#Novel Writing

[regthomas1728]

So true. I'll watch, listen, or read content that is similar to the content I want to put out. It helps me see what goes right, what fits, and what doesn't for my story. I also know what I'm trying to do by finding what other people have already done.

Very good advice! I'm currently in a bout of writers block--plenty of ideas, lots of general vibes and good character development. No words.

Thanks for the advice, friend!

If you’re having writers block…READ!!!! CONSUME MEDIA

I feel like I don’t hear that given enough as advice for writers block..just read? Watch tv? Movies? Find inspiration in media.

Writers block is a lack of inspiration, so go collect more.

[thewriteadviceforwriters]

Dark Academia Names For Writers + Includes FREE PDF DOWNLOAD

I previously made a post about this, but I felt compelled to share again. I've created a free PDF that’s available on my Gumroad, which features a list of over 75 names, both male and female. It’s a little guide that I hope you can refer to as you develop your characters and worlds. I understand how challenging the naming process can be, and I truly hope this resource brings you a bit of inspiration and ease in your creative journey.

FREE PDF DOWNLOAD:

80 Dark Academia Names | For Writers, Gamers, and Artists

🖤 Dark Academia Names 🖤

Female Names:

Athena - Greek origin, meaning "wisdom"

Beatrice - Latin origin, meaning "she who brings happiness"

Cordelia - Latin origin, meaning "heart"

Daphne - Greek origin, meaning "laurel"

Elowen - Cornish origin, meaning "elm tree"

Felicity - Latin origin, meaning "happiness"

Genevieve - French origin, meaning "tribe woman"

Hermione - Greek origin, meaning "messenger, earthly"

Iris - Greek origin, meaning "rainbow"

Juliet - Latin origin, meaning "youthful"

Lydia - Greek origin, meaning "from Lydia"

Minerva - Roman origin, goddess of wisdom

Niamh - Irish origin, meaning "bright"

Ophelia - Greek origin, meaning "help"

Persephone - Greek origin, meaning "bringer of destruction"

Quilla - Incan origin, meaning "moon goddess"

Rosaline - Latin origin, meaning "beautiful rose"

Sylvia - Latin origin, meaning "from the forest"

Theodora - Greek origin, meaning "gift of God"

Viola - Latin origin, meaning "violet"

Male Names:

Ambrose - Greek origin, meaning "immortal"

Barnaby - Hebrew origin, meaning "son of consolation"

Caspian - Persian origin, meaning "from Caspian Sea"

Dorian - Greek origin, meaning "from Doris"

Ezra - Hebrew origin, meaning "help"

Fitzroy - Norman origin, meaning "son of the king"

Gideon - Hebrew origin, meaning "feller, hewer"

Hugo - Germanic origin, meaning "mind, intellect"

Ichabod - Hebrew origin, meaning "no glory"

Julian - Latin origin, meaning "youthful"

Killian - Irish origin, meaning "bright-headed"

Leander - Greek origin, meaning "lion man"

Magnus - Latin origin, meaning "great"

Nikolai - Greek origin, meaning "victory of the people"

Oscar - Irish origin, meaning "deer lover"

Perseus - Greek origin, meaning "to destroy"

Quentin - Latin origin, meaning "fifth"

Raphael - Hebrew origin, meaning "God has healed"

Silas - Latin origin, meaning "wood" or "forest"

Thaddeus - Aramaic origin, meaning "gift of God"

FREE PDF DOWNLOAD:

80 Dark Academia Names | For Writers, Gamers, and Artists

[prisilasweetheart]

as discouraging as it can be writing to an audience of zero, i’m so locked in atp, idec anymore😭 delusion is my feul

i LOVE my characters and the little universe i created in my head sm, each of their books WILL be written and finished even if i’m the only one who knows of their existence!

i feel like i not only owe it to myself to see it through, but to my characters and their stories. they’re like my children, i can’t just abandon them because no one else is seeing their potential like i do?????

what kind of mother would that make me

[includedisco]

You qualify as a writer...

The moment you write your first word. Your story starts with the first word.

When you write your story even if you haven't shared or published it yet. Being a writer is writing a story.

When you write and complete a story of any length. Being a writer is not writing long or short stories. It is successfully completing your story

When you write even if you haven't yet completed a single work. Even successful writers of any sort have waaaaaaay more WIPs than completed stories. Take your time, be patient with yourself and let your passion flow freely. One day you'll complete something. Being a writer is not completing works. It is simply writing something

When you post your story on any platform even if it only has one like/kudos/thumbs up etc. Being a writer is not the number of accolades you get, it's writing your story and sharing it with your whole heart

When you publish your story even if you've sold zero copies or one copy. Being a writer is not in how many copies you've sold or lack thereof. It is enduring the publishing process from the first word you type to putting a book on the shelf. The process is a nightmare and you've come out victorious. You're already a champion at this point. Be a little more patient, hopeful and positive. Your writing can only get more successful.

I hope someone here needed to hear this. Merry Christmas everyone ✌️❤️

[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!

Instagram Tiktok

[charbroiledchicken]

"you're the writer, you control how the story goes" no not really. i wrote the first sentence and then my characters said "WE WILL TAKE IT FROM HERE" and promptly swerved into an electrical fence.

[the-bar-sinister]

I just think people write out of obligation too often.

"How do I motivate myself to write through the boring part of my story?"

"How do I make this boring scene not boring?"

Don't write it.

Don't write boring things just because you think the structure of the story demands it. I promise it doesn't need to be there.

If your characters need to have gone shopping for a later part of the story to make sense you can just have a sentence about how they went shopping and move on.

You are not obligated to write the boring parts. No matter what those parts are.

You are not obligated to make the parts of your story that you're not excited to write interesting somehow.

You can just write the fun and interesting parts and gloss over and summarize boring things.

Your audience will thank you and you will thank yourself.

[ahb-writes]

One might also note how some types or styles of novels lend themselves to higher rates of worldbuilding failure than others. It's not uncommon for some authors to conjure one or two global rules for the story only to later ignore them out of convenience (e.g., this character is special; this power/ability is an exception; this character gets lucky). Or, perhaps consider what happens when global rules are established, but readers aren't provided any logic for why the story's characters should follow them.

Not every writer enjoys outlining and heavily scoping their book from start to finish, but if the story is complex, and you don't outline your story, then your story will outline itself, things will get messy, and you'll hate yourself for it.

I've been reading Iron Flame by Rebecca Yarros, and it's gotten me thinking about how worldbuilding is multilayered, and about how a failure of one layer of the worldbuilding can negatively impact the book, even if the other layers of the worldbuilding work.

I don't want to spoil the book for anyone, so I'm going to talk about it more broadly instead. In my day job, one of the things I do is planning/plan development, and we talk about plans broadly as strategic, operational, and tactical. I think, in many ways, worldbuilding functions the same way.

