#Story: Asking for Advice

[tahbhie]

How many drafts should you go through before deciding your novel is ready?

There's no specific (official) number, but to create a foundation that ensures you don't burn out quickly, overwork yourself, and get tired of your work, I'll say four. It's the same number I use for my students since most of them have other engagements outside writing that take up a copious amount of their time.

1. Initial or Zero Draft:

This draft is also called the 'just write' draft. Focus on putting that idea down. As the creative juices flow, let it all out. Don't worry about perfection or coherence; the goal is to capture your raw ideas and get the story out of your head and onto the page.

2. Second Draft:

This is the plot draft. Read through what you have written to see if every detail you added was meant to be. Here, you focus on the structure of your story. Ensure that the plot makes sense, the pacing is right, and there are no major plot holes. This is where you might add, remove, or rearrange scenes to improve the overall flow of the narrative.

3. Third Draft:

Character development draft. In this stage, you look deeper into your characters. Make sure their motivations, backgrounds, and arcs are well-defined and consistent. Flesh out their personalities and relationships, ensuring they are compelling and believable. This is also a good time to refine dialogue and make sure it sounds natural and true to each character. That's for this drafting stage.

4. Fourth Draft:

Grammar and punctuation draft. This is the polishing stage. Focus on correcting grammatical errors, punctuation, and spelling mistakes. Pay attention to sentence structure, word choice, and overall readability. This draft is about making your manuscript as clean and professional as possible.

Keep in mind that the goal is to define what completion means for each draft. Once you reach the goal, take a break and return to it for the next drafting stage.

Some writers pay people to carry out some of the drafting stages for them, so if you fall into that category, you might have fewer drafting stages to handle yourself!

Reblog to save for later 😉

Thank you all for the support 💜!

[unboundprompts]

Do you have any advice for a character who has a sort of sacrificial lamb complex? A savior complex but not as in a hero to save the day, but as in they don't believe they deserve to save themselves?

How to Write a Sacrificial Character

Backstory and Motivation

Traumatic Past: Explore the character’s history. Perhaps they’ve experienced abandonment, betrayal, or loss, leading them to internalize the belief that their worth is tied to suffering for others.

Family Expectations: They may come from a family that emphasizes self-sacrifice or has a history of martyrdom, teaching them that their own needs are secondary to others.

Guilt and Responsibility: The character might feel an overwhelming sense of guilt for past failures, believing that they owe it to others to endure hardship or take on burdens.

Internal Conflict

Self-Worth Issues: Illustrate their struggle with self-worth. They might dismiss compliments or feel undeserving of happiness, using phrases like “I don’t deserve this” or “I have to earn my place.”

Desire for Connection: While they may push others away, they also yearn for connection and love, creating an internal tug-of-war between wanting to be saved and believing they are unworthy of it.

Sacrificial Actions

Small Acts of Sacrifice: Show them making small sacrifices for friends or loved ones, like skipping meals or taking on additional work, which reinforces their belief that they should suffer for others’ well-being.

Dramatic Moments: Create pivotal scenes where they are put in a position to sacrifice themselves for someone else—physically or emotionally. This can highlight their motivations and lead to significant character development.

Interactions with Others

Supportive Characters: Introduce characters who try to save or help them, but the sacrificial character resists, believing their problems aren’t worth the effort. This can create tension and deepen their internal struggle.

Small Acts of Kindness: Have moments where others go out of their way to help them, reinforcing that they are worthy of care and support. This can include simple gestures, affirmations, or sacrifices made on their behalf.

Conflict with a Mentor or Friend: A mentor figure might challenge this belief, encouraging them to see their value and fight for themselves, leading to moments of growth and resistance.

Gradual Change

Moments of Clarity: Show them having fleeting moments of realization where they understand their self-worth, possibly triggered by a significant event or dialogue with another character.

Catalyst for Change: Introduce a scenario where they must choose between self-sacrifice and self-preservation, forcing them to confront their beliefs head-on.

Life-Altering Experience: Put the character in a situation that forces them to confront their fears, such as a near-death experience or a pivotal choice between saving themselves or others. This moment can act as a wake-up call to their worth.

Acts of Courage: Have them step up in a crisis, leading to a moment where they save someone else and realize their capability and value. This can help them see that they have something to offer.

Turning Point: Create a climactic moment where the character realizes they deserve to save themselves, possibly triggered by witnessing someone else sacrifice themselves for them, prompting a realization of their worth.

Final Confrontation: In the final confrontation (with a villain or personal demon), let them stand up for themselves, verbalizing their worth and challenging the beliefs that have held them back.

Symbolism and Themes

Recurring Motifs: Use symbols that represent sacrifice and self-worth, like broken mirrors (self-perception) or shadows (their past). These can help reinforce their internal struggles visually throughout the narrative.

Redemption Arc: If they ultimately find a way to save themselves or allow others to save them, showcase this as a powerful moment of growth, suggesting that self-worth and love are intertwined.

Emotional Depth

Show Vulnerability: Allow the character to express their fears and doubts, whether through dialogue, journaling, or introspection, making their internal battles relatable and poignant.

Balance with Humor: If appropriate for your story, consider moments of humor or lightness to juxtapose their darker thoughts, showing that they are more than their complex.

[writersbloxx]

Writing Physical Description

Continuation of my Character Building post in a brief overview of describing physical traits.

When portraying a character through physical description, it's important to focus on key details. This can include:

Height, hair color or length, build, facial features/eye color, distinctive markings like scars or tattoos, how they dress, and many more.

Ex:

Note: Not everything has to be written at face value. When necessary, physical description can be made interesting with figurative language or when interacting with other elements like setting. If a character’s hair is black, you don't always have to leave it at “their hair is black.”

Ex:

Food for thought: Describing someone through the perspective of another character doesn't have to remain objective. Playing around with perspective/tone can help with characterization or even building an unreliable narrator.

In this case, the narrator could’ve said that the character was too tall (indicating a preference), or that a heavy stack of rings on each finger blinded them (hyperbole can convey the narrator as dramatic)

Asks are open if you want more specific tips/prompts! Happy writing!

[novlr]

What is a good way to start a novel? (sentence frames)

Are you a creative writer struggling to get started on your next project? Do you find yourself staring at a blank page, unsure of where to begin? Fear not! Here are some sentence frames designed to inspire your creativity and help you generate story ideas.

Get to know your main character

[Character name] was not your typical [profession/role]; in fact, they…

Despite being [adjective], [character name] had always felt…

[Character name] had a secret, one that they had kept hidden for [time period]…

As [character name] looked out the window, they couldn’t help but wonder what life would be like if…

[Character name] had always been drawn to [hobby/interest], but had never had the courage to pursue it until…

The day [character name] met [another character], everything changed…

Setting the scene

The town of [name] was known for its [unique characteristic], but beneath the surface…

In a world where [fantastical element] was commonplace, [character name] stood out because…

The [building/location] had stood abandoned for [time period], but on this particular night there was [an event]…

The [place/location] was famed for its [unique characteristic], but [character] found themselves drawn to [thing]…

Introduce conflict

[Character name] had always believed that [belief], until [event] forced them to question everything.

When [character name] discovered [secret/revelation], they knew they had to…

The arrival of [character/object] in [setting] threw [character name]’s life into chaos, as they…

[Character name] had always been content with their [status quo], but when [event] occurred, they realised that they could no longer ignore their true calling.

The arrival of [character name] in [place/location] set off a chain of events that would uncover long-buried secrets and force the [people of location] to confront their darkest demons.

Show character growth

[Character name] had spent their entire life [doing/believing something], but now they began to wonder if…

As [event] unfolded, [character name] realised that they were capable of…

[Character name] had always been afraid of [fear], but in the face of [challenge], they discovered…

[Character name] used to [old behaviour], but now they [new behaviour]…

As [character name] faced [challenge], they discovered a [new strength/quality] within themselves…

[Character name] never thought they could [achievement], but with [catalyst], they learned to [lesson]…

Create suspense and mystery

[Character name] knew that [mystery/secret] held the key to [goal], but the closer they got to the truth…

As [character name] delved deeper into [investigation/quest], they began to suspect that…

The [object/clue] seemed insignificant at first, but as [character name] examined it more closely, they saw [detail].

