#Storytelling

[thedemises]

this is peak content

me as a writer

[theoutcastrogue]

We all love happy endings, I love happy endings. But also, there's a reason why "Medea" and "Romeo and Juliet" and other works – tragedies – resonate, 2,000, 3,000 years later. We like art like that because it makes you feel so intensely that you learn about the human heart."

— Liam O'Brien, 4-Sided Dive Episode 30

[katy-133]

NO STOP MY HEART 😭

Spy was looking at a photo of Scout's Ma at the end.

[bisexualbaker]

Oh shit yeah I got this!

Okay, so our main characters, let's call them Steve and Monica, because I need names and don't want to think too hard. Anyway, they grew up together, were platonic ride-or-die for each other in high school, but drifted apart when they went to colleges in different states where they eventually settled down. Monica ended up in a very restrictive state and Steve ended up in a much more pro-choice state. They occasionally message each other on the internet, but nothing really meaningful, usually no more than a Hi on their birthdays or relevant holidays (etc).

Then one day Steve gets a call from Monica. Her recent ex-boyfriend—well, she'd really been thinking of breaking up with him for a couple of months before that, but the final straw was three months ago when she found him messing with her birth control. She immediately kicked him to the curb and went about disentangling their lives, went and got Plan B or equivalent ASAP, just in case.

Well, turns out it was too late: She was already pregnant, and didn't get real confirmation until very recently. And, well, surely Steve knows how things are in the state where she lives.

Steve does know how things are in the state where Monica lives. He also knows that Monica has never wanted to have children, since they talked about it some in high school. There could be various reasons here, from bad experiences with her own parents, to financial reasons, to health reasons, but he never saw fit to argue with any of them. Her choice, right? Meanwhile, Steve himself isn't really sure on the kids thing, but he's leaning towards "no thanks", because he is sure that anyone making the choice to bring kids into the world had better be 100% on board, and he's not, so that means no. (Also, if he feels the need to spend any time with kids, he's got local friends and/or family with little ones he can spoil.)

Anyway! Steve tells Monica that it sounds like she's been having a rough time, maybe he could come pick her up and she could spend a week or two at his place, get resettled after everything that went down with That Jerk (very clearly not saying what else they could, or rather will, be doing while Monica is visiting). Deeply relieved, Monica takes him up on his offer enthusiastically. Steve calls his job, takes a few weeks off of work, and drives over to pick up Monica.

They've got an appointment in Steve's state, but it's still some days away, so they take a leisurely trip back to Steve's. All the while they're reconnecting, and Steve is noticing that all of the things he liked about Monica as a friend in high school are still there, and are also things he'd really like in a life partner. Her sense of humor, her willingness to compromise, her determination to find a way to make things work, her money sense... She's also much more confident in herself than she used to be, which Steve finds really attractive.

Or at least, she's more confident in herself whenever pregnancy shit isn't getting to her. Steve already knew that pregnancy and kids aren't something Monica ever wanted, but if he ever needed more convincing, he's getting it both on this road trip and when they get back to his condo. Still, he does everything he can to try and keep Monica's spirits up, to distract her and/or make sure she's prepared for her abortion and everything it will involve. (All the while, he's also learning what he can to make sure he can help her through the aftermath. Apparently post-partum isn't necessarily just for giving birth; all those hormones and body changes can also hammer down after any other pregnancy ending circumstances!)

Steve drives her to the clinic, waits with her when she asks him to, waits for her during, and does everything he can to make her as comfortable as possible as she recovers. One thing after another is just more yes, yes, yes, this is what he wants in his life, Monica is who he wants in his life.

He's a bit stuck on how or if to confess, though; this was a deeply shitty situation for Monica, and it's also something he could hypothetically hold over her legally after everything, which he would never do, but he knows might make things more difficult for both of them. Then, a day or two before he's set to start driving Monica home, he checks in on Monica packing—only to find her crying.

