#because chosen ones don't exist in real life and being chosen for something without wanting it can end up being a burden

[hikaaa-bi]

apart from huntlow, another thing that kinda annoyed me about toh was all the lampshading. it kept dunking on cliché tropes in a way that screamed “look at us, we're so clever and unique”. like„ i get it. some tropes are cliché and overused. but just because it's cliché doesn't mean it's automatically a bad thing. the power of friendship or the power of believing in yourself isn't really a bad trope. a little corny, maybe, but it sends a good message.

toh reminded me of marvel the way it didn't commit to the bit. it was funny the first few times they made fun of popular tropes. but afterwards, it just began to sound like a brag. if you want to subvert a trope, just do it. don't include a dialogue patting yourself on the back for it.

also the whole “the magic of friendship?” “no, it's the magic of flapjack” is such a stupid exchange because.. flapjack was hunter's best friend? so it was the power of friendship either way.

i admire stories that subvert clichés, especially if the cliché is harmful in some way or sends the wrong message. but that's not the case with toh. it just feels like the crew didn't want to let a wholesome moment stay wholesome. they wanted to remind us that hey, they're not like those other boring shows, they're different.

but in the end, the show went back on its own message of choosing your own destiny, and gave luz a free powerup in the finale so that she could defeat the evil cult man. so much for subverting clichés.

[edible-emerald]

Ok so PVP civilization??? I HAVE SOME THOUGHTS???

Spoilers for episode 5 btw

So first off the REVEALS THIS EPISODE??? And the fact that most of them were to the viewer and not to Evbo???

The first reveal I want to talk about is PRINCEZAM REVIVING. HE CAN REVIVE TOO. This means WAY MORE THAN YOU MIGHT INITIALLY THINK.

Princezam's character, in nature, is selfish. He talks highly about how Evbo repeatedly dying is heroic, and while he may be subjecting himself to endless torture, he's saving so many lives, he's a hero, he's a good person. It's implied that Zam believes, if he were in Evbo's position, he would do the same; that he would let himself die to save others. But it's a lie. Because he IS in Evbo's position. HE CAN REVIVE TOO. But he kept it a better secret than Evbo, which is the only reason why he hasn't been endlessly farmed yet.

The second reveal Princezam gives that also shows more about his character and motives is that Evbo has a limited number of revives. He isn't immortal. He's on his last life. If he dies again, he'd be gone forever. And Zam knew this.

And I think something is really, really interesting about this. Because in episode 4, Zam's motive is to make Evbo die over and over indefinitely so he can keep increasing durability of the iron swords and increasing life span. Still an interesting character, but him KNOWING that this solution is temporary, and him KNOWING that Evbo will die permanently soon, changes everything. His motive wasn't to save the iron swords, I actually think he couldn't care less about them. His motive was to kill Evbo.

What else would it be? Why else would Zam KNOWINGLY make Evbo die over and over with every death coming closer to permanent death? Because for whatever reason, Zam wanted to get rid of Evbo. But why? Yes, it's true he was the chosen one. But that leads me into my next point:

Is he?

The only real thing that made Evbo special enough to be the chosen one is that he could revive himself after dying. But he isn't the only one who can. Zam can too; and I believe Tabi and a few other people can as well. So IS he the chosen one? Personally, I don't think he is. I think that someone else is the chosen one, but I'll get to who eventually. What possible motive could Zam have for wanting Evbo dead, if he isn't the chosen one?

Evbo was a diamond sword.

OKOKOK HEAR ME OUT

Evbo was a diamond sword who's memories were erased. He was threatening to like do something (maybe become a netherite sword?) that Zam and others didn't approve of and maybe he was working with Tabi, so both of them were killed and revived in the wooden sword level. But Evbo's memories were erased in the process so Tabi decided to manipulate him and get to the top without him this time. That brings me to the next point.

Tabi has history with some of the diamond swords. Specifically, Ferre. We don't know what yet, but I believe like I said above that she and Evbo were previously diamond swords, and were trying to do something and ended up being killed. Evbo's memories were erased but Tabi's weren't.

I think the reason the diamond swords were willing to let Evbo back in and not Tabi is because he lost all his memories. Maybe, he'll get some back and realize that the diamond layer is corrupt or evil in some way, and team up with Tabi to defeat them. But I don't think so. I think Tabi is evil and had either roped in Evbo, or worked with Evbo but losing his memories made him change.

Anyways, on the topic of reviving, I think it's also safe to say Zam was a diamond sword. First off, he seemed to know the diamond swords personally and disliked them, calling them 'bottom feeders' (which by the way is so fucking funny I giggled so much at that line) also we know he can revive as well so safe to say he was killed and revived there. Maybe he was in the plan (that may or may not exist idfk) with Tabi and Evbo and was killed as well. But I doubt it, considering how he treats Evbo, but then again, his character is very selfish and antagonistic. I think his ultimate motive is to rank up to a netherite sword (which may be godhood like in parkciv?? but we don't know) and he's trying to kill Evbo to take out the competition.