Strategic worldbuilding, as I think of it, is how the world as a whole works. It's that vampires exist and broadly how vampires exist and interact with the world, unrelated to the characters or (sometimes) to the organizations that the characters are part of. It's the ongoing war between Earth and Mars; it's the fact that every left-handed person woke up with magic 35 years ago; it's Victorian-era London except every twelfth day it rains frogs. It's the world, in the broadest sense.

Operational worldbuilding is the organizations--the stuff that people as a whole are doing/have made within the context of that strategic-level world. For The Hunger Games, I'd probably put the post-apocalyptic nature of the world and even the existence/structure of the districts as the strategic level and the construct of the Hunger Games as the operational level: the post-apocalyptic nature of the world and the districts are the overall world that they live in, and the Hunger Games are the construct that were created as a response.

Tactical worldbuilding is, in my mind, character building--and, specifically, how the characters (especially but not exclusively the main characters) exist within the context of the world. In The Hunger Games, Katniss has experience in hunting, foraging, wilderness survival, etc. because of the context of the world that she grew up in (post-apocalyptic, district structure, Hunger Games, etc.). This sort of worldbuilding, to me, isn't about the personality part of the characterization but about the context of the character.

Each one of these layers can fail independently, even if the other ones succeed. When I think of an operational worldbuilding failure, I think of Divergent, where they took a post-apocalyptic world and set up an orgnaizational structure that didn't make any sense, where people are prescribed to like 6 jobs that don't in any way cover what's required to run a modern civilization--or even to run the society that they're shown as running. The society that they present can't exist as written in the world that they're presented as existing in--or if they can, I never could figure out how when reading the book (or watching the film).

So operational worldbuilding failures can happen when the organizations or societies that are presented don't seem like they could function in the context that they are presented in or when they just don't make any sense for what they are trying to accomplish. If the story can't reasonably answer why is this organization built this way or why do they do what they do then I see it as an organizational worldbuilding failure.

For tactical worldbuilding failures, I think of stories where characters have skillsets that conveniently match up with what they need to solve the problems of the plot but don't actually match their background or experience. If Katniss had been from an urban area and never set foot in a forest, it wouldn't have worked to have her as she was.

In this way (as in planning), the tactical level should align with the operational level which should align with the strategic level--you should be able to trace from one to the next and understand how things exist in the context of each other.

For that reason, strategic worldbuilding failures are the vaguest to explain, but I think of them like this: if it either 1) is so internally inconsistent that it starts to fall apart or 2) leaves the reader going this doesn't make any sense at all then it's probably failed.

[writerthreads]

How to avoid White Room Syndrome

by Writerthreads on Instagram

A common problem writers face is "white room syndrome"—when scenes feel like they’re happening in an empty white room. To avoid this, it's important to describe settings in a way that makes them feel real and alive, without overloading readers with too much detail. Here are a few tips below to help!

Focus on a few key details

You don’t need to describe everything in the scene—just pick a couple of specific, memorable details to bring the setting to life. Maybe it’s the creaky floorboards in an old house, the musty smell of a forgotten attic, or the soft hum of a refrigerator in a small kitchen. These little details help anchor the scene and give readers something to picture, without dragging the action with heaps of descriptions.

Engage the senses

Instead of just focusing on what characters can see, try to incorporate all five senses—what do they hear, smell, feel, or even taste? Describe the smell of fresh bread from a nearby bakery, or the damp chill of a foggy morning. This adds a lot of depth and make the location feel more real and imaginable.

Mix descriptions with actions

Have characters interact with the environment. How do your characters move through the space? Are they brushing their hands over a dusty bookshelf, shuffling through fallen leaves, or squeezing through a crowded subway car? Instead of dumping a paragraph of description, mix it in with the action or dialogue.

Use the setting to reflect a mood or theme

Sometimes, the setting can do more than just provide a backdrop—it can reinforce the mood of a scene or even reflect a theme in the story. A stormy night might enhance tension, while a warm, sunny day might highlight a moment of peace. The environment can add an extra layer to what’s happening symbolically.

Here's an example of writing a description that hopefully feels alive and realistic, without dragging the action:

The bookstore was tucked between two brick buildings, its faded sign creaking with every gust of wind. Inside, the air was thick with the scent of worn paper and dust, mingling with the faint aroma of freshly brewed coffee from a corner café down the street. The wooden floorboards groaned as Ella wandered between the shelves, her fingertips brushing the spines of forgotten novels. Somewhere in the back, the soft sound of jazz crackled from an ancient radio.

Hope these tips help in your writing!

[writersshitpost]

[burntoutdaydreamer]

Things That May Be Causing Your Writer's Block- and How to Beat Them

I don't like the term 'Writer's Block' - not because it isn't real, but because the term is so vague that it's useless. Hundreds of issues all get lumped together under this one umbrella, making writer's block seem like this all-powerful boogeyman that's impossible to beat. Worse yet, it leaves people giving and receiving advice that is completely ineffective because people often don't realize they're talking about entirely different issues.

In my experience, the key to beating writer's block is figuring out what the block even is, so I put together a list of Actual Reasons why you may be struggling to write:

(note that any case of writer's block is usually a mix of two or more)

Perfectionism (most common)

What it looks like:

You write one sentence and spend the next hour googling "synonyms for ___"

Write. Erase. Write. Rewrite. Erase.

Should I even start writing this scene when I haven't figured out this one specific detail yet?

I hate everything I write

Cringing while writing

My first draft must be perfect, or else I'm a terrible writer

Things that can help:

Give yourself permission to suck

Keep in mind that nothing you write is going to be perfect, especially your first draft

Think of writing your first/early drafts not as writing, but sketching out a loose foundation to build upon later

People write multiple drafts for a reason: write now, edit later

Stop googling synonyms and save that for editing

Write with a pen to reduce temptation to erase

Embrace leaving blank spaces in your writing when you can't think of the right word, name, or detail

It's okay if your writing sucks. We all suck at some point. Embrace the growth mindset, and focus on getting words on a page

Lack of inspiration (easiest to fix)

What it looks like:

Head empty, no ideas

What do I even write about???

I don't have a plot, I just have an image

Want to write but no story to write

Things that can help:

Google writing prompts

If writing prompts aren't your thing, instead try thinking about what kind of tropes/genres/story elements you would like to try out

Instead of thinking about the story you would like to write, think about the story you would like to read, and write that

It's okay if you don't have a fully fleshed out story idea. Even if it's just an image or a line of dialogue, it's okay to write that. A story may or may not come out of it, but at least you got the creative juices flowing

Stop writing. Step away from your desk and let yourself naturally get inspired. Go for a walk, read a book, travel, play video games, research history, etc. Don't force ideas, but do open up your mind to them

If you're like me, world-building may come more naturally than plotting. Design the world first and let the story come later

Boredom/Understimulation (lost the flow)

What it looks like:

I know I should be writing but uugggghhhh I just can'tttttt

Writing words feels like pulling teeth

I started writing, but then I got bored/distracted

I enjoy the idea of writing, but the actual process makes me want to throw my laptop out the window

Things that can help:

Introduce stimulation: snacks, beverages, gum, music such as lo-fi, blankets, decorate your writing space, get a clickity-clackity keyboard, etc.

