instead focus on her balance. He smirked slightly as he stood up and faced the entryway.

“Still, I must be grateful. Thanks to you, I have been given the greatest gift of all. Because of your greed, I’m free to move as I wish, and every whim I could think of is catered to my specific design!” His voice rose slightly with each sentence, as if convincing himself that it was true.

He paused and when he spoke again, his voice was back to its usual silk: “Before too long now, I'll have cracked the code, and you will truly be at my mercy. I’m getting oh so close. This last experiment yielded some remarkable results that the bots are still analyzing. And when I do figure it out, I will be able to be rid of you for good. Until then..." He trailed off dramatically as he walked towards the door. She did not turn to watch him leave.

His footsteps paused behind her, and there was complete silence for several seconds. Her curiosity once again betrayed her. As she turned, she saw him standing with his back to her, the grey fob in his hand extended to unlock the door. However, he didn’t activate it. Instead, he had waited until he knew she was watching to leave his parting shot. His voice returned to the deadly not-quite-whisper:

“Well, that’s the only reason you’re still alive.”

He activated the fob, and the door clicked open. She had already turned back to face the transpane again by the time he had crossed over the threshold. There was a sound of the electomag lock bolt sliding back into place, followed by gentle footsteps that retreated back into the silence.

She closed her eyes and exhaled softly, like she had a million times before. Only this time, there was a monumental difference: he had finally made an error. He had been so careful in the last four-hundred-and-thirty-two days, sixteen hours, and twenty-two minutes to make sure that her entire life had no color except grey. Every single surface and feature had been carefully selected to prevent her from using her gift.

He had the bots shave her head every other day or so, leaving nothing but a faint, grey stubble. Her now threadbare clothes had been carefully selected to be comfortable, but monochromatic. There were no mirrors, and every surface that could have possibly held a reflection was scratched or matted down, so she could not see herself. And her tattoos…she still couldn’t think about that, even as she subconsciously touched the scars on her left forearm where one of them used to be. She was to be as much grey as the room itself. But they could not change her eyes.

Her brown eyes.

For an instant, as he held her gaze so close to his own, the filtered light was broken by his own shadow, and his wintery stare became twin mirrors. For the first time in three-hundred-and-ninety-six days, eight hours, and twenty minutes, she saw a color. And she remembered.

She remembered what brown felt like.

That tiny glimpse was all she needed. It was the spark of hope she had been waiting for, that she had almost given up on. She had a color; a good one, even. For the first time in her life, she was grateful that her eyes were the color of cesspools, as he had once described them.

Now all she had to do was focus, plan, and wait for the perfect moment. She had all the time in the Orb. After all, he stupidly thought she was beaten.

[almosthomefree-blog]

Happy to share a special pulp influenced alternate cover card for Faridah Àbíké-Íyímídé's new book 'Ace of Spades'. This is an exclusive pre-order bonus! Faridah is an exceptional talent, so do yourselves a favour and scoop this book up! #aceofspades

[minutiaewriter]

to my fellow indie authors/writers...

what platforms/social media sites have you used to successfully promote your work? my main gig is here on tumblr, but i've thought of expanding to places like instagram/twitter/etc.... thoughts? opinions? suggestions?

[hatterpillar-author]

"The barely-of-age drunkards from the nearby pub had started their nightly migration to the park, where they could lay in the grass and piss in the bushes - by far the most fascinatingly stupid way to waste one’s youth in the 21st century."

[sempaigreg]

Two friends reunited in loss.

A vacation ruined by violence.

A family decimated by tragedy.

A man, a murder, a monster.

A desperate chance at salvation,

𝙗𝙚𝙛𝙤𝙧𝙚 𝙞𝙩'𝙨 𝙩𝙤𝙤 𝙡𝙖𝙩𝙚!

𝐈𝐋 𝐋𝐔𝐏𝐎

Amazon

UK: tinyurl.com/lupobookuk

US: tinyurl.com/lupobookusa

[zibhcyv84vm6cn3]

Contemplation of Death (1) --- That, the way of death, that, world, and that, world, rabbit's suicide, dreamscape conversation, cage of words

Death is not something that can be taught or taught. Death can only be understood by those who have lived it. It may seem strange to live death, but such a form of life does exist. Whether such a life is conscious or not is unknown. There is purity without awareness, and there is purity with awareness. It must be said that there is inspiration before awareness. Such awareness of life is always accompanied by inspiration. Inspiration is an inherited inspiration, a chosen inspiration. Inspiration is also a sense of peace. The awareness of a peaceful death is a straight line to destiny. The gaze of the person is linearly envious of death. Death also looks at the human being. It must be said that a special kind of death is surely fulfilled there. We must say that this death becomes the world.

Death is not a mere phenomenon. Death as a phenomenon is too ordinary and banal. Nor is death a mere fact. The pronouncement of death as a fact says almost nothing. Death is not the answer to something, but the beginning of a question. It is from there that a new insight begins. A three-dimensional grasp of what is and what is not begins. This is to truly approach the subject, to be transformed into the super-individual. One righteous death is thus transformed into the possibility of another righteous death. Thus, the legitimacy of death is still inherited. Such a person exists. It is that world, which is steadily being handed over, kept calm, and will eventually be handed over. It is that world and that world, connected by a bridge.