Steve immediately asks Monica what's wrong, if he can help with anything, and Monica just starts crying harder. She ends up confessing her own feelings, how she started to fall for Steve when he didn't judge her for her shitty ex-boyfriend and how she wanted to terminate the pregnancy (which more than a few of her local friends had), and then everything else he did to make her feel happy and secure while helping her out just really sealed the deal! She got half way through packing before she realized that she didn't actually want to leave him, but she also didn't want to put pressure on him after he'd done so much for her already.

Steve immediately hugs her and confesses back, telling her he doesn't want her to leave either but didn't want to put pressure on her, and also maybe this was a little soon after all of the everything going on. But he would love to go out to dinner with her properly, before he takes her back home, and again when they get there, and then maybe they could see how things go from there? They can try doing long-distance for a month or two, and if they're both still certain, they can get together more formally and figure out where to live.

Fast-forward ten years, Monica and Jake are happily married, with three dogs and a tortoise. They still don't want kids.

The end.

Edit: Okay, this is not "and the person who got them pregnant", but it mostly still works!

there's an extremely niche plot in romance fiction wherein our invariably heterosexual leads fall in love after a night of passion leads to an unplanned pregnancy and they're now bound together by an impending child. I cast no judgment on anyone who enjoys this, but since I'm an evil gay and this is my personal nightmare scenario I want to see a zany romance novel premised on the opposite resolution: a couple falls in love while on a whirlwind roadtrip to obtain a legal abortion

[thepersonalwords]

All is as we are.

A.D. Posey

[ekmosley]

Happy Winter Solstice everyone,  The stars are shining bright tonight. . . • * • *

[loubella77]

My favorite bar has $3 corn dogs and I will sometimes be at the bar for one of those and a girl starts venting to me and this is fr how it goes

[coolmaycroft]

What does it say about our society that these 2 peices of fiction are considered grimdark?

"I think Homer outwits most writers who have written on the War [fantasy archetype], by not taking sides.

The Trojan war is not and you cannot make it be the War of Good vs. Evil. It’s just a war, a wasteful, useless, needless, stupid, protracted, cruel mess full of individual acts of courage, cowardice, nobility, betrayal, limb-hacking-off, and disembowelment. Homer was a Greek and might have been partial to the Greek side, but he had a sense of justice or balance that seems characteristically Greek — maybe his people learned a good deal of it from him? His impartiality is far from dispassionate; the story is a torrent of passionate actions, generous, despicable, magnificent, trivial. But it is unprejudiced. It isn’t Satan vs. Angels. It isn’t Holy Warriors vs. Infidels. It isn’t hobbits vs. orcs. It’s just people vs. people.

Of course you can take sides, and almost everybody does. I try not to, but it’s no use; I just like the Trojans better than the Greeks. But Homer truly doesn’t take sides, and so he permits the story to be tragic. By tragedy, mind and soul are grieved, enlarged, and exalted.

Whether war itself can rise to tragedy, can enlarge and exalt the soul, I leave to those who have been more immediately part of a war than I have. I think some believe that it can, and might say that the opportunity for heroism and tragedy justifies war. I don’t know; all I know is what a poem about a war can do. In any case, war is something human beings do and show no signs of stopping doing, and so it may be less important to condemn it or to justify it than to be able to perceive it as tragic.

But once you take sides, you have lost that ability.

Is it our dominant religion that makes us want war to be between the good guys and the bad guys?

In the War of Good vs. Evil there can be divine or supernal justice but not human tragedy. It is by definition, technically, comic (as in The Divine Comedy): the good guys win. It has a happy ending. If the bad guys beat the good guys, unhappy ending, that’s mere reversal, flip side of the same coin. The author is not impartial. Dystopia is not tragedy.

Milton, a Christian, had to take sides, and couldn’t avoid comedy. He could approach tragedy only by making Evil, in the person of Lucifer, grand, heroic, and even sympathetic — which is faking it. He faked it very well.

Maybe it’s not only Christian habits of thought but the difficulty we all have in growing up that makes us insist justice must favor the good.

After all, 'Let the best man win' doesn’t mean the good man will win. It means, 'This will be a fair fight, no prejudice, no interference — so the best fighter will win it.' If the treacherous bully fairly defeats the nice guy, the treacherous bully is declared champion. This is justice. But it’s the kind of justice that children can’t bear. They rage against it. It’s not fair!