Add variety: write in a new location, try a new idea/different story for a day or so, switch up how you write (pen and paper vs. computer) or try voice recording or speech-to-text

Gamify writing: create an arbitrary challenge, such as trying to see how many words you can write in a set time and try to beat your high score

Find a writing buddy or join a writer's group

Give yourself a reward for every writing milestone, even if it's just writing a paragraph

Ask yourself whether this project you're working on is something you really want to be doing, and be honest with your answer

Intimidation/Procrastination (often related to perfectionism, but not always)

What it looks like:

I was feeling really motivated to write, but then I opened my laptop

I don't even know where to start

I love writing, but I can never seem to get started

I'll write tomorrow. I mean next week. Next month? Next month, I swear (doesn't write next month)

Can't find the time or energy

Unreasonable expectations (I should be able to write 10,000 words a day, right????)

Feeling discouraged and wondering why I'm even trying

Things that can help:

Follow the 2 min rule (or the 1 paragraph rule, which works better for me): whenever you sit down to write, tell yourself that you are only going to write for 2 minutes. If you feel like continuing once the 2 mins are up, go for it! Otherwise, stop. Force yourself to start but DO NOT force yourself to continue unless you feel like it. The more often you do this, the easier it will be to get started

Make getting started as easy as possible (i.e. minimize barriers: if getting up to get a notebook is stopping you from getting started, then write in the notes app of your phone)

Commit to a routine that will work for you. Baby steps are important here. Go with something that feels reasonable: every day, every other day, once a week, twice a week, and use cues to help you remember to start. If you chose a set time to write, just make sure that it's a time that feels natural to you- i.e. don't force yourself to writing at 9am every morning if you're not a morning person

Find a friend or a writing buddy you can trust and talk it out or share a piece of work you're proud of. Sometimes we just get a bit bogged down by criticism- either internal or external- and need a few words of encouragement

The Problem's Not You, It's Your Story (or Outline (or Process))

What it looks like:

I have no problems writing other scenes, it's just this scene

I started writing, but now I have no idea where I'm going

I don't think I'm doing this right

What's an outline?

Drowning in documents

This. Doesn't. Make. Sense. How do I get from this plot point to this one?!?!?! (this ColeyDoesThings quote lives in my head rent free cause BOY have I been there)

Things That Can Help:

Go back to the drawing board. Really try to get at the root of why a scene or story isn't working

A part of growing as a writer is learning when to kill your darlings. Sometimes you're trying to force an idea or scene that just doesn't work and you need to let it go

If you don't have an outline, write one

If you have an outline and it isn't working, rewrite it, or look up different ways to structure it

You may be trying to write as a pantser when you're really a plotter or vice versa. Experiment with different writing processes and see what feels most natural

Study story structures, starting with the three act structure. Even if you don't use them, you should know them

Check out Ellen Brock on YouTube. She's a professional novel editor who has a lot of advice on writing strategies for different types of writers

Also check out Savage Books on YouTube (another professional story editor) for advice on story structure and dialogue. Seriously, I cannot recommend this guy enough

Executive Dysfunction, Usually From ADHD/Autism

What it looks like:

Everything in boredom/understimulation

Everything in intimidation/procrastination

You have been diagnosed with and/or have symptoms of ADHD/Autism

Things that can help:

If you haven't already, seek a diagnosis or professional treatment

Hire an ADHD coach or other specialist that can help you work with your brain (I use Shimmer; feel free to DM me for a referral)

Seek out neurodiverse communities for advice and support

Try body doubling! There's lot's of free online body doubling websites out there for you to try. If social anxiety is a barrier, start out with writing streams such as katecavanaughwrites on Twitch

Be aware of any sensory barriers that may be getting in the way of you writing (such as an uncomfortable desk chair, harsh lighting, bad sounds)

And Lastly, Burnout, Depression, or Other Mental Illness

What it looks like:

You have symptoms of burnout or depression

Struggling with all things, not just writing

It's more than a lack of inspiration- the spark is just dead

Things that can help:

Forget writing for now. Focus on healing first.

Seek professional help

If you feel like it, use writing as a way to explore your feelings. It can take the form of journaling, poetry, an abstract reflection of your thoughts, narrative essays, or exploring what you're feeling through your fictional characters. The last two helped me rediscover my love of writing after I thought years of depression had killed it for good. Just don't force yourself to do so, and stop if it takes you to a darker place instead of feeling cathartic

[valy-gc]

I made a little update on the info, added everything on the same post

Game Idea

Well... an idea that will stay an idea because I don't have any programmation skills nor the money to pay some developpers, but I like it and got lots of ideas for it so let's just share it. If you want to make a OC from it, then have fun.

It's a dating sim, mix between "Twisted Wonderland" and "Obey me!"

This is mostly ideas thrown like this in a messy way. But you can now read my test for the novel version here:

Chapter 1 Chapter 2 Chapter 3 Chapter 4 Chapter 5

Or on my Ao3 or wattpad

everything under the cut

As a new student at Fablewood Academy, you are mysteriously invited after stumbling upon an ancient storybook. Among peers who resonate with legendary characters from fables and folklore, you stand apart—unable to resonate with any historical figure. Instead, you uncover a profound connection to the mysterious Writers.

Navigating the competitive dorm dynamics and building relationships with students and teachers, you begin to unravel the secrets of Scriptoria, the world of stories. With your unique bond to the Writers, you hold the key to saving it from an ancient force threatening to rewrite history itself.

~~~~

World

"Scriptoria" A magical world shaped by the memories and writings of the legendary Writers, who recorded the lives and deeds of its inhabitants.

~~~~

The Writers :

The authors of fairytales we  knows, they are called the "Writers" (always with a cap W) not because they have wrote the  tales (since it's supposed to be all real stories in this world) but because they were keeper of memories, noting everything that was  happening in the world, which permitted the actual characters to knows  all about the stories.

~~~~

Locations

Austreim: Inspired by European fairytales (Germany, France, Scandinavia). A realm of picturesque forests, cobblestone towns, and grand castles. Home to tales like "Cinderella" and "Little Red Riding Hood."

Beasthaven: A country inspired by La Fontaine’s animal fables. Predominantly inhabited by beastmen. Features different biomes in different part of the land, from lush forests and rolling meadows to savannah or thundra. The country is known for their lively markets in every biome.

Seafoam Dominion: An underwater kingdom of mermen and aquatic fae. Draws inspiration from Andersen's stories. Has shimmering underwater cities and shores dotted with mythical artifacts.

Ebony Sands: Inspired by African folktales such as "The Man Who Never Lied." A sun-drenched land of deserts, savannahs, river deltas and ancient temples.

Celestial Plains: Based on East Asian folktales, blending Chinese, korean, Japanese stories among others. Features rolling hills of bamboo, cherry blossoms, and mystical shrines guarded by spirits.

Myrcadawn: A borderland filled with ancient ruins, magical storms, and creatures from forgotten tales. Mostly inhabited by faes.