[Character name] had a nagging feeling that something was off about [person/place/thing], but couldn’t quite put their finger on it until [event].

The [sound/smell/sight] was hauntingly familiar to [character name], but they couldn’t remember why until [event].

Explore character relationships

[Character name] had always looked up to [other character], but now they began to see them in a different light because [event/change].

Despite their differences, [character name] and [other character] found themselves drawn to each other because of [detail].

[Character name] knew that [other character] was hiding something, but they never expected [revelation].

[Character name] and [other character] were once inseparable, but [change] meant they grew apart.

[Character name] never expected to find a friend in [other character], but [character detail/event/location] brought them together.

[Character name] couldn’t shake the feeling that [other character] was hiding [secret] from them.

Remember, these sentence frames are just a starting point to help you generate ideas and get your creative juices flowing. Feel free to adapt, combine, or expand upon them to suit your unique story and writing style. The most important thing is to let your imagination run wild and enjoy the process of writing your novel!

[noxxuniverse]

🐭anon here with some success stories of today!

I was looking for my iPad, which I had lost somewhere in my room since 2 days. While getting dressed, I was fed up and decided I wanted my iPad NOW. So I said once "I'm going to find it in one second.", I let it go, then a second later, while I grabbed my hoodie from my closet, it was under my hoodie in my closet? Why would it appear in my closet? I didn't leave it there? Another piece of evidence that manifesting doesn't need to happen in a logical way. But I'm very happy that I manifested instantly and that the limiting belief of needing to wait for it, is finally out of my mindset!

Another success story, I wanted new clothes desperately, but my mom didn't want to buy me any.. since she said my closet was too small and that I could barely fit new clothes in there. (But I live in a big house, with a giant walk in closet? So idk what she be talking about, but it doesn't align with me~~)

But not even a few minutes later, I found a new hoodie in my closet, which I don't remember ever wearing or buying. So I asked my mom if the hoodie belonged to my stepdad and she said it was mine and that I had bought it recently? Which I have no memory of, so I must've shifted somehow. I don't really know how this worked, but idk, I got a new hoodie now. 😭☝

Now another success story of the day, of which I am the most proud of. I revised my uncle's death. My mom told me two days ago that he had passed away, between the 3rd and 4th advent. But no one informed us about this, so I only found out two days ago. I was devastated, he is a distant relative of mine, but I was still very close with him. So I barely ate the past few days and my mental health was shit, but I still pulled through, even with doubts and grief. SO YES FFS, YOU CAN MANIFEST WITH DOUBTS + FEELINGS DONT FUCKING MATTERRRRR.

And today my mom came into my room, telling me he isn't dead and that some neighbor lied about him being dead, and that our aunt simply spread that shit around. I called him, he is alive, he is well, he is doing good.

HOLY FUCKING SHIT 🐭 ANON!?!?

I'm actually so proud holy shit!!

Yes, manifesting really doesn't need to happen in a logical way, it's instant and our desires can come in any way we want it to. You could literally have a fairy deliver it to you on a plate lolol

Genuinely so proud!!

[lawofangie]

Hello. I just saw your post about your manifestation journey while struggling with depression and I’ll probably just be another rant about “how difficult it is to manifest”, but honestly I just want to talk a little bit.

I’m at work right now. I’m a trainee in a law office and my relationship with my boss is deteriorating gradually.

While I was at school, I would always think that I would be happier at a job, because I like to feel useful and competent. But now that I have a job, I just feel miserable.

I already received complaints twice about “being distracted” and “not doing my best”, which came as shocking because I’ve been doing my best. I have two bosses and while one looks like she really appreciates me, the other one might be the contrary.

I always fails to do what she wants me to do.

So I have been having really tiresome dreams. I had one where they asked me to type a document and after a while it turns out it was a “you are fired document” and asked me to sigh it.

They laughed and said that “I wasn’t doing enough” and “I wasn’t attending my classes at college” which I WAS but it didn’t matter.

I actually can’t imagine my life better. It’s like my mind just blocks it from me. I feel like I can’t delude myself even if that’s what I want the most.

I really want to just escape and live happily but I just feel trapped and miserable. I think I can predict what you are going to advice me but…I just don’t know what to do. I’m scared.

this is actually kind of relatable. i've felt similarly at many points in my life, i struggled to function, i thought external things would make me happy, applying the law was difficult. i couldn't imagine my life any better either. i understand where this is coming from, i'll try to give less generic advice, but i'm going to be brutally honest, and, this still won't be anything special. its important to remember that regardless of what i say here, manifestation is still just assuming you have your desire and persisting in that fact.

anyways, it honestly gets to a point where you have to realize that you're just wasting your time feeling trapped and scared. you're doing yourself a disservice. no one and nothing can save you, nor is anything or anyone going to. as unfortunate as your circumstances are, you have to do it yourself.

you have to take what you want and prioritize that above how you feel, anyone's made you feel, and how anyone feels about you. your life is meant to revolve around you and no one else. its YOUR life for a reason.

you SHOULD NOT waste the best years of your life being miserable, feeling like a failure, like a victim, like you can't change, like you're trapped like this forever when that's completely illogical. everyone and everything changes. people change in age, appearance, personality, sexuality, preferences, etc. it's physically impossible to be incapable of change unless you're not alive. people change all the time.

you genuinely do not have the time to be so self loathing and miserable, not when you're going to literally grow old one day. and according to those who've made it there already, that day comes fast. do you want to look back at your life at 80 and see what you wasted it doing? when all this information was right in your face? when all you had to do was take a chance and have some faith in yourself?

changing yourself isn't impossible, you're just too scared to assume anything good about yourself, perhaps because you've gotten so used to being miserable. "changing yourself", by the way, just so we're clear, simply means to assume something new about yourself. for example, you already believe you are a failure, and to change would be to simply assume you're successful. that's quite literally it. you just believe in something without physical proof, that's assuming. we assume all the time. you're just assuming about yourself now. the law is extremely simple to utilize, but it's the simplicity that leads to people overcomplicating it themselves.

also, delusion is, by definition, a false belief that is resistant to change, even when presented with evidence that it is not true. an assumption, by definition, is a belief that is taken as true without proof or evidence. you need to realize the difference here. we are telling you to assume, not to delude yourself. we are promising you that the "proof" comes after you've fully accepted it as true. we're not telling you to actively deny something despite accepting it as true. what would be the point in that? if we're telling you that your assumptions, aka the things you believe to be true without proof manifest, why would we tell you to continue to accept something you don't want as true? does that make sense?

being delusional and making an assumption may seem similar in theory, but in practice, they are completely different. one is literally the result of a mental illness, the other is a very normal, very human behavior that we do every day. we make assumptions about ourselves, people, and situations. all. the. time. it seems like it's only a problem and called "delusional" when it's about yourself, and it's something good.

it's like being confident in yourself, believing in your abilities despite what others have to say about you. for example, you have a great confidence in a talent or skill, and the you believe that you will get better as you get older/more experienced/more knowledgeable, and you'll make it places and have great opportunities in the future. let's say some random person decides to insult you and say that you'll never make it anywhere in life. would it be "delusional" to not listen to them? to not let someone else dictate your future? or would that simply be having some faith in yourself and not letting others define you?

this is literally all we're telling you to do, believe in yourself even if your reality seems to be against you. don't fight it, just accept that the unfavorable isn't true and move on. continue to believe in yourself.

and besides, if any person successful to date operated with that "i don't see it so it's not true" mindset, they wouldn't have become successful, would they? would anyone accumulate any kind of success with a mindset like that? the people who have came from nothing and made it to where they were now, had an unwavering confidence in their abilities and the fact that they'd be something one day. despite what anyone's told them, or tried to project onto them, it didn't get through to their unwavering sense of self.

the point is, we are promising you something. all it takes is for you to have some confidence in yourself. to quit hurting yourself. is that so hard?