But if children never learn to bear it, they can’t go on to learn that a victory or a defeat in battle, or in any competition other than a purely moral one (whatever that might be), has nothing to do with who is morally better.

Might does not make right — right?

Therefore right does not make might. Right?

But we want it to. 'My strength is as the strength of ten because my heart is pure.'

If we insist that in the real world the ultimate victor must be the good guy, we’ve sacrificed right to might. (That’s what History does after most wars, when it applauds the victors for their superior virtue as well as their superior firepower.) If we falsify the terms of the competition, handicapping it, so that the good guys may lose the battle but always win the war, we’ve left the real world, we’re in fantasy land — wishful thinking country.

Homer didn’t do wishful thinking.

Homer’s Achilles is a disobedient officer, a sulky, self-pitying teenager who gets his nose out of joint and won’t fight for his own side. A sign that Achilles might grow up someday, if given time, is his love for his friend Patroclus. But his big snit is over a girl he was given to rape but has to give back to his superior officer, which to me rather dims the love story. To me Achilles is not a good guy. But he is a good warrior, a great fighter — even better than the Trojan prime warrior, Hector. Hector is a good guy on any terms — kind husband, kind father, responsible on all counts — a mensch. But right does not make might. Achilles kills him.

The famous Helen plays a quite small part in The Iliad. Because I know that she’ll come through the whole war with not a hair in her blond blow-dry out of place, I see her as opportunistic, immoral, emotionally about as deep as a cookie sheet. But if I believed that the good guys win, that the reward goes to the virtuous, I’d have to see her as an innocent beauty wronged by Fate and saved by the Greeks.

And people do see her that way. Homer lets us each make our own Helen; and so she is immortal.

I don’t know if such nobility of mind (in the sense of the impartial 'noble' gases) is possible to a modern writer of fantasy. Since we have worked so hard to separate History from Fiction, our fantasies are dire warnings, or mere nightmares, or else they are wish fulfillments."

- Ursula K. Le Guin, from No Time to Spare, 2013.

[sakuraminibang]

Here’s a special text story message from Umemiya 🍅 and Tsubaki 👠 for Sakura-Centric Mini Bang!

🌸Over 40 responses! Interest form is still open for the Sakura Mini Bang writer-artist pairing event!🌸

🎨Love the Wind Breaker chibis? @hibaridraws is open for commissions!! 💕You can find more details on Hibari’s instagram hibari.jpg. Check and support Hibari’s Patreon for chibi Wind Breaker icons too!🎨 (Click hyperlink here to view Hibari’s commission announcement.)

[s-soulwriter]

Things Real People Do in Dialogue (For Your Next Story)

Okay, let’s be real—dialogue can make or break a scene. You want your characters to sound natural, like actual humans talking, not robots reading a script. So, how do you write dialogue that feels real without it turning into a mess of awkward pauses and “ums”? Here’s a little cheat sheet of what real people actually do when they talk (and you can totally steal these for your next story):

1. People Interrupt Each Other All the Time In real conversations, nobody waits for the perfect moment to speak. We interrupt, cut each other off, and finish each other's sentences. Throw in some overlaps or interruptions in your dialogue to make it feel more dynamic and less like a rehearsed play.

2. They Don’t Always Say What They Mean Real people are masters of dodging. They’ll say one thing but mean something totally different (hello, passive-aggressive banter). Or they’ll just avoid the question entirely. Let your characters be vague, sarcastic, or just plain evasive sometimes—it makes their conversations feel more layered.

3. People Trail Off... We don’t always finish our sentences. Sometimes we just... stop talking because we assume the other person gets what we’re trying to say. Use that in your dialogue! Let a sentence trail off into nothing. It adds realism and shows the comfort (or awkwardness) between characters.

4. Repeating Words Is Normal In real life, people repeat words when they’re excited, nervous, or trying to make a point. It’s not a sign of bad writing—it’s how we talk. Let your characters get a little repetitive now and then. It adds a rhythm to their speech that feels more genuine.