~~~~

"Fablewood Academy" An all-boy institution dedicated to preserving the legacy of the writers and their stories. Located at the heart of Scriptoria, blending all cultural styles. Where the Writers’ legacies are studied and the world's future is shaped.

~~~~

The Resonance Ceremony

When a student enters the school, they undergo a Resonance Ceremony, a deeply symbolic ritual that determines their connection to an Historical Character (a character from fairytales and myths).

Ceremony Description:

The Setting: The ceremony takes place in a grand, mystical chamber called the Hall of Echoes, a circular room lined with glowing murals of countless legendary figures. In the center, on the ground like a pond, is the Ethereal Mirror, which shimmers like water and reflects not the student’s image, but fragments of their potential resonance.

The Ritual:

The student steps up to the mirror, guided by a faculty member.

The mirror reacts to their essence, glowing brighter as it identifies the Historical Character whose moral compass and essence most closely align with the student’s.

The chosen figure materializes as a spectral image above the mirror, accompanied by a brief vision of their story, morals, and defining characteristics.

The student receives an Artefact Sigil, a magical mark on their hand, symbolizing their connection. The sigil also acts as a key to their dormitory.

Outcomes:

The character determines the student’s dorm assignment. Dorms represent shared principles or traits rather than region or story type, which creates unique diversity within each house.

The student begins to develop their Legacy Arte, influenced by their resonance.

~~~~

Dorm Names & Founders

Astraquartz (Inspired by Cinderella, Charles Perrault): Represents perseverance, humility, and transformation.

Scarletfang (Inspired by Little Red Riding Hood, Grimm Brothers): Represents courage and cunning.

Everswell (Inspired by The Little Mermaid, Hans Christian Andersen): Represents sacrifice and longing.

Mousetrail (Inspired by The Lion and the Mouse, La Fontaine): Represents cleverness and loyalty.

Obsidianspire (Inspired by Mamad in "The Man Who Never Lied", unknown Writer (African tale)): Represents honesty and wisdom.

Verdance (Inspired by "The Tale of the Bamboo Cutter", Minamoto no Shitagō): Represents grace and adaptability.

~~~~

Resonance Dynamics

Living By Their Resonance: Students are expected to uphold the values and morals of their Resonance Character. Deviating too far from these principles leads to a Resonance Crisis, where the bond becomes unstable.

Resonance Crises: In a crisis, a student’s personality and abilities are warped by the unresolved conflict. They might embody the antithesisof their Historical Character, becoming a distorted, corrupted version of their story’s ideals.

Example: A student resonating with The Happy Prince may hoard wealth selfishly, spiraling into greed, causing their Legacy Arte to malfunction.

Resolution: To restore balance, the student must confront their choices and find a way to realign with their character’s core principles, often with the help of peers or the protagonist.

The Nature of Resonance

Resonance is not a rigid set of rules that dictate a person’s every thought or action. Instead, it represents a core essence—a reflection of the Resonance Character’s archetype, personality, and values. When a student resonates with a character, it means they share a similar foundation, but they are free to interpret and act on that foundation in their own unique way.

Core Principles of Resonance

Guiding Influence, Not Control: The Resonance doesn't force someone to behave exactly like their historical counterpart. Instead, it provides a general blueprint of traits, preferences, and tendencies that align with the character’s essence.

Example: Coach Garrick’s Resonance with the Big Bad Wolf doesn’t mean he must terrorize pigs—it means he shares the wolf’s gruff, bold, and predatory nature. How he channels those traits is entirely up to him. For Garrick, they manifest as a tough love coaching style.

Freedom to Choose Actions: While Resonance shapes a student's instincts and inclinations, their choices define their character. They can act in harmony with their Resonance without being confined to it.

Example: Elric, resonating with Cinderella's Stepmother, naturally enjoys luxury and attention. However, he can choose to respect others while enjoying these things, rather than mistreating them like the original stepmother did. If he strays too far—say, by shunning luxury entirely—it might destabilize his Resonance, but small acts of kindness wouldn’t harm it.

Resonance Crisis Is About Extremes: A Resonance Crisis occurs when a student goes against their core nature to an extreme degree, causing an inner conflict. This doesn’t happen because of minor deviations but because of a deep misalignment.

Example: If Elric started wearing rags and actively rejecting his love of luxury, his Resonance would destabilize. But respecting servants or treating them kindly, while still enjoying the finer things, would maintain balance.

Explaining Resonance Through Examples

Here are clear, narrative-driven examples to help clarify how Resonance works without feeling restrictive:

Garrick “Grizz” Wolfin (Big Bad Wolf): Garrick’s Resonance gives him traits like gruffness, strength, and an intimidating aura. He embodies the archetype of the wolf, but how he uses those traits is his choice. He could easily become a bully, but instead, he channels his gruff demeanor into being a demanding yet caring PE teacher. His choices define him, not the wolf.

Elric Briarthorne (Cinderella’s Stepmother): Elric shares the stepmother’s love for luxury, beauty, and a touch of laziness. However, he is not bound to repeat her cruelty. Elric can enjoy being pampered and commanding attention without mistreating others. If he rejects his natural affinity for elegance entirely, he risks a Resonance Crisis, but respecting a servant while maintaining his love for luxury keeps him in balance.