anyways, the point of manifesting is when you change yourself, the things in your external reality change.

assuming is easy. believing things to be true without proof is easy. you just have to get comfortable with the fact that you need to change before anything changes externally. again, instead of believing you are a failure, that you are trapped, you simply assume you are successful, and you are not trapped.

people also change their minds all the time, they grow to have a different opinion, they realize they were wrong, they want to give something else a chance, or without a reason, they simply change their mind. these things are not impossible, they happen all the time.

i'm saying this to say that manifesting isn't being delusional. to be delusional is feeling stuck and like things can't change, when they so clearly do, all the damn time. you're not special enough for the concept of change to not apply to you. for instance, you are certainly not the same person you were when you were 6 compared to however old you are right now. you changed, therefore you are capable of changing, and i proved it to you with that simple example.

you only feel stuck because you decided you are, you decided that you'll never be unstuck, and so you haven't been. the law is working, just not in your favor. everything you see in your reality right now, perfectly matches whatever you've assumed to be true. that is not a coincidence. it's important to remember that the law isn't a thing with feelings, it does not care about you or your situation. all it does is continue to operate. it's up to you to use the law's indifference to your advantage.

also, you seem to have a victim mindset. it's very obvious in the way that you try to explain yourself, that you were doing as you were supposed to, but it still 'didn't matter'. you're putting so many things (your job, your bosses, proving yourself) on a pedestal, over what really matters, which is yourself. do you even like your job? did you pursue something you were passionate about? because if not, then you have no business subjecting yourself to any kind of mistreatment, not when you didn't even want to be there in the first place. you should be putting yourself and your desires before even thinking about pleasing anyone or meeting any kind of requirement.

your own standards and requirements should come first. remember : you chose to work for them. you have a choice. you also need to remember that your bosses and colleagues are regular people. outside of work (and in the workplace if we're being honest) they have no kind of power over you. you shouldn't be letting such irrelevant people in your life have the power to instill so much fear in you, to the point where you're having literal nightmares.. about typing a document incorrectly.

also, about feeling useful and competent, that's something you have to decide about yourself. are you useful? are you competent? do you honestly feel this way about yourself? definitely not, which is why you're seeking validation from others. but at the same time, it is what's made you so miserable, because you're definitely not getting that validation. and any you get only gives you a short lived feeling of satisfaction. your opinion on yourself matters more than what anyone has to say. that's literally why confidence and insecurity exist. and either way, you still feel a certain way about yourself that outweighs anything anyone has to say about you.

here's another example, let's say you've been insecure about your looks from a young age. if one day, someone randomly tells you you're beautiful or they think you're pretty, is all the insecurity you've felt for years suddenly going to go away? or will your mind find reasons to reinforce the fact that you don't feel beautiful? and if someone confirmed your insecurities, saying you weren't their type, they didn't find you attractive, wouldn't you just justify that reaction in your mind since you feel that way about yourself already?

with that in mind, how much does anyone's words really matter? do the words of others honestly have any significance when they aren't reinforcing something you already believe about yourself?

your reality works in a similar way. whatever you decide to assume/ accept as true/ shift your awareness to/ decide is true/ feel is certain, your reality will reflect. as well as a bunch of reasons to continue believing whatever it is is true. the law is very indifferent and has no bounds. it does not care about your feelings, your specific circumstances, and so on. that's why i'm telling you, you only feel these ways and experience the things you do, because you decided you were. this goes for being miserable, being stuck, feeling useless, feeling incompetent and living in fear. there are no exceptions.

so, with all that said, what do i suggest? first off, you need to practice being secure in yourself. work on being confident in yourself first, then work on your self concept. i say "confidence" as in feeling secure in yourself within the 3d. so, your looks, your body, your social skills, your physical skills, etc. because "self concept" has to do with having confidence in your manifestation abilities. find a helpful method that works for you, like affirming, visualizing, scripting, rampaging, or just simply deciding something new about yourself and accepting it.

self confidence has to do with things like liking yourself, being your own validation, having optimistic thoughts about yourself, and self efficiency. you can't care about what others think, you have to put yourself first, and you can't let anyone dictate your future. be selfish. the only thing that should matter is you and how something makes you feel. nothing bad comes from putting yourself first and not worrying about others.

once you feel confident in yourself, or even while working on your confidence, practice using the law. you could start by manifesting something small, something specific that would prove to you that you can manifest, then work your way up. manifest bigger things or just a large quantity of things, just to prove to yourself that there aren't any limits. remember, manifesting is just assuming: believing something to be true without proof. i mean that in the most literal, simplest way possible. like the example of success i used earlier.

once you've proven to yourself that manifestation is indeed real, play around with it. also, work on your self concept. decide that things always go well for you, that you deserve good things, you're the creator of your reality, learn to mentally reject unfavorable things in the 3d, and so on. this is what i would do if i were you.

i know this was kind of long, but i hope you understand my words and find them useful. feel free to dm me or send another ask if you have anymore questions. 🩶

[ansonmountdaily]

Strange New Worlds cast about the Vulcan episode in upcoming Season 3

At a Star Trek: Las Vegas convention panel, Strange New Worlds cast members teased the Vulcan episode in Season 3 - August 4 2024.

Anson Mount, Christina Chong, Celia Rose Gooding, Rebecca Romijn, Jess Bush, Babs Olusanmokun, Melissa Navia and Ethan Peck are all very excited about the special episode (which is episode 8, see official teaser clip). Celia Rose Gooding said they can't wait for the ep to come out, so they can post all the behind the scenes shots of them doubled over laughing. Jess Bush said it was a fight to not laugh in the episode every single day!

Carol Kane (Pelia), Bruce Horak (Hemmer), Melanie Scrofano (Captain Marie Batel) and Dan Jeannotte (George Samuel Kirk) were also present at the panel!

Source: backofthehead Instagram clip

[erinwantstowrite]

Let me just quickly say, cross-overs can sometimes get REALLY difficult to map out and write in a cohesive way but you have absolutely NAILED IT!! I absolutely ADORE LoF!!! I usually don’t even bother reading fics with the ‘Richard Grayson is Richard Parker’ premise cause I felt like they were super confusing and overcomplicated but this fic?? SUPERB. ABSOLUTELY INCREDIBLE. OH MY GOD I ADORE IT. Everyone’s characterizations are so nice and wonderful aaaaaaah!!!! <33333

Ok ok I did actually have a question as well: would you be willing to share what your writing process looks like in terms of a chapter you’ve already posted? I was just wondering since I’m also currently working on my own fic (it’s been a few years but I managed to get fixated on an idea and it grew legs lol) and I’m currently fighting the organization of it haha.

How do you keep track of the plot points and/or foreshadowing you want to get a ‘lightbulb!’ moment for later? Do you have any tips?

Thank you so much! I absolutely adore your writing AND your art is so gorgeous omg it adds so much to the incredible story :DDD I hope you have a good day!!

I have a secret: I actually didn't like "Richard Grayson is Richard Parker' tag for a while for the same reason. Sometimes they felt like they missed the mark or it's just. A thing that's there? I almost didn't include it for LoF, but I'm glad I did because it changed the direction in such a big way.

Another secret: this made me incredibly happy because I have read so many wikis and scoured the internet to make sure that I had enough info on both fandoms so LoF could make sense to anyone who's reading it, whether they know Spider-Man, Batfam, or neither at all. Sometimes I worry a lot before I post that I'll miss a mark and will confuse people.

As for the question: I definitely am willing to share what my writing process looks like!

Be prepared for under the cut, I love to yap. It's in my blood to yap. And that's why it took a minute to get to this ask haha

(Spoilers for Leap of Faith!! Everything mentioned has already been published ((Chapters 1-11))

I had to go and find out which chapter I wanted to use as an example and I think we're gonna go with Chapter 5 for the most part :)

My writing process is, as described by alighterwood:

I think the description fits because while I'm all over the place, I have to be very detail oriented and I store everything in one spot.