5. Fillers Are Your Friends People say "um," "uh," "like," "you know," all the time. Not every character needs to sound polished or poetic. Sprinkle in some filler words where it makes sense, especially if the character is nervous or thinking on their feet.

6. Not Everyone Speaks in Complete Sentences Sometimes, people just throw out fragments instead of complete sentences, especially when emotions are high. Short, choppy dialogue can convey tension or excitement. Instead of saying “I really think we need to talk about this,” try “We need to talk. Now.”

7. Body Language Is Part of the Conversation Real people don’t just communicate with words; they use facial expressions, gestures, and body language. When your characters are talking, think about what they’re doing—are they fidgeting? Smiling? Crossing their arms? Those little actions can add a lot of subtext to the dialogue without needing extra words.

8. Awkward Silences Are Golden People don’t talk non-stop. Sometimes, they stop mid-conversation to think, or because things just got weird. Don’t be afraid to add a beat of awkward silence, a long pause, or a meaningful look between characters. It can say more than words.

9. People Talk Over Themselves When They're Nervous When we’re anxious, we tend to talk too fast, go back to rephrase what we just said, or add unnecessary details. If your character’s nervous, let them ramble a bit or correct themselves. It’s a great way to show their internal state through dialogue.

10. Inside Jokes and Shared History Real people have history. Sometimes they reference something that happened off-page, or they share an inside joke only they get. This makes your dialogue feel lived-in and shows that your characters have a life beyond the scene. Throw in a callback to something earlier, or a joke only two characters understand.

11. No One Explains Everything People leave stuff out. We assume the person we’re talking to knows what we’re talking about, so we skip over background details. Instead of having your character explain everything for the reader’s benefit, let some things go unsaid. It’ll feel more natural—and trust your reader to keep up!

12. Characters Have Different Voices Real people don’t all talk the same way. Your characters shouldn’t either! Pay attention to their unique quirks—does one character use slang? Does another speak more formally? Maybe someone’s always cutting people off while another is super polite. Give them different voices and patterns of speech so their dialogue feels authentic to them.

13. People Change the Subject In real life, conversations don’t always stay on track. People get sidetracked, jump to random topics, or avoid certain subjects altogether. If your characters are uncomfortable or trying to dodge a question, let them awkwardly change the subject or ramble to fill the space.

14. Reactions Aren’t Always Immediate People don’t always respond right away. They pause, they think, they hesitate. Sometimes they don’t know what to say, and that delay can speak volumes. Give your characters a moment to process before they respond—it’ll make the conversation feel more natural.

Important note: Please don’t use all of these tips in one dialogue at once.

[creepyclothdoll]

The Devil's Wheel

The Devil’s Wheel

“If you say yes,” said the Devil, “a single man, somewhere in the world, will be killed on the spot. But three million dollars is nothing to sneeze at, missus.”

“What’s the catch?” You squint at him suspiciously over the red-and-black striped carnival booth. You’re smarter than he thinks you are– a devil deal always has a catch, and you’re determined to catch him before he catches you. 

“Well, the catch is that you’ll know you did it. And I’ll know, too. And the big man upstairs’ll know, I ‘spose. But what’s the chariot of salvation without a little sin to grease the wheels? You can repent from your mansion balcony, looking out at your waterfront views, sipping a bellini in your eighties. But hey, it’s up to you– take my deal or leave it.”

The Devil lights a cigar without a match, taking an inhale, and blowing out a cloud of deep, sweet-smelling tobacco laced faintly with something that reminds you of rotten eggs. If he does have horns, they’re hidden under his lemon yellow carnival barker hat. He wears a clean pinstripe suit and a red bowtie. No cloven hooves, no big pointy fork, but you know he’s the Devil without having to be told. Though he did introduce himself.

He’s been perfectly polite. 

You know you need the money. He knows it too, or he wouldn’t have brought you here, to this strange dark room, whisking you away from your new house in the suburbs as fast as a wish. Now you’re in some sort of warehouse, where all the windows seem to be blacked out– or, maybe, they simply look out into pitch darkness, though it is the middle of the day. A single white spotlight shines down on the two of you. 