~~~~

Legacy Arte

Each Legacy Arte is tied to the unique essence of the resonated Historical Character. These are not static powers—they grow and evolve as the student’s connection deepens. It can be an offensive or defensive ability, a practical one for everyday or even a constant unseen ability (enhancing strenght, magic powers or anything else)

For example:

A student resonating with Princess Kaguya might have an Arte called Moonlit Grace, allowing them to summon moonlight to shield themselves and others. As they grow, the Arte might evolve into Celestial Radiance, granting healing and offense.

~~~~

Artefact Sigil

The Artefact Sigil serves as both a resonance stabilizer and a channel for magic, directly tied to the student's connection with their Resonance Character. It appears on the student's hand during the Resonance Ceremony.

Key Features of the Artefact Sigil

Appearance:

A glowing, dynamic symbol or glyph that reflects the essence of the Resonance Character. Its design evolves as the bond deepens, becoming more intricate and vibrant.

Example:

Astraquartz: A delicate glass slipper.

Scarletfang: A bold wolf’s paw print, with thorny vines wrapping around it.

Everswell: A flowing wave, centered with a small pearl-like dot.

Mousetrail: A small mouse.

Obsidianspire: A tall spire with rays of light radiating from its top.

Verdance: A crescent moon embraced by bamboo leaves.

Functionality:

Magic Channeling: The Sigil channels the student’s magic, focusing and amplifying their spells. It glows or pulses during use, with colors and intensity varying based on the magic type.

Legacy Arte Activation: The Artefact Sigil is the key to unlocking and evolving Legacy Arte abilities. As the student grows, the Sigil adapts to better support these powers.

Resonance Stabilization: The Sigil detects and moderates Resonance Crises. If a student strays too far from their Resonance Character’s core ideals, the Sigil dims or cracks slightly, serving as a warning. It also emits calming energy to help realign the connection.

Personal Connection: The Sigil is an inseparable part of the student, growing and changing with them. This deep connection makes magic feel more instinctive and intimate, as it’s literally a part of their body.

~~~~~~~~

Lore Tie-In

Origins: The Artefact Sigil was created by the Writers, using fragments of their own memories as the foundation. This ensures that every Sigil is a direct link to the archives of Scriptoria.

The Resonance Bond: The Sigil embodies the merging of the student’s essence with their Resonance Character. Its visible state reflects the health of this bond, making it both a tool and a representation of their inner journey.

~~~~

Scriptos Currency System

Coins (for smaller transactions):

1 Scripto:Copper coin

5 Scriptos: Bronze coin

10 Scriptos:Silver coin

50 Scriptos:Gold coin

Bills (for larger transactions):

100 Scriptos

200 Scriptos

500 Scriptos

1,000 Scriptos

10,000 Scriptos

Design Details

Coins:

Each coin feature an emblem of a quill or an open book to symbolize creativity and storytelling.

The coins shimmer faintly or show shifting patterns when exposed to light.

Bills:

The bills have holographic text or illustrations that animate briefly (e.g., a bird flying off a quill or ink drops forming a picture).

They feature famous Scriptoria figures, mostly the Writers, with each having different possible figures. -the 100 could feature Pu Songling or D. O. Fagunwa, -200 feature Don Juan Manuel, Alexander Pushkin or Giovanni Francesco Straparola -500 feature Charles Perrault, the brother Grimm or La Fontaine, -1000 feature Al-Jahiz, Hans Christian Andersen or Valmiki, -10 000 feature Joseph Jacobs or Alexander Afanasyev …)

The bills and coins are waterproof. Coin will not get rusty if used by merpeoples.

Practical Conversion

1 Scripto = 0.01 USD

100 Scriptos = 1 USD

The School Farm:

Purpose:

Self-Sufficiency: Provides fresh produce and farm-to-table ingredients for the cafeteria.

Community Spirit: Encourages students to bond and learn teamwork through shared responsibilities.

Practical Skills: Offers hands-on experience in agriculture, animal care, and commerce.

Earning Opportunities: Students can earn pocket money by working on the farm, in the cafeteria, or at the shop.

Animals on the Farm:

Poultry: Chickens/hens/roosdters, ducks, geese, turkeys, quails, guinea fowl, pheasants, maybe pigeons and even a few peacocks

Dairy Animals: A couple of cattle, buffaloes, goats, sheep and camels for milk production (and maybe cheese or yogurt). Other less common milk animals are yaks, horses, reindeers and donkeys. (the farm would include the stables for horse riding club... and horse riding club could be about riding other type of animals)

Companion Animals: Perhaps a farm dog or cat that the students adore.

Fields and Crops:

Vegetables and Herbs: A variety of seasonal vegetables and herbs used in the cafeteria.

Orchard: A small orchard with fruit trees like apples, pears, or peaches.

Flowers: Some fields could grow flowers for decorative purposes or events.

Farm Activities:

Animal Care: Feeding, cleaning stalls, gathering eggs, milking cows, etc.

Crop Maintenance: Planting, weeding, harvesting, and learning about sustainable farming practices.

Event Preparation: Preparing products like jams, baked goods, or decorations for events.

Market Days: Selling fresh produce and handmade goods at school fairs or town markets.

How It Benefits Students:

Pocket Money Opportunities:

Students can earn wages working on the farm, at the cafeteria, or in the school store. They can also work in exchange of products instead of money.

Wages could be small, but enough for personal expenses or extracurricular activities.

Skill Development:

Responsibility: Managing shifts and caring for animals.

Practical Knowledge: Learning about agriculture, cooking, and business.

Teamwork: Collaborating with peers to keep things running smoothly.

Cultural Exchange:

Students from different homelands can share farming techniques or recipes.

Characters with unique Resonances could find ways to incorporate their powers into the farm (e.g., enhancing crop growth, making food preparation more efficient, etc.).

Integration with the School’s Themes:

Character Development:

Working on the farm could help shy or isolated characters open up and feel a sense of purpose (e.g., someone like Cygnus could bond with animals).

Ambitious or overconfident students could learn humility through manual labor.

Narrative Opportunities:

Events like harvest festivals, cooking competitions, or fundraisers could revolve around farm activities.

Farm responsibilities could create moments for character interaction, conflict, or bonding.

The farm could become a place of solace or reflection for students facing challenges.

Magic and Resonance Use:

Some students might creatively use their Resonances on the farm

Potential Challenges (For Story Conflict):

Mishaps:

Animals escaping, crop failures, or pranks leading to chaos on the farm.

Competition:

Students might compete for the highest sales during events, leading to friendly rivalries.

Misuse of Magic:

A student using magic irresponsibly on the farm could result in humorous or serious consequences.

~~~~~~~~~~~~~~~~~

Maps and infos about the world:

Seafoam Dominion's infos are not especially true, because the site don't let me place a kingdom on water, so it's on a super small island with some burgs in the other states.