Starting with the overall process, what I find is most helpful for me, when organizing, is having a notebook rather than doing it all digitally. I've been using a 70 sheet notebook that I had lying around waiting to be used, and as of yesterday, I officially filled the entire thing front to back. It's been an incredible help, for a lot of reasons, but mostly because it's a lot easier to remember something I physically wrote down than it is to remember something I typed. I'm now on to my second notebook for LoF, and I might even have to get a third.

In another ask, startupkat asked me this:

And I shared a little about my outline process there, but I'll try to go into a little more depth here. Emphasis on little because this is so long.

I write a truly insane amount of outlines in this notebook.

This is just what I can show you, but a good chunk of the notebook is just outlines. Over and over and over again. That's because they're always changing/adapting based on so many different factors. Sometimes I get to a chapter I thought I had fully planned out and then realize it just doesn't work anymore. Other times, I get to the chapter and realize I don't want to write that anymore/isn't as interesting as I thought it would be. A few times I got halfway through a POV of a scene I was struggling on and decided to switch POV's, which will change up the outline for a chapter every now and then.

Which is why I don't write incredibly detailed outlines and try to keep it vague until I actually get to that chapter. It's a lot less daunting to rewrite a chapter outline than it is to rewrite the entire outline.

Fic outlines and Chapter outlines look a lot alike.

This is what I said in the other ask, but I didn't elaborate on it all the way.

I make a list just like that, and then I try to put it in chronological order/in an order that makes sense. I keep the Fic outline vague by writing down "Goals" for a chapter rather than scenes. But I also keep notes to myself if I really think something is important. The more important I think a scene needs to be, the more details I write down to make sure my future self recalls what I had in mind when I thought it up.

Really simple example:

Chap 1 Goal: Peter gets to Gotham and meets Babs while running around. Meet Nightwing too? Get shelter.

Chapter 2 Goal: Bats are like "???" about Peter. Batfam dynamic important... Peter stalking Batfam back? Peter meet Batman >:)

When I get to a chapter, that's when I make a far more detailed list of wants/needs/goals. It's the Step 2 from the Step 1. Here are some examples from Chapter 5:

Needed to have:

More POV's from universe 1299 (Peter's home universe)

Tony's POV more specifically, how he's doing/feeling, what he's figured out

What they've figured out on 1299 side vs what's going on in 1300 (Gotham)

Explaining more about Peter's trauma/his past

Dick learning more about Peter, and vise versa

Wanted to have:

Ned being a more central character

Natasha :)

Loki being a little shit

Tony and Cap bickering

Peter talking to Nightwing again

The last name Grayson

Gymnastics!!

(This is the shortened list, because the chapters are so long)

When I looked at this list before writing my outline, I had to figure out how I could incorporate everything. If I needed more 1299 POV's, and I wanted Ned, Natasha, and Loki, there's one scene accounted for. I had to get their side of things and wanted that trio together. I needed a Tony POV, and I wanted Tony and Cap bickering, so those went together, plus I got 1299's POV of Ohnn and his plans explained.

I needed to have Peter explaining more about his trauma, and Dick and Peter to talk/get closer. I wanted a Nightwing POV, to have Peter say his last name, and them doing gymnastics. I knew Peter wouldn't willingly talk about that, so I had him have a nightmare. Not only did it give readers perspective but it made Peter more susceptible to talking to Nightwing because he was more emotionally vulnerable/lonely, and that's how that scene came together.

That's when I would write down the chronological order of these events by writing out "Scene Blocks." (This is what I wrote down but my handwriting was so bad I can't subject y'all to it):

scene 1- Ned talking to Loki. Natasha should be nearby and observing Loki's behavior. They are not on friendly terms. Ned is more worried about Peter than he is as to what Loki could be up to, so Natasha takes on that role.

scene 2- Tony is freaking out about Peter being in an alt dimension. He should attack Ohnn when he's not prepared for it. Beat his ass? Beat his ass. Cap there too.

scene 3- Peter's nightmare. "Ben, where do you go when you die?" "Where do you think?" "With you. Where you went."

scene 4- Nightwing and Peter.

Of course, things come to attention when writing. Like originally, Tony and Cap were arguing in the Tower. But it was a little too much like his and Natasha's argument, and I kept in mind that Tony is smart. Sometimes I forget that the characters are smarter than I am, so I have to account for what they would figure out. So Tony would have picked up the puzzle pieces and come to more conclusions than I originally thought about, and I figured he'd be way more proactive about it than just. Being in the Tower and waiting.

Which means that that scene ended up being as listed above: having a squabble with Cap, learning more about Peter's dynamic with the Avengers in this universe, and seeing how Tony is reacting to it by throwing himself head first into trying to capture Ohnn.

I'll realize I need something else to be mentioned or put in and I'll have to shimmy things around, but that's basically how it goes.

As for other forms of organization:

Keeping a timeline is so important because it tells you a lot about the environment your characters are in. It's also important to remember what a character has on them, what money they've spent, who they've met/who you have mentioned, every alias that is being used, to read your work and write down edits you want to make before you make them, to write down ideas beforehand of situations you can use, and, most importantly: MAKE A MAP!! This has saved me so many times. Sometimes your brain WILL trick you or make it harder on you to envision a scene. Make a map of where your characters are physically!! It will save you too!!

As for foreshadowing and plot points, I'll let you in on yet another secret:

Your subconscious is doing a lot more than you think it is.

Sometimes when I foreshadow something, I didn't even know I was until I got to it. I very often go back to read chapters that came before this to see what I've mentioned and what I haven't, and when I do, I'll see something and go "I have to bring this back" or "I almost forgot about that!"

Other times, I am very aware of what I'm foreshadowing, and that's because I follow a mystery plot formula. You have to keep in mind everyone's intentions, all the time. How are they feeling? What are their motivations? And: what are they doing right now, while this character is doing this?

Like Beck and Ohnn. From the very beginning, I knew I had to make sure that it was obvious Ohnn wasn't working alone. From there, I had to weave through the story and slowly build him up as someone who's working behind the scenes. Even from Ned's first POV, I made sure to mention that this person knows Tony and is tech savvy.

My biggest tip is to make sure you reread your work or at least skip through it, because sometimes you don't even know that you placed something there.

And sometimes, it's very purposeful. :)

I hope this helped! I really tried to keep it short but I am insane and the process is sooooo long. It sounds complicated but it really is simple when you're actually doing it I swear

[deception-united]

What is intrigue? How can you use it in story telling?

Thanks for asking! Intrigue in storytelling is the art of captivating readers by introducing elements of mystery, suspense, or unanswered questions that pique their curiosity and compel them to keep reading. It creates curiosity and engages the reader, compelling them to delve deeper into the narrative and keeping them guessing. Here are some tips to incorporate this into your own writing.

Foreshadowing: Dropping subtle hints or clues about future events can a sense of anticipation and mystery, as well as making it fun for the reader upon looking back.

Unexpected plot twists: Surprise your audience by subverting their expectations. Introduce twists and turns that challenge their assumptions and keep them guessing about what will happen next.

Withholding information: Strategically withhold key pieces of information to create suspense and intrigue. By keeping readers in the dark about certain aspects of the story, you heighten their curiosity and desire to uncover the truth.

Sense of urgency: Establish a sense of urgency or impending danger to raise the stakes and intensify the intrigue, whether it's a ticking clock, a looming threat, or another pushing factor.

Gradual revelation: Pace the unraveling of the mystery or unanswered questions, gradually revealing clues and information to keep readers engaged. Each revelation should deepen the intrigue and prompt new questions, driving the narrative forward and maintaining momentum.

Character motivations & secrets: Explore the hidden motives, secrets, and conflicts within your characters to add layers of intrigue to the story. As readers uncover the complexities of the characters' personalities and relationships, they become more invested in their journey and the outcome of the story.

I do have separate posts that go more in depth about some of these points, so feel free to check those out for more tips. Happy writing ❤

Previous | Next

[poorly-drawn-mdzs]

Okay but if mbj can't see beneath the baps how does he look at sqh?