There is an infinite envy hidden in the invention of a new death. There is an astonishing will. It is the will in the finitude of nothingness. The will is born only when nothingness perceives space in its finite cage. Therefore, the parents of will are time and space. Light has shone into the ocean of nothingness. Therefore, a troubled soul arises. It is an inspired soul, a soul bathed in pure rays of light. There may be detours, but eventually it is the soul that is promised a brilliant flowering. In its flowering, there is something that brings it closer to flowering. It is the unfolding as something to be approached, the vibration of the finite force-motion, the heartbeat of the vibration.

A melancholy death is an arrogant death. The man who reflects that he fishes for desire like an eagle, devours luxurious food like a tiger, and indulges his sexuality in the form of a lion, etc., is probably objectively slight in the power of his desire. It is as if a rabbit, in reflection on its own uninhibitedness, were to face its own face in the lake alone, deluding itself into thinking that it is the king of a hundred beasts. The little rabbit had left its nest and stayed up all night running around in the field. Then, exhausted, he tries to throw himself on a rock by a stream under the full moon. The next moment, with the overwhelming pride of "I am Satan incarnate," the rabbit commits suicide. What was nestled in the rabbit's soul was simply the seed of arrogance. But the destruction of its life, however, is precious.

Modern man, says a philosopher, has forgotten his wonder at the great and the profound. Modern man prefers the acute to the profound, the morbid to the healthy, the characteristic to the classical. Moderns prefer to criticize rather than to experience deeply themselves, to show off how sharply they can critique the experiences of others rather than to talk enthusiastically about their own experiences. They say, "How much better off society as a whole would be if people could immerse themselves in more intense dreams and live more innocently. We should not be fooled by such things. Those who are truly in their dreams would not be discussing the state of society. Dreaming must be literally unconscious. It must be a straight line of life. There is no intervention of others. Yet there is no solitude, not even a trace of solitude. We are all contained within the dream of death. Every dialogue is like a dream.

The view of life has its basis in the view of life and death. Man is able to choose his last moment, his death. In life in general, human beings have their own view of life. Every human being makes choices about his or her life path based on his or her own interpretation of experience, and the final choice is made at death. Many people desire a slow death and attempt slow suicide. Every human inclination is an act designed to bring about death. Drinking and smoking are the spells of life that bring death. Death occupies every part of human consciousness. The right person senses the abode of death in his or her being. Only by methodically and technically enhancing that feeling will there be a genuine way to die. Either way, we must avoid mere natural death. It is necessary to rephrase the natural-historical death of all mankind. We need to invent a word that brings individuality to a close. But the invention of the word will never come from the human side. It is given to us as something when we become aware of it. Only in this way can our language be fundamentally changed. Our thoughts are locked in a cage of words, so to speak.

Translated with www.DeepL.com/Translator (free version)

[adventure-alex]

Chapter 1: The Unremarkable Beginnings

In the mystical world of Jianghu, where martial prowess and cultivation techniques decided one’s fate, there existed a young man named Liang Chen. Amongst the disciples of the esteemed Heavenly Cloud Sect, Liang Chen was unremarkable, struggling to master even the most basic techniques. While his peers soared like dragons, he floundered like a fish in shallow waters. Liang Chen’s lack of talent…

[myxotesta]

"His home village lay at the bottom of a lake and was literally upside down. Aside from breathing underwater and choking out Myxotesta bubbles, Häranians could enrich their foot fins with gases. This created a buoyancy that allowed them to suck themselves into the upside-down paths of their cities. The marketplace and the pathways were constructed of the dark red wood of the mangrove forest. The bottle-shaped houses were made of baked clay with glass dome roofs. Shu was not alone in the marketplace with the hanging shelves of his stall."

Quote and illustration from my upcoming Fantasy novel "Gründämmerung". Soon available in German and English. If you like unconventional, strange Fantasy this book is for you!

[aineeirshad1]

I started to wrote novel recently. I recommend you to read.

Please read and tell me your views.

[lonerangerr]

Here's the spoiler of the novel,

"The Murder of Roger Ackroyd" by Agatha Christie.

The real murderer of Roger Ackroyd is the narrator 'Dr. James Sheppard' himself. He'd his own reasons for killing Roger Ackroyd. Very cleverly, he pretends to become the comrade of the detective 'Hercule Poirot' but still Hercule Poirot suspects him as a murderer.

[wondernwriter]

What the fuck is wrong with this country & humans as a whole??? Just because this fictional book takes place in Russia, they review bomb & get it cancelled?? OMFG! The mindset of these social media mobs (liberal & conservative) are INSANE. If you don’t like a topic or subject or setting of a book, don’t read it. If you don’t like the standup a comic does, don’t watch it. If you don’t like a beer for whatever reason, fine, don’t drink it. If you don’t like Pride parades, don’t go to one. But make it be your decision for yourself & not try to bully & shame others into doing the same. It’s called being an individual.

This is getting more & more sinister. The calls for canceling books, movies, music, artists, and events has gotten out of control. Companies need to start ignoring all backlash from either sides. It’s insanity. Yes, offensive things exist but they always have. People need to grow up & ignore the noise from social media

[roynovels]

also a writer need help I just published a Novel on Pocket Novel need a lot of support so help me plz.

It's my blog page link there u can find a working link my Pocket Novel released Novel Unworthy

My cartoon for yesterday’s @guardian books.

[nacho475]

Update: “Both Of my novels The Artist’s Raven & My own personal fanfiction book Alexandra’s Fanfiction that I wrote is complete and I am working on making copies and I will let you know when I will sell them once I open my Etsy shop these are the front covers of each.”