Also I didn't changed the number of people by burg, so this don#t count either.

~~~~~~~~~~~~~~~~~~

The magical sport of Scriptoria:

Color Clash

Teams and Gameplay

Number of Teams: While six teams (one for each dorm) could add unique dynamics, it might be chaotic if everyone plays simultaneously. A good compromise might be:

Rotating matches with two teams battling at a time during recurring events.

A six-team free-for-all for larger, more chaotic rare events or tournaments.

Team Members: Teams could consist of 5(six teams) to 7(two teams) players. This allows for strategic play while keeping the matches manageable.

Playing Area: The sport could take place in a dedicated arena designed to resemble various terrains and obstacles, such as forests, caves, open fields, and ruins. Alternatively, for special events, the entire campus could be used for a massive "battle royale" version.

Rules and Objectives

Objective: "Paint" members of opposing teams with arrows (colored magical powder). Each successful hit earns points for the team.

Scoring System: Players are assigned point values based on their skill level. Before each match or tournament, players are ranked based on their performance in trainings and skill tests. This ensures fairness and adds an extra layer of strategy as teams must protect high-value players.

1 Point - Squire: Absolute beginners, bad or first-time players. Could be a player that is really good at shooting his arrow but bad at dodging the opponent’s.

2-10 Points - Adept : Average players, ranked incrementally based on skill and experience, with tiers such as Adept II, Adept V, Adept VIII ...

50 Points - Elite: Highly skilled players with notable achievements during training. Usually the captain if there is no Champion.

100 Points - Champion: The best player, often the team’s captain or standout star. Each team can only have one Champion.

It is mandatory for each team to have at least one Elite or Champion, but both at the same time are not always necessary, as not all team always have a Champion.

Points are calculated at the end of the game, and the team with the highest total wins.

Rank Titles :

Instead of saying, “That’s a 100-point player,” you’d say, “They’re the team’s Champion.”

The ranking titles could also play into the strategy:

Teams could call out, “Focus on their Elite!” or “The Champion is exposed!”

Elimination (Optional): Players could be "eliminated" when hit a certain number of times (10). This adds an extra layer of strategy, as players would have to decide whether to go on the offensive or protect high-value teammates.

Strategic Importance

Protecting High-Value Players: Teams will need to strategize to keep their Elite and Champions safe while using lower-point players to distract or disrupt the opposing team.

Not focusing too much : The lower rank players could think they are less important, but if they are eliminated, or permit the opponent to mark lots of points by touching them multiple time, they could makes the team loose even if the high-rank are safe.

Risk vs. Reward: Opposing teams may focus on targeting high-value players, leaving them vulnerable to counters.

Dynamic Rankings

Rankings could shift between matches or seasons based on performance. For example:

A player in the Adept X tier who performs exceptionally well could move up to Elite in the next game. The number of points earned in a match can play a huge part in the promotion.

Conversely, underperforming high-tier players might drop to a lower point value. (not after a one-time fail, of course, only after repeated defeats)

A player reaching the Champion rank will automatically take the captain place. But a Elite don’t necessarely become captain, except if there is no other Elite (and no Champion either)

A player reaching the Champion rank while there is already a Champion in the team will have to either decide to leave the team, change team, or the other player will have to make this choice, as no team should have more than one Champion.

A Champion or Elite disguised as a lower rank will lead to the immediate disqualification of the team. (in the situation of the others players are perfectly award of his real skill. If a Champion or Elite pretend to be lower to his own team, his teamate not knowing, then only the guilty player will be disqualified and forbbiden to join another team.)

Scoring System (Extra Points)

Player Elimination Bonus:

Every time a player is eliminated (hit 10 times), the opponent who lands the 10th shot earns 50 extra points.

If multiple players contribute to the 10 hits, only the final player earns the elimination bonus.

Chain Elimination Bonus:

For every consecutive opponent eliminated by the same player, the elimination bonus increases:

1st elimination: +50 points.

2nd elimination: +75 points.

3rd elimination: +100 points.

4th elimination and beyond: +150 points per elimination.

Entire Team Elimination Bonus:

If one player manages to eliminate an entire team (all members), they earn an extraordinary bonus of 500 points, in addition to the chain bonuses.

Last Player Standing Bonus:

If a team has only one player left, and this player wins the match (survives or eliminates all opponents), they earn an extra 300 points for their victory.

If the last-standing player of a team is eliminated, the player who lands the final hit earns 200 extra points, regardless of who dealt the previous hits.

Why extra points ?

Encourages Team Play: Collaboration is still critical for securing eliminations.

Rewards Exceptional Skill: Outstanding feats like eliminating entire teams or clutching a win alone are significantly rewarded.

High-Stakes Showdowns: The final moments of a game become more tense, as eliminating or saving the last player has huge scoring implications.

Magic and Special Elements

Magic Use: Magic could be allowed with restrictions, such as:

Spells must be harmless and non-lethal (e.g., creating distractions, shields, or minor obstacles).

Magic usage is tied to a temporary power-up system.

Power-Up Spheres : These floating objects can grant random temporary bonuses, such as:

Allowing harmless magic use for a limited time (depend of the power-up).

Shielding the player from one arrow.

Granting a "stealth" mode (invisibility for 10 seconds).

Doubling points for a short period.

Speed boost for a short period.

Freezes all opponents or arrows in place for 5 seconds

Emits a shockwave that knocks back opponents or clears arrows in the immediate vicinity.

Restores one "life". (Allow to be touched once more before getting eliminated)

Grants the ability to jump to high platforms or hover for 10 seconds

Allows instant teleportation to another part of the map, chosen randomly or directed by the player. (depend on the power-up)

Creates an illusory double of the player that moves randomly

Allows the player to place a one-time trap on the map that immobilizes or slows opponents who step into it.

Nullifies the effect of traps or hazards for a limited time

Temporarily causes all incoming arrows to change direction and return to the sender.

Randomizes everyone's positions on the map by teleportation, creating confusion and disrupting strategies.

Permit a one-shoot elimination (very rare)

Equipment and Mechanics

Bow and Arrow:

The bow transforms into a bracelet when not in use, making it easy to carry.

The arrows are tipped with harmless "pompoms" filled with colored magical powder.

Type of game :

Standard Matches: Two teams face off in a timed match.

Battle Royale: Six teams compete simultaneously until one team remains or the time runs out.

Infection Mode : One team starts as "infected," trying to tag players on the opposing team. This mode don’t use bows and arrow but gloves soaked in the magical powder. Tagged players become infected and switch sides. The game ends when all players are infected or time runs out.

Mystic Duel : Head-to-head duel with only two players of two different team or even the same team. The arena transforms into a smaller battlefield where they must outshoot each other. Often used when two players on the same team fight for the captain place or the Champion rank.

This sport is a traditional practice for students to sharpen their focus, strategy, and teamwork.

The power-up spheres are said to channel ancient magic from the Writers, rewarding clever players with bonuses.

Each dorm's strategy reflects their core values (e.g., Scarletfang play aggressively, while Verdance focus on defense and teamwork).

Additions or Clarifications

Audience Engagement

Magical displays show player stats, power-up activations, or instant replays during matches to entertain onlookers.

Spectator areas with enchantments allowing a "first-person view" of any player could immerse viewers.

Tiebreakers

In case of a tied score, there is a "sudden-death" shootout where each team selects one player of the same level of a Mystic Duel.

Seasonal Variants

Seasonal power-ups or obstacles (e.g., icy surfaces in winter, blooming vines in spring) to keep the sport fresh and tie it to the fantasy world’s calendar.