He is Hoisted. Held in one hand, as he should be.

[unboundprompts]

Hii!! I came across your blog and immediately followed since I thought I might needed some help with my fanfics, and if there's one thing I'm bad at is describing fight scenes with like guns or magic, I've been struggling to write it and did some practices and didn't like how they came out, I'm hoping if you can do some fighting prompts, I hope this isn't too much!!

How to Write Fight Scenes

-> check out @howtofightwrite , they are an excellent resource for writing realistic fight scenes.

Set the Stakes Early

Why are they fighting? Establish the stakes of the fight clearly before it begins. If the reader understands what’s at risk, they’ll feel more invested. Stakes could be personal (revenge, survival), emotional (protecting a loved one), or strategic (achieving a mission).

Use the Environment

Incorporate the setting to add depth and realism. Are they fighting in a cramped alley, an open field, or a crowded city street? Describe how the environment affects movement, line of sight, or weapon use.

Vary Sentence Length for Pacing

Short sentences create tension and speed, while longer sentences allow for brief moments of reflection or description.

Incorporate Sensory Details

Highlight the senses beyond sight to ground the reader in the fight. Describe the smell of sweat, the metallic taste of blood, the weight of a sword, or the deafening roar of a gun.

Example: “Her ears rang as the blast reverberated around the alley. Smoke filled her nose, thick and choking, but she ignored it, tightening her grip on her weapon.”

Focus on Key Moments, Not Every Movement

Avoid blow-by-blow descriptions. Instead, highlight critical moves, reactions, and turning points to keep the scene flowing and avoid overwhelming the reader.

Show Physical Strain and Fatigue

Fights take a toll, especially over time. Show characters struggling to keep up, panting, sweating, or even stumbling as exhaustion sets in.

Example: “Her arms ached, each swing feeling heavier than the last. Her breathing came fast, ragged, but she couldn’t stop now.”

Capture Emotions and Mindset

Mix action with glimpses of your characters’ thoughts and emotions. This adds depth and reminds readers why the fight matters.

Describe Injuries Believably

Injuries impact the pace and intensity of a fight. Showing injuries realistically adds tension and makes victories feel hard-won.

Example: “She hissed as pain flared in her side where his blade had grazed her. Her vision blurred, but she forced herself to stand, one hand pressed to the wound.”

Build Up to a Climax

As the fight progresses, increase the stakes and bring tension to a peak. This could be a devastating blow, a risky last-minute decision, or a surprising twist.

Example: “He was backed against the wall, nowhere left to run. She raised her hand, a final spell crackling in her palm, the light casting a fierce glow in her eyes.”

Conclude with a Realistic Aftermath

Show the immediate aftermath of the fight: physical exhaustion, injuries, and the character’s emotional response. If they won, are they triumphant, relieved, or traumatized? If they lost, what happens next?

Fight Scene Prompts (with Magic)

-> feel free to edit and adjust pronouns as you see fit.

As they crept down the dim hallway, the flash of gunfire exploded from behind, forcing them to dive to the ground, bullets ricocheting off the walls around them. She barely had time to pull her weapon, pressing her back to the wall as footsteps drew closer. With a steadying breath, she waited for the right moment, then spun, firing off two rounds that hit their marks with surgical precision. The hall fell silent, the smell of gunpowder hanging in the air.

Electricity crackled around his hands as he stalked toward his opponent, energy building in his fingertips. She mirrored his stance, blue flames licking up her wrists as her gaze narrowed. He made the first move, sending a bolt of lightning in her direction, but she countered with a quick flick of her wrist, sending the flames forward like a living shield. Sparks flew as their magic collided, the force of it rattling the metal beams around them.

He ducked behind the dumpster as gunfire erupted, bullets pinging off the conjured barrier that surrounded him. He gritted his teeth, feeling the strain as his shield flickered with each impact. His opponent advanced, shouting taunts over the noise, but he focused, raising one hand to push the barrier outwards, turning it from defense to offense. With a growl, he flung the shield forward like a battering ram, the force slamming his opponent back against the alley wall.

They ascended into the night sky, wind whipping around them as spells flew between them like streaks of fire. He could barely keep up, dodging her relentless attacks as the city lights twinkled below. Finally, he unleashed a burst of energy from his hands, the force spiraling outward in a shockwave. She managed to deflect it just in time, retaliating with a beam of light that sliced through the night like a comet, forcing him into a desperate mid-air roll to avoid it.

[artist-issues]

Hi! First off, I want to say that I love how you analyze media and having really been enjoying reading all your posts :) I just wanted to ask—do you have tips for people who what to learn to think more critically about media and just storytelling in general? Like, are there questions that you usually ask yourself when looking at a character's journey or the messaging behind the movie? Just trying to learn how to better analyze the media I consume, as well as improve on pinpointing the specific reasons why I like the movies that I like, instead of just saying "Well, I liked it. It was great" and leaving it at that 🙈.

New favorite question!

I love that you want to know why you like something. I love it. I think so many people are ready to give a defense for why they dislike something, and the blood-sport of “picking it apart,” but then they don’t really know how to reverse the process and be like, “here’s why I liked this other thing,” or they can’t speak accurately and clearly about why they like something, which is a huge shame, and sort of raises other questions about critical thinking but you’re not doing that! So you’re already awesome!

I am not an expert. I could be 100% wrong about everything I do, and all the questions I ask. I only went to a normal amount of education for this. It does not mean I have all the insight and the good advice.

BUT you asked, and I love talking about it, so it’s going to be long, and here’s what I do:

Step 1. I Just Watch the Movie.

That’s it. Just take it in. No expectations. Do not try to figure out what’s wrong with it or what’s right with it. Don’t even assume there’s such a thing as “right” or “wrong” the first time you watch it. It is THE hardest thing to do, once you gain some “knowledge” of storytelling. But truthfully, if you go into a story with your eyes and ears open for flaws, or a checklist of “Right Things to Do,” then you’ve already lost any objectivity. You’ll be so busy going “good thing, bad thing,” that the movie will never be able to establish an “emotional train of thought,” with you. Because you’re already taking it piece by piece, like eating a burger one ingredient at a time, instead of taking a full bite. It’s meant to be one-successive-thought/feeling-on-top-of-another, but you’re picking it apart before it’s over.

Plus, you’re not letting the story do what it was meant to do—get under your mental guard. And that’s the whole point of stories. So in a way, if your Critical Analysis Cap is already conciously on, even the best movie in the world won’t come off as the best movie in the world. C.S. Lewis talks about this in one of his essays. I’ll try to simplify it:

You can’t decide if you like something or dislike something until after you’ve eaten it. You certainly can’t really experience “what ingredients it’s made of” before you’ve eaten it. You can make some observations about a food without ever putting it in your mouth and experiencing it—I can look at a brownie and go, “there’s chocolate in there.” I can cut into it and go, “oh, but it’s tough.” But I haven’t even begun to scratch the surface of experiencing that brownie until I just shut up and put it in my mouth.

That is the hardest part and the part I suck at the very most. My suckiness at this part is why my friends hate watching movies with me. But on some level, you have to suspend your worldview, your opinions, and try to just listen.

It’s also why (this is just an aside) I struggle when people recommend a movie to me. Because they usually go, “what do you think of this movie?” And then I say, “I haven’t seen it.” And then they go, “oh you should watch it!” And I know for a fact that they’re going to ask me how it was, and my answer needs to be prepared—so then I’m already handicapped before I even try it. But it can’t be helped. And that’s just food for thought.

Step 2: “What Are They Trying to Tell Me?”

The only thing you need to think, when you go into analyzing a movie, before anything else, is, “They are trying to tell me something.”

That’s it. It’s just active listening, but in a movie. I think that’s like 90% of it. And so many people don’t know how to do that—in life, in conversation—let alone when they watch something. It’s the movie-watching equivalent of “stop thinking about what you’re going to say or how you’re going to respond to me, and just listen to what I’m saying.”