“Wait a minute, wait a minute,” you say. “I bet the man is someone I know, right? My husband?”

“Could be,” the Devil says with a pointed grin. “That’s for the wheel to decide.”

He steps back and raises his black-gloved hand as the tarp flies off of the large veiled object behind him. The light of the carnival wheel nearly blinds you. Blinking lights line the sides. Jingling music blares over speakers you can’t see. The flickering sign above it reads:

THE DEVIL’S WHEEL

“Step right up and claim your fortune,” the Devil barks. “Spin the wheel and pay the price! Or leave now, and a man keeps his life.”

You examine the wheel. 

The gambling addict

The doting boyfriend

The escaped convict

The dog dad

The secretive sadist

“These are all the possible men I can kill?” You ask, thumbing the side of the wheel. It rolls smoothly in your hand. Then you quickly stop, realizing that this might constitute a spin under the Devil’s rules. He flashes a smile at you, watching you halt its motion. 

“Addicts, convicts, murderers– plenty of terrible options for you to land on, missus!”

“Serial wife murderer?”

“Now who would miss a fellow like that? I can guarantee that the whole world would be better off without him in it, and that’s a fact.”

The hard worker

The compulsive liar

The animal torturer

The widower

The desperate businessman

The failed musician

The beloved son

“My husband is on here too,” you say. 

“Your husband Dave, yes. The wheel has to be fair, otherwise there’s simply no stakes.”

“I know what’s gonna happen,” you say, crossing your arms. “This wheel is rigged. I’m gonna spin it around, and it’ll go through all the killers and stuff, and then it’s gonna land on my husband no matter what.”

“Why, I would never disgrace the wheel that way,” the Devil says, wounded. “I swear on my own mother’s grave– may she never escape it. In fact, take one free spin, just to test it out! This one’s on me, no death, no dollars.”

You cautiously reach up to the top of the wheel and feel its heaviness in your hand. The weight of hundreds of lives. But also, millions of dollars. You pull the wheel down and let it go.

Clackity-clackity-clackity-clackity

Round and round it goes. 

The college graduate

The hockey fan

The Eagle Scout

The cold older brother

The charming younger brother

The two-faced middle child

The perfectionist

The slob 

Your husband Dave

Clackity-clackity-clackity.

Finally, the wheel lands on a name. A title, really.

The photographer

“Hmm, tough, missus, but that’s the way of the wheel. But hey, look! Your husband is allllll the way over here,” he points with his cane to the very bottom of the wheel, all the way on the other side from where the arrow landed. “As you can see, it’s not rigged. The wheel truly is random.”

“So… there really isn’t another catch?” You ask. 

“Isn’t it enough for you to end a man’s life? You need a steeper price? If you’re really such a glutton for punishment, I’ll gladly re-negotiate the terms.”

“No, no… wait.” You examine the wheel, glancing between it and the Devil.

You really could use that three million dollars. Newly married, new house, you and your husband’s combined debt– those student loans really follow you around. He’s quite a bit older than you, and even he hasn’t paid them off yet, to the point where the whole time you were dating you watched him stress out about money. You had to have a small, budget wedding, and a small, budget honeymoon. Three million dollars could be big for the two of you. You could re-do your honeymoon and go somewhere nice, like Hawaii, instead of just taking two weeks in Atlantic City. You deserve it. 

Even so, do you really want to kill an innocent photographer? Or an innocent seasonal allergy sufferer? Or an innocent blogger? Just because you don’t know or love these people doesn’t mean that someone doesn’t. 

The cancer survivor

The bereaved

The applicant

Some of these were so vague. They could be anyone, honestly. Your neighbors, your father, your friends…

The newlywed

The ex-gifted kid

The uncle

The Badgers fan

“My husband is a Badgers fan,” you say.

“How lovely,” the Devil says. 

Then it hits you.

Of course.

The weightlifter.

The careful driver.

The manager.