~~~~~~~~~~~~~~

Clubs :

Litterature Club : Cygnus Downwood, Mahdi Alclaris

Horse Riding Club : Minwoo Kinsei

Swordmanship Club : Lupin Vardred, Jin Haruto

Gardening Club : Tsuki Laito, Porcus Huffsbrick

Music & Dance Club : Lyricis Farahdein,

Drama Club : Imperius Wovengale, Éponine D’Orveil, Elric Briarthorne

Exploration Club : Marinus Tideshade, Gaspard Lumespring

Art Club : Faylen Charmwright, Rune Spindlewick

Cooking Club : Ambrosine Forrant

Chess Club : Archer Verdain, Khamari Duneshade

Science Club : Rhys Luminspire, Hatterick Marchhare

Photography Club : Rowan Delicate

Cheering : Chester Marroway, Tressari Manarah

Color Clash Club : Thatcher Squeakefield, Lazlo Quickstride

Basket Club : /

Baseball Club : Imran Frosham

Racing Club : Caspian Willorun

Gymnastic Club : Kadar Serpenscale

~~~~~~~~~~~~~~~

Classes and Seats :

First Years

1-A 05 – Tsuki Laito 1-A 09 – Rune Spindlewick 1-A ?? – MC 1-B 02 – Hatterick Marchhare 1-B 04 – Lyricis Farahdein 1-B 07 – Imperius Wovengale 1-B 08 – Elric Briarthorne 1-C 10 – Archer Verdain 1-D 02 – Kadar Serpenscale 2-D 07 – Rowan Delicate 1-E 01 – Imran Frosham

Second Years

2-A 06 – Marinus Tideshade 2-A 08 – Minwoo Kinsei 2-B 06 – Tressari Manarah 2-B 08 – Cygnus Downwood 2-B 11 – Rhys Luminspire 2-C 03 – Porcus Huffsbrick 2-C 05 – Thatcher Squeakefield 2-D 03 – Mahdi Alclaris 2-E 04 – Caspian Willorun

Third Years

3-A 02 – Faylen Charmwright 3-A 16 – Khamari Duneshade 3-B 03 – Lupin Vardred 3-B 04 – Ambrosine Forrant 3-D 07 – Chester Marroway 3-D 15 – Jin Haruto 3-E 05 – Lazlo Quickstride

Fourth Years

4-A 07 – Éponine D’Orveil 4-B / 4-C 02 – Gaspard Lumespring 4-D 08 – Kael Thornweald 4-E /

Fifth Years

Intership

[bookishdiplodocus]

The Neurodivergent Writer’s Guide to Fun and Productivity

(Even when life beats you down)

Look, I’m a mom, I have ADHD, I’m a spoonie. To say that I don’t have heaps of energy to spare and I struggle with consistency is an understatement. For years, I tried to write consistently, but I couldn’t manage to keep up with habits I built and deadlines I set.

So fuck neurodivergent guides on building habits, fuck “eat the frog first”, fuck “it’s all in the grind”, and fuck “you just need time management”—here is how I manage to write often and a lot.

Focus on having fun, not on the outcome

This was the groundwork I had to lay before I could even start my streak. At an online writing conference, someone said: “If you push yourself and meet your goals, and you publish your book, but you haven’t enjoyed the process… What’s the point?” and hoo boy, that question hit me like a truck.

I was so caught up in the narrative of “You’ve got to show up for what’s important” and “Push through if you really want to get it done”. For a few years, I used to read all these productivity books about grinding your way to success, and along the way I started using the same language as they did. And I notice a lot of you do so, too.

But your brain doesn’t like to grind. No-one’s brain does, and especially no neurodivergent brain. If having to write gives you stress or if you put pressure on yourself for not writing (enough), your brain’s going to say: “Huh. Writing gives us stress, we’re going to try to avoid it in the future.”

So before I could even try to write regularly, I needed to teach my brain once again that writing is fun. I switched from countable goals like words or time to non-countable goals like “fun” and “flow”.

Rewire my brain: writing is fun and I’m good at it

I used everything I knew about neuroscience, psychology, and social sciences. These are some of the things I did before and during a writing session. Usually not all at once, and after a while I didn’t need these strategies anymore, although I sometimes go back to them when necessary.

I journalled all the negative thoughts I had around writing and try to reason them away, using arguments I knew in my heart were true. (The last part is the crux.) Imagine being supportive to a writer friend with crippling insecurities, only the friend is you.

Not setting any goals didn’t work for me—I still nurtured unwanted expectations. So I did set goals, but made them non-countable, like “have fun”, “get in the flow”, or “write”. Did I write? Yes. Success! Your brain doesn’t actually care about how high the goal is, it cares about meeting whatever goal you set.

I didn’t even track how many words I wrote. Not relevant.

I set an alarm for a short time (like 10 minutes) and forbade myself to exceed that time. The idea was that if I write until I run out of mojo, my brain learns that writing drains the mojo. If I write for 10 minutes and have fun, my brain learns that writing is fun and wants to do it again.

Reinforce the fact that writing makes you happy by rewarding your brain immediately afterwards. You know what works best for you: a walk, a golden sticker, chocolate, cuddle your dog, whatever makes you happy.

I conditioned myself to associate writing with specific stimuli: that album, that smell, that tea, that place. Any stimulus can work, so pick one you like. I consciously chose several stimuli so I could switch them up, and the conditioning stays active as long as I don’t muddle it with other associations.

Use a ritual to signal to your brain that Writing Time is about to begin to get into the zone easier and faster. I guess this is a kind of conditioning as well? Meditation, music, lighting a candle… Pick your stimulus and stick with it.

Specifically for rewiring my brain, I started a new WIP that had no emotional connotations attached to it, nor any pressure to get finished or, heaven forbid, meet quality norms. I don’t think these techniques above would have worked as well if I had applied them on writing my novel.

It wasn’t until I could confidently say I enjoyed writing again, that I could start building up a consistent habit. No more pushing myself.

I lowered my definition for success

When I say that nowadays I write every day, that’s literally it. I don’t set out to write 1,000 or 500 or 10 words every day (tried it, failed to keep up with it every time)—the only marker for success when it comes to my streak is to write at least one word, even on the days when my brain goes “naaahhh”. On those days, it suffices to send myself a text with a few keywords or a snippet. It’s not “success on a technicality (derogatory)”, because most of those snippets and ideas get used in actual stories later. And if they don’t, they don’t. It’s still writing. No writing is ever wasted.

A side note on high expectations, imposter syndrome, and perfectionism

Obviously, “Setting a ridiculously low goal” isn’t something I invented. I actually got it from those productivity books, only I never got it to work. I used to tell myself: “It’s okay if I don’t write for an hour, because my goal is to write for 20 minutes and if I happen to keep going for, say, an hour, that’s a bonus.” Right? So I set the goal for 20 minutes, wrote for 35 minutes, and instead of feeling like I exceeded my goal, I felt disappointed because apparently I was still hoping for the bonus scenario to happen. I didn’t know how to set a goal so low and believe it.

I think the trick to making it work this time lies more in the groundwork of training my brain to enjoy writing again than in the fact that my daily goal is ridiculously low. I believe I’m a writer, because I prove it to myself every day. Every success I hit reinforces the idea that I’m a writer. It’s an extra ward against imposter syndrome.