Remember, the whole storytelling team behind a movie or the writer of a novel sat down in front of a blank piece of paper. There was nothing there. They made several hundred thousand tiny and huge decisions to put something in front of you. Almost nothing you see in the story is there on accident. Because none of it would be there if they didn’t decide to transplant what they were thinking and feeling into you.

That’s all a movie is. That’s all a story is. It’s communication. It’s an essay. It’s a sermon. It’s a song. You can figure out what it means—but only if you start out by accepting, on good faith, that it means something.

I’m not saying every story of movie will have a well-thought-out meaning. I’m saying, you’re going into it as if it does. In good faith. And then the storytellers will either reward that good faith because they had something to say—or they’ll let you down. But you go in assuming they won’t let you down, that this is an agreed-upon conversation you two are having.

That takes a level of humility I don’t always have. Because if I know Christopher Nolan is directing a movie, at this point, it’s hard for me not to go into that movie with the story-version of this mindset: “well, I know he’ll have a lot of ‘big words’ to use, but nothing to actually say.” It’s hard to do.

But you have to do it, or else the risk of you projecting what you believe the movie is about onto it, or missing the meaning entirely, is astronomically high. You’ll watch a Disney Princess movie that’s total trash (I can’t stop coming for Wish) and you’ll see everything you’ve always wanted to see in it—because you’re projecting what you hope they’re saying onto the movie (when actually they were saying something very silly.) Or you’ll be like me watching The Dark Knight for the first time and trying desperately to wrestle my brain into “believe he’s trying to say something to you and not just snag your emotions on meaningless twists”-mode the whole time.

And the best way to figure out what they were trying to tell you is to start with where they succeeded in making you feel something. Wherever they succeeded, that’s where you’ll start looking for clues.

Step 3. What Did You Feel?

Sometimes you have to skip this step because you couldn’t get Step 1 right. You couldn’t just watch the movie, you were “out of the movie,” the whole time you were watching it. Sometimes that’s not your fault—sometimes a movie is so bad or so disingenuous that you can’t do Step 1, and you have to settle not for “What Did You Feel?” (Because you felt nothing) but “What Did They Want Me To Feel?”

…But if you were able to just watch it and it made you feel something, then this step is about analyzing that.

I recommend starting with a movie you watched when you were a kid—because kids almost never fail at Step 1. Their brains are sponges. Your brain was a willing sponge, you believed that the story was telling you something and you took it in without any conscious thought.

So like, if you felt like crying during the scene in Inside Out where Bing Bong fades away, or you did cry, ask yourself “why?”

The first answer to that question will be “because I liked Bing Bong and now he’s gone, and that’s sad.”

The second one will be: “because I miss my imaginary friend/because I miss my childhood/because I wish I didn’t have to lose memories of good things” etc. And all of that’s true.

But dig deeper. Because that’s exactly how the storyteller wanted you to feel. Reverse-engineer it. Figure out how they accomplished that goal.

Because we all had play-pretend characters when we were kids. We all had childhood friends who aren’t with us anymore. I guarantee you none of them looked like cotton-candy chimeras with hobo jackets. So why did you respond to Bing-Bong’s death as if you were losing something personal? How did they get you to believe that was happening, enough to make you sad, about a character you met an hour ago?

Because you got to know him well over the past hour. You got to know things about him that were easy to believe, things that were in common with your life experiences. You know what he wants, what he doesn’t like. You know where he was hoping to go, and what he was afraid of.

That ties into the next point, but you can do this with things that don’t have anything to do with the character—the other things that make up a movie.

What music was playing during the part where you Felt Something? Was that same melody or motif in another part of the movie—and if it was, what was happening in that part? Are they connected somehow?

What color predominates the screen during that part?

What is the lighting like? Does anything make the lighting different than what we’ve seen so far? Is the lighting creating interesting shapes—how would you describe those shapes?

Where are we? Is it a significant location? What makes the location significant?

Are we losing something? Why does it feel like a loss? Are we gaining something? Why does it feel like a gain? What was missing before that we’re glad is here now?

Those are just a few questions. Because remember, by answering them as honestly and simply as you can, you’re figuring out that the storytellers chose those things, and you’re figuring out why that was the right choice.

Do some compare-contrast: when Bing Bong fades away, what color is he turning before disappearing?

Deep blue, almost purple, right? If you can’t figure out why that would be a good choice, do some compare-contrast. What if the color he was vaguely dissolving into was green? That would look kind of sickly, or it would evoke feelings of “poison gas.” Weird for a moment that’s supposed to be sad. What if the color was yellow? Joy is yellow, in the movie. So pretty directly, that would be the wrong color because it would be kind of pretty, and it would make the audience feel a little “ooo” like they do when the Beast transforms in yellow light. But blue? Who’s blue in this movie? Sadness. Obviously. Sadness is blue—it’s very human to respond that way. You can do that same “what-if, compare/contrast” with the answer to every question on that bullet point list.

“When Genie is set free and I Felt Something, the location it’s in is on the throne room balcony. Well, why? Why’d the storytellers pick that? Because that’s where they were after the final battle, yeah, but that final battle could’ve been anywhere. Why didn’t the final battle with Jafar finish by having everybody in the throne room? Well, if it had been in the throne room, there would have been a lot of destruction from the final battle laying around. Having ruins behind Genie while he looks all sparkly and triumphant would’ve been a little odd. Plus, there would’ve been a roof. Would he have gone “I’m freee—hee!!” and flown out a window? That might’ve felt silly. But out on the balcony, he’s looking sparkly and triumphant against an open sky. Ohhh, an open sky makes you think of endless opportunity. That’s so smart. Even my subconscious was convinced, by the sky behind him, that something momentous and liberating was happening in this scene. And not just for Genie, but Aladdin is finally being “freed,” too, because they know who he is and love him anyway, and Jasmine is being ‘freed,’ too, because the law—“ Okay that’s enough, you get the idea.

Let’s go into the really fun part.

Step 4. I Look At The Characters

A good storyteller uses something that the audience can relate and empathize with for their main focus. And that’s usually a character (doesn’t have to be. You can describe a tree with personification in a poem, and a human will empathize with that tree’s “life,” or situation, and boom—suddenly you have a story.)

A super talented writer I know named @doverstar once wrote an entire story from the perspective of I think a paperclip? And I still remember it to this day. (Specifically I remember a crazy straw wrapper in the story, but you get my point.)

SO! Characters are the easiest and best way for a storyteller to get the person they’re trying to communicate with to engage. Which means, looking at characters is the easiest avenue to understand a story by. Usually, the storyteller jammed the whole message of the story into their characters in neat, interesting little packages. You just have to unpack them.

Here’s how I do it, roughly:

A. Figure Out What the Character Wants

In my post about The Lion King, I said Simba wants to be free to do whatever he wants all the time. And that’s true. But how did I figure that out? I’ll show you. It’s plain, because the storytellers wanted you to know.

Look At Dialogue - What a character says almost always gives you hints to what they want—even if they never say what they want out loud. Kids are most likely to say it, point-blank. So cub-Simba says, “But I thought a King could do whatever he wants.” But adults usually don’t say exactly what they want, because by that time, they’re either confused about what they want or they’re insecure about what people will think of what they want—whatever. The point is, pay attention to what a character says. Simba also sings, later, “free to do it all my way!” You can also find a lot out by what a character doesn’t say. Aladdin could’ve said, “yeah, well, at least I’m not a pompous jerk!” when Prince Achmed calls him “worthless.” That would’ve been more of his gutsiness, and he would’ve been right, like a hero should be when calling out a bully. But it wouldn’t have told you anything about what he thinks about what Achmed just said. Instead, he goes, “I’m not worthless!” …People who really believe obvious things don’t say those obvious things. Because they’re obvious. So when Aladdin says, to a closed door and an empty street, “I’m NOT worthless,” you realize that he’s just trying to convince himself. What he means is, “I don’t want to be worthless, and I don’t want to be seen that way.” Because on some level, he is afraid that he is worthless. See how you can tease that out based on what Aladdin says? Then it makes sense that, from that moment on, Aladdin does everything to prove he’s not worthless, or to make people believe he’s not—he goes to great lengths to preserve that image. That’s his motive. Just like Simba disobeys his father and Zazu because he wants to prove he’s a powerful Prince who can do whatever he wants. That’s his motive at the beginning of the movie. You can also learn a lot about what a different character says about another character. And whether or not they’re portrayed as right or wrong. When Prince Achmed says Aladdin is “worthless,” you don’t believe him. He’s drawn in gross curvy lines and he whips children and kicks poor people. You’re not inclined to believe he tells the truth, on top of all that. So the storytellers don’t want you to think Aladdin is worthless—they want you to believe that Aladdin thinks he’s worthless, on some level.