The claustrophobe.

Your husband Dave lifts weights at the gym twice a month. You wouldn’t call him a pro, but he does it. He also drives like he’s got a bowl of hot soup in his lap all the time, because he’s afraid of being pulled over. He just got promoted to management at his company, and he takes the stairs to his seventh-story office because he hates how small and cramped the elevator is.

“I get your game,” you announce. “You thought you could get me, but I figured you out, jackass!” “Oh really? What is my game, pray tell?” The Devil responds, leaning against his cane.

“All these different titles– they’re all just different ways to describe the same guy. My husband isn’t one notch on the wheel, he’s every notch. No matter what I land on, Dave dies. I’m wise to your tricks!” 

The Devil cackles. 

“You’re a clever one, that’s for sure. I thought you’d never figure it out.”

“Thanks but no thanks, man,” you say with a triumphant smirk. “I’m no rube. No deal. Take me back home.”

“As you wish, missus,” the Devil says. He snaps his fingers, and you’re gone, back to your brand-new house with your new husband. “Don’t say I never tried to help anyone.”

[zevarcollan]

[futuretrain]

all stories are about time loops, except for time loops, which are about grief

[katy-133]

(TF2 Comic 7 spoilers, re: Sniper)

"Sniper's a real Australian then?" "Always has been."

[scienceandstorytelling]

[id: a tag reading “#the most human thing we can do is leave the world with a few more stories”]

That quote from Welcome to Night Vale “when there are only a few creatures left, there will be one at a fire, telling a story to what family it has left. It was the first thing, and it will be the last”

I don't know how much you think about it, but you wrote a post back in Mar 2020:

"A sincere request from someone who has spent her entire adult life wishing people had kept better records…In the coming weeks and months… RECORD WHAT IS HAPPENING."

That post got me to start properly journaling properly, after trying and failing when I was younger. A majority of it is 'just' day-to-day progress updates on my fiction writing, but there's a bit of stuff about my life, and some briefer stuff about the world beyond. Not a lot, but some. Four (and change) years, and my journal is just short of 186K words.

I remembered your post, seeing today's SCOTUS decisions. I remembered your post, and I remembered a line you'd written: "Are you scared to death? Write it down."

I just...I don't know. I just wanted you to know your post made an impact, and I don't know what the fuck is coming over the next week and month and year and decade, but...I'm writing shit down. I'm writing shit down, and it's all because of your post.

You have no idea how much this means to me, and how badly I needed to hear it this week - so thank you. Truly. I am genuinely moved, and so proud of you for your 186k words.

History is made up of the stories people decided to save - and the first step to making sure a story gets saved is writing it down.

I really, really hate writing. Like more than just about anything. I'm a chronic perfectionist, and it can take me a whole afternoon to finish a single paragraph I'm satisfied with. (I spent three days writing this response, and you don't even want to know how long I spend on some of the things I post.) So keeping a journal is not a task I'd ever felt the need to afflict myself with before the pandemic. When I made the post you referenced, my journaling habit was all of ten days old but, against all the odds, here I am over four years later having never (to my recollection) missed a single day.

My daily records of what my cats are doing, and your day-to-day writing progress may not be extensively poured over by future scholars, but for only a few minutes of effort a day we now have recorded hundreds of stories.

And who knows what the people of the future might find fascinating. I'm sure the teenage girl in Philadelphia who smudged the letter she was writing in 1897 because a bee scared her would be absolutely baffled that thousands of people were still laughing about the incident 125 years later.

So much of history, and life in general, doesn't become clear until long after the fact. Historical records are full of people overreacting about events that ended up having very little significance in hindsight, and under-reacting about events they no had no idea were about to change the world. But being able to go back and see what people wrote in the moment, preserving their honest thoughts and hopes and fears, is about as close as you can get to time travel.

Maybe what we fear will come true and we're recording history, maybe we'll look back on what we wrote today and go "phew! that was a close one!", or maybe nothing will come of it at all - I pray it will be the last one, but, whatever the outcome, it's worth writing down.

(Also voting. Please, please vote.)