Knowing that I can still come up with a few lines of dialogue on the Really Bad Days—days when I struggle to brush my teeth, the day when I had a panic attack in the supermarket, or the day my kid got hit by a car—teaches me that I can write on the mere Bad-ish Days.

The more I do it, the more I do it

The irony is that setting a ridiculously low goal almost immediately led to writing more and more often. The most difficult step is to start a new habit. After just a few weeks, I noticed that I needed less time and energy to get into the zone. I no longer needed all the strategies I listed above.

Another perk I noticed, was an increased writing speed. After just a few months of writing every day, my average speed went from 600 words per hour to 1,500 wph, regularly exceeding 2,000 wph without any loss of quality.

Talking about quality: I could see myself becoming a better writer with every passing month. Writing better dialogue, interiority, chemistry, humour, descriptions, whatever: they all improved noticeably, and I wasn’t a bad writer to begin with.

The increased speed means I get more done with the same amount of energy spent. I used to write around 2,000-5,000 words per month, some months none at all. Nowadays I effortlessly write 30,000 words per month. I didn’t set out to write more, it’s just a nice perk.

Look, I’m not saying you should write every day if it doesn’t work for you. My point is: the more often you write, the easier it will be.

No pressure

Yes, I’m still working on my novel, but I’m not racing through it. I produce two or three chapters per month, and the rest of my time goes to short stories my brain keeps projecting on the inside of my eyelids when I’m trying to sleep. I might as well write them down, right?

These short stories started out as self-indulgence, and even now that I take them more seriously, they are still just for me. I don’t intend to ever publish them, no-one will ever read them, they can suck if they suck. The unintended consequence was that my short stories are some of my best writing, because there’s no pressure, it’s pure fun.

Does it make sense to spend, say, 90% of my output on stories no-one else will ever read? Wouldn’t it be better to spend all that creative energy and time on my novel? Well, yes. If you find the magic trick, let me know, because I haven’t found it yet. The short stories don’t cannibalize on the novel, because they require different mindsets. If I stopped writing the short stories, I wouldn’t produce more chapters. (I tried. Maybe in the future? Fingers crossed.)

Don’t wait for inspiration to hit

There’s a quote by Picasso: “Inspiration hits, but it has to find you working.” I strongly agree. Writing is not some mystical, muse-y gift, it’s a skill and inspiration does exist, but usually it’s brought on by doing the work. So just get started and inspiration will come to you.

Accountability and community

Having social factors in your toolbox is invaluable. I have an offline writing friend I take long walks with, I host a monthly writing club on Discord, and I have another group on Discord that holds me accountable every day. They all motivate me in different ways and it’s such a nice thing to share my successes with people who truly understand how hard it can be.

The productivity books taught me that if you want to make a big change in your life or attitude, surrounding yourself with people who already embody your ideal or your goal huuuugely helps. The fact that I have these productive people around me who also prioritize writing, makes it easier for me to stick to my own priorities.

Your toolbox

The idea is to have several techniques at your disposal to help you stay consistent. Don’t put all your eggs in one basket by focussing on just one technique. Keep all of them close, and if one stops working or doesn’t inspire you today, pivot and pick another one.

After a while, most “tools” run in the background once they are established. Things like surrounding myself with my writing friends, keeping up with my daily streak, and listening to the album I conditioned myself with don’t require any energy, and they still remain hugely beneficial.

Do you have any other techniques? I’d love to hear about them!

I hope this was useful. Happy writing!

[thewriteadviceforwriters]

Other Words for "Look" + With meanings | List for writers

Many people create lists of synonyms for the word 'said,' but what about the word 'look'? Here are some synonyms that I enjoy using in my writing, along with their meanings for your reference. While all these words relate to 'look,' they each carry distinct meanings and nuances, so I thought it would be helpful to provide meanings for each one.

Gaze - To look steadily and intently, especially in admiration or thought.

Glance - A brief or hurried look.

Peek - A quick and typically secretive look.

Peer - To look with difficulty or concentration.

Scan - To look over quickly but thoroughly.

Observe - To watch carefully and attentively.

Inspect - To look at closely in order to assess condition or quality.

Stare - To look fixedly or vacantly at someone or something.

Glimpse - To see or perceive briefly or partially.

Eye - To look or stare at intently.

Peruse - To read or examine something with great care.

Scrutinize - To examine or inspect closely and thoroughly.

Behold - To see or observe a thing or person, especially a remarkable one.

Witness - To see something happen, typically a significant event.

Spot - To see, notice, or recognize someone or something.

Contemplate - To look thoughtfully for a long time at.

Sight - To suddenly or unexpectedly see something or someone.

Ogle - To stare at in a lecherous manner.

Leer - To look or gaze in an unpleasant, malicious way.

Gawk - To stare openly and stupidly.

Gape - To stare with one's mouth open wide, in amazement.

Squint - To look with eyes partially closed.

Regard - To consider or think of in a specified way.

Admire - To regard with pleasure, wonder, and approval.

Skim - To look through quickly to gain superficial knowledge.

Reconnoiter - To make a military observation of a region.

Flick - To look or move the eyes quickly.

Rake - To look through something rapidly and unsystematically.

Glare - To look angrily or fiercely.

Peep - To look quickly and secretly through an opening.

Focus - To concentrate one's visual effort on.

Discover - To find or realize something not clear before.

Spot-check - To examine something briefly or at random.

Devour - To look over with eager enthusiasm.

Examine - To inspect in detail to determine condition.

Feast one's eyes - To look at something with great enjoyment.

Catch sight of - To suddenly or unexpectedly see.

Clap eyes on - To suddenly see someone or something.

Set eyes on - To look at, especially for the first time.

Take a dekko - Colloquial for taking a look.

Leer at - To look or gaze in a suggestive manner.

Rubberneck - To stare at something in a foolish way.

Make out - To manage to see or read with difficulty.

Lay eyes on - To see or look at.

Pore over - To look at or read something intently.

Ogle at - To look at in a lecherous or predatory way.

Pry - To look or inquire into something in a determined manner.

Dart - To look quickly or furtively.

Drink in - To look at with great enjoyment or fascination.

Bask in - To look at or enjoy something for a period of time.

[prisilasweetheart]

just accidentally stumbled upon so many prologue story ideas for the parents of my characters in the current book series i’m writing.

and it ties in so well UGH i’m gonna have a writing orga*m!!!!!