Look at Actions - Actions do speak louder than words. When a character is presented with a decision to make, look at what road they take.

Look at what that says about them. For example, when Andy Dufresne chooses to play music for all the people at Shawshank, even though it’s definitely going to get him in trouble, or when he dares to approach and talk to the abusive prison guard just for a few beers, you learn something about him. It might be confusing, and it might take cross-referencing that action with the fact that he’s digging himself a way out while everyone else is accepting their sentence. But you’ll see that he could have just done what everybody else did. Got through his sentence with the bare-minimum of work. Kept himself busy with any old thing. But that’s not what the storyteller has him do. The storyteller had him continue to bring new, life-lived things into the prison. He creates a space for people to learn and better themselves, he wheedles beers in just for the enjoyment of them, he’s beaten for the sake of music being played. The idea is that he’s going to keep pushing and living, reaching for more, instead of settling, like a man who’s already dead. So then by the time he digs his way out of Shawshank, you believe it. You’re like, “yeah, Andy would do that. I’ve seen him go to great lengths to live this whole time.” Through his actions, and the actions he doesn’t take even when he could, you figure out his motive.

Watch for the Change - Not every character changes. But when a character starts saying something that’s opposite to the kinds of things they said at the beginning, take note. When the character starts doing something they wouldn’t or couldn’t do at the beginning, take note. Miles Morales tries to jump off a building as his first test of being Spider-Man, and he can’t, he goes to a shorter building. Later in the movie, he jumps upside-down off of one. The change in action demonstrates a change in motive—he used to be focused on not-failing. Now he’s focused on taking action.

I’m sorry, I know this is already a long post, but wanna see it all come together?

(Dialogue) On Miles’ first day in class a girl points out that his shoes are untied, and Miles says, “I know. It’s a choice.” He leaves his shoes untied on purpose. (Action.) He also tries to fail in school on purpose. (Action and Dialogue: His teacher spells it out with her dialogue “You’re trying to quit. And I’m not going to let you.”) Then later when Mils tries to run and jump off a short building as Spider-Man, his shoes are still untied. Why? He does things sloppily on purpose. He leaves his shoes untied the same way he tries to fail tests he knows he can pass—because it’s easy. Because you can’t fail at something risky if you don’t try. So he trips and falls off the building. (Action.) That’s Miles’ motive. He’s got “Great Potential,” but he could succeed, but he chooses not to because he’s afraid of failure. Then later, when he leaps headfirst down a skyscraper, did you notice his shoes? They’re tied. (The Change.)

All from a pair of shoes.

Someone had to draw this kid’s shoes, before anyone knew what he would be wearing, and decide why it mattered. Someone had to pick what dismissive line a kid would say to him on his first day of school—and they had to pick exactly what words he would use to respond.

They’re trying to tell you something. All you have to do is believe that, and then you’ll start to not only hear what they’re saying, but appreciate how they choose to say it.

B. Figure out Who a Character Is

This one you can find clues for in the same three things: Dialogue, Actions, The Change. (If there is a change. There isn’t always.)

A character like Stitch is easy to analyze. Other characters straight up say (Dialogue) “You were built to destroy, you have no place among us, you wreck everything you touch, there is nothing inside you that is good.” Then he makes abominable choices (Action) pushes little girls down, rips up toys, chews on the heads of other aliens, actively tries to murder alien cops. But he also looks sad after a night of destroying things (Actions) and asks Lilo to explain to him a book about an ugly duckling (Dialogue? He sort of grunts.) So you’re starting to notice solid character traits: Stitch is evil, Stitch likes being evil, but Stitch feels empty being the way he is. Then when the Change comes, it’s meaningful, and it gives you a hint as to what the storytellers were trying to say.

You get a sense of what Stitch would do, what Stitch wouldn’t do—and you can ask why. With Stitch, it’s just because that’s how he was created by his literal creator. But with other characters, like Cinderella, you’re given background. Her parents taught her to be good and kind regardless of her circumstances. So then when her circumstances get worse and worse, and she chooses to hang on to what she was taught even when the parents are gone, that’s a big deal. And what happens as a result of that “big deal,” what happens as a result of “who the character is” and their “motive,” is our next step!

Remember, you can do this for almost all of the characters. And whichever character gets the most screen-time, what they’re doing during that screentime—all of those things matter.

Step 5: Look at What The Storytellers Reward & Punish

People mess this step up because they mess up Step 2. They forget that the storytellers are trying to tell them something—something specific, something with parameters—and they just start reading their own ideas and reasoning into the characters.

Prime example: people blaming Admiral Holdo for Poe’s actions in Star Wars: The Last Jedi. The whole movie, Poe is doing things that are understandable, but ultimately, foolish. His Character Actions are coming from his Character Motives—which are flawed. Poe believes he should always stand and fight and do what’s heroic. There’s a little pride that goes with that—that he has to be the one to make the stand, or at least to know that there is a heroic plan. But every time he takes these actions, something bad results from it.

Disobeys Leia and Bombs the Dreadnaught -> Every other Pilot dies, and the ship is being tracked anyway. Leia slaps him and tries to tell him to learn a different lesson. Sad or intense music plays. One of the other main characters is majorly negatively affected by the death of her sister in this bombing run.

Sends Finn & Rose on a Mission Without Trusting His Superiors With the Plan -> They Don’t Make It and Nearly Die. His Superiors Trust Him Less.

Staged a Mutiny Necause He Doesn’t Trust Any Plan That’s Not Heroic, Especially if They Didn’t Tell Him First -> The Real Plan is Almost Foiled, Leia Stuns Him.

But some people see all that and they don’t willingly accept that the filmmakers are telling you Poe is in the wrong. They impose the fact that they like him, and they don’t like the purple-haired lady, over the narrative—against all reason, against all odds. They’ve stopped taking in the story, and they’re writing fanfiction before it’s even over. They believe Poe is in the right—if Admiral Holdo had just told him the plan, he would’ve gone alone with it! None of this had to happen!

Actually, the storytellers prove the opposite of that: that Poe would’ve been furious and put a stop to a life-saving plan, because he hates running away. But people are spinning out into “what SHOULD have happened,” or removing one tiny piece of the story and blowing it up and out of context, and judging the whole story on that. If you’re not a big Star Wars fan, consider this: I’ve seen people argue that in Beauty & the Beast, the Enchantress is the real villain and the Beast and his castle are the victims. This is ridiculous. Clearly, the storytellers are telling you that the Beast was in the wrong and the Enchantress was in the right.

They’re telling you this because they design the Enchntress beautifully. They align her with virtues like “value love, be kind to others, be humble,” and they introduce the beast to you with “sneered, selfish, spoiled, unkind, no love in his heart.” They straight up tell you that in the narrator’s voice. You have to believe them, in good faith, if you want to understand what they’re saying.

What about when there’s no voiceover narrating what’s good and bad? No problem. Look at other things. Like I said, look at how Poe is made a fool of by a benevolent and beloved character (Leia) whenever he makes decisions that the storytellers want you to see as bad decisions. Look at the lighting, the location, the colors, and the music during scenes where consequences of a characters’ actions are coming.

That’s what you’re looking for. What does the movie say is good, and what does the movie say is bad? What does the movie say is true, and what does the movie say is a lie?

At the beginning of E.T., the main character is disliked by everybody, including his older brother, because he only thinks of himself and how he feels. By the end, when the kid has taken such careful care of E.T. and reveals it to his big brother, his big brother wants to help him. They’re all brought together. Because the main character stopped doing something that the storytellers disapprove of, which is “thinking only about how you feel,” and he started “thinking about how other people feel” for a change. In the beginning of the movie, he’s lonely, angry, standing in shots that are wide and empty. By the end, he’s flying, beautiful music is playing, and he’s happy. The storytellers reward what they’re trying to convince you is good and right.

Step 6: Are the Storytellers Right?

I always stress remembering this last part. It’s all well and good to lower your defenses and take in a story in good faith. You should not ask this question until you’re done listening, in most cases. Just like it’s well and good to listen to someone with a different perspective than you—you might be wrong, and a story’s main function, like I say on my profile’s pinned post, is to act as a Signpost that Directs You Back to Truth When You’ve Wandered.

But the problem is, fallible humans are telling the stories, and fallible humans are listening to the stories.

So you need to know what you believe, and after the storytellers tell you something, measure it against reality. When Greta Gerwig says, “You Can Be Whatever You Want to Be, Because You’re God,” and she says it with the Barbie movie, is she right? When Cinderella says, “Have Courage and Be Kind, and You’ll Have Hope in the Worst Circumstances,” is the movie right? What if you find yourself in the worst of circumstances one day—you better hope Cinderella didn’t feed you lies. What if there is a God, and it’s not you—you better hope Barbie didn’t feed you lies. I really enjoyed going over this! I’m sorry it was so long. If there’s ever anything more or like, follow-up questions, go ahead and ask! I’ll try to make it briefer next time. Thanks again!

[gigireece16]

do u know how to write anything else besides lesbians committing murder or adultery

no anon, evil lesbians is all i know 😞😞

[novlr]

What are some good ways to write about winter?

Winter. is a season of stark contrasts and sensory experiences. It provides the perfect canvas to paint vivid scenes that range from cosy romances to horror-filled stormy nights.

When writing about winter, it’s essential to capture the essence of its chill and the way it can transform the world. Here are some quick tips!

Sights

A blanket of pristine snow covering the landscape

Bare tree branches coated with frost

Delicate snowflakes drifting from the grey sky

Icicles hanging like crystal daggers from rooftops

Colourful clothes stark against the white of snow

Sunlight reflecting off the snow, creating a blinding glare

Animal tracks stamped into the powder

Frozen lakes and puddles

Man-made objects like snowmen and snow angels

Lights shining against dark backdrops

Sounds

Snow muffling and dampening the usual noises

Boots crunching on the frozen ground

People laughing and shouting as they play

Wind howling through barren branches

Ice cracking underfoot or on distant lakes

The silence of a snow-covered world

Shovels scraping against sidewalks

Snowballs hitting their targets with soft thuds

Branches creaking, laden with snow

The rustle of animals keeping warm in burrows

Smells

The fresh, clean scent of snow in the air

Wood smoke curling from chimneys

The earthy aroma of damp wool from coats and gloves

The sharp tang of frost and cold metal

Hot chocolate and marshmallows

Pine needles and the subtle scent of evergreen

Baking spices from holiday treats

The slight ozone smell before a snowstorm

Wet dog from snowball fights with furry friends

Leather and polish from well-worn boots

Activities

Building snow forts and castles

Ice skating on a frozen pond or rink

Snowshoeing through a silent forest

Curling up by the fire with a good book

Skiing and snowboarding down powdery slopes

Brisk walks to enjoy the winter air

Hiking up snowy mountains for panoramic views

Having snowball fights with friends or family

Feeding birds or wildlife braving the cold

Decorating the home with festive lights and ornaments

Character body language

Shivering and huddling for warmth

Rubbing hands together or blowing on them for heat

Shoulders hunched against the biting wind

Slipping and steadying oneself on icy patches

Squinting against the bright snow glare

Snuggling into oversized coats and scarves

Stamping feet to restore circulation

Clapping hands to keep the cold at bay

Arms wrapped around the torso for warmth

Quick, brisk movements to minimise exposure to the cold

Positive descriptions

The serene beauty of a snow-covered meadow at dawn

The invigorating feeling of cold air filling your lungs

The cosiness of a warm blanket on a frosty night

The joy of catching snowflakes on your tongue

The camaraderie of coming together to shovel snow

The nostalgia of winter holidays and traditions

The satisfaction of making the perfect snowball

The wonder of ice patterns on windows

The laughter and excitement of a snow day

The glistening of a frosted evergreen in the sun

Negative descriptions

The biting sting of the wind against exposed skin

The numbness of fingers and toes in the cold

The dreariness of shortened, grey days

The inconvenience of navigating slushy streets

The isolation of a blizzard keeping everyone indoors

The discomfort of wet socks and snow in your boots

The hazard of black ice on sidewalks and roads

The burden of heavy layers and winter gear

The dull ache of a cold that lingers

The gloom that can accompany the lack of sunlight

Helpful adjectives

Biting, chilly, frosty, glacial, icy

Crisp, brisk, sharp, piercing, raw

Fluffy, powdery, crunchy, slick, slippery

Dreary, overcast, bleak, sombre, grey

Cosy, snug, warm, toasty, plush

Twinkling, sparkling, shimmering, glistening

Silent, muffled, still, hushed, quiet

Fresh, clean, invigorating, brisk, bracing

Nostalgic, traditional, joyous, festive, celebratory

Isolating, inconvenient, burdensome, hazardous, gloomy

[lazuliquetzal]

I keep on telling people you're the only one who knows how to plot. Can you teach all of us how to plot, please? I love you.

I AM SUMMONED? PLOT BRAIN SUMMONED?

I love plotting. It's my favorite part of the writing process. Plot is "things that happen" and the best part of writing is imagining things that happen. I'm going to assume that whoever may be reading this knows how to imagine The Happenings, so I'm gonna be talking more about structure, but in like, a kinda abstract sense.

A good plot is a little bit more than a string of events. Plot is like music: there's variation in rhythm and sound and melody, but ultimately there's cohesion, because it's all one song. You can have a bunch of wild things happening, but no matter how strange, there should be something that links them all together, because you're telling one story.

Plot structures are patterns in stories. I'm pretty sure most of them were developed as analysis tools (as in, story already exists > look! it follows this pattern) rather than as writing tools, but people use them as writing tools because it's a neat little way to organize the chaos that is "shit happens." Stories follow patterns for the same reasons music follows patterns: we enjoy the certainty of hitting certain beats. But we also like being surprised. A good pop song doesn't sound like a random collection of sounds, but it also doesn't sound like the middle slider of other songs.

There is this shared concept in both music and writing: the idea of tension and release. Basically, you're playing with reader expectation: there's an imbalance in the experience (tension), and we want to see that imbalance resolved (release). All the common plot structures deal with this basic pattern:

You set an expectation

There are complications to the expectation

You meet the expectation

And this rhythm is happening on multiple levels in writing. Scenes follow this structure (we're gonna get past that door, we're gonna find the murder weapon, we're gonna collaborate and come up with a plan) and all those scenes feed into the overarching expectation (we're gonna solve this murder!). I usually think of chapters as their own mini-story, part of the larger whole. And I think of scenes as their own mini-story, part of the larger chapter. I have engineer brain. I see the gears spinning in the clock. That's why all my chapters have at least One Important Thing happening, because that's that particular chapter's Step #3.

And One Last Important Thing:

In music, a delayed resolution is almost always more interesting than the standard resolution. In writing, that means you wanna drag out Step #2 for as long as you can. That's where the bulk of the story is happening, that's how you build tension, that's how you get people to turn the page.

So when you write a fake dating fic, those bitches better not get together until the very end. I came here for fake dating, not for real dating, damn it. If you resolve that expectation early on, you better replace it with a different expectation that's just as engaging.

But also don't drag it out for too long. Sorry. The hard part of writing is learning the difference between too short and too long. Writing is unfortunately a nuanced skill which is why my advice is like "do this but not too much teehee." But tension and resolution is just rhythm, you can build a sense for it if you engage with enough stories.