Also this is a minor thing but now we finally know why Zam kept his door closed in episode two, because he had an armor stand too and didn't want the secret to come out.

Now for the final reveal: Parrot has a backstory. And I think I know what it is.

Parrot is the real chosen one.

Ok my evidence for this is mostly speculation but also if Evbo isn't the chosen one than who?? Parrot is a really odd character, like every time he talks it just feels like there's something off about him. He talks a lot about the chosen one, but he acts. Weird. Around Evbo when he finds out that he's the chosen one. Also, for someone so devoted to the chosen one, he's still very much alive; and I point this out because he has a mansion AND a video journaling machine. That costs a lot of swings and I have a feeling he hasn't really ever paid respects to it. Even though he says he has. And why would he? BECAUSE HE'S THE CHOSEN ONE.

If Parrot isn't the chosen one, either one of two things are probably true:

he was a diamond sword

he was a/the netherite sword

I don't really know how these would work in the story the same way the chosen one theory would, but yeah

Thank you for reading my ramblings :33 hopefully I didn't miss anything lmao

ALSO??? WEMMBU AND MINUTE IN A EVBO VIDEO???? HELLO???? IS THIS REAL LIFE????????

[runningfrom2am]

the wedding // LTPF

summary: the wedding of the year, i can see it now.

pairing: coriolanus snow x fem!reader

wc: 2.7k

masterlists / nav / requests

tags/warnings: capitol brat!reader, maybe slightly ooc coryo, idk i tried my best. she's a bridezilla for REAL and i wish i included more of that energy, protective!coryo, idk people are drinking alcohol? (its a wedding, so duh), also TW for Livia and r's dad just existing p much.

based on this ask and this ask!

series masterlist // playlist

Everything was perfect. Absolutely everything you had dreamt of your whole life when it came to your wedding. Coryo had told you money was no object, and therefore, you spared no expense. You had a strong theory that your father was being sent every last bill, since you knew neither of you had anything more than what the Plinth's were providing for school, but that was the farthest thing from your problem. It was the least your father could do.

The hardest part of the whole thing, even before deciding who would give you away without your father, was deciding on your maid of honour. You didn't have many good friends, or friends at all, outside of your new husband. At one point, you wondered if had things gone differently, would you have chosen Lucy Gray?

Clemensia Dovecote was a fine enough choice. "Let me just say," Her speech began, hitting the side of her overfilled wine glass with a fork. "I have called this wedding for years, and no one believed me." She shot a smile over to you at the head table. "For anyone who doesn't know me, I'm Clemensia. Y/N's Maid of Honour." She had just thrived on the title since you offered it to her which, while annoying, was good because she took her position very seriously. She was the perfect choice- she looked nice, presentable in a dress you had picked out, but the colour clashed with the yellow in the whites of her eyes and the few scales that were yet to fall off after the snake bite. She looked fine, but she also made you look better. "But like I said, I knew this would happen."

She was drunk, repeating things in a way that made you cringe internally but nevertheless, you had to watch. The lights spread across the large backyard of the Plinth's mansion lit up the night beautifully, bouncing off every white and red rose you had spread about. You were very grateful to them for allowing you to host the reception there. They had done a lot for you in the last year since you returned from Twelve.

Mrs. Plinth was very involved with planning the wedding- she loved the winter wedding and leaning into it as a theme. It worked out nicely because it gave her something to think about other than the death of her only child, and she was a tremendous help and support to you. You were truly grateful, but this day was hard on them without Sejanus there. She had mentioned on more than one occasion that Sejanus would have been the best man, and you only slightly doubted that. You wouldn't want it to be anyone else- but Coryo would have had different thoughts, you're sure.

"How much longer will this go on for?" Your now husband whispers in your ear, fake smile on his face as he also has to listen to Clem's rambling.

"I really don't know." You reply with the same fake smile, knowing that eyes were on you just as much as her.

"Some choice for a maid of honour." He chuckles.

You roll your eyes, a playful smile on your lips. "Oh, well, I would have gone with Arachne Crane but, you know..."

"Fair enough." He mumbles, sitting back in his seat. "Are you really the only woman in the Capitol who isn't insufferably annoying? You should have been your own maid of honour."

"Well it was her or Tigris, and Tigris is prettier than me so she wasn't really an option." You hum, grabbing his hand under the table as you keep your eyes focussed on Clemensia, not paying attention to a word she says.

Coryo laughs. "Tigris is not prettier than you."

"She's your cousin, your opinion is invalid." You shrug it off.

"Doesn't change the fact that I'm right." He argues, squeezing your hand.

You don't reply, and you let his hand go to clap once Clem is finally finished. You had already eaten, so now it was supposed to be the "fun part", as Clemensia so aptly put it in her speech. You found it rude, yes, but it wasn't a big deal and after tonight you wouldn't have to see her again for a while.

It was brisk out, being a winter wedding you should have expected that, but you still had another dress to change into so you excuse yourself from the table, kissing your husband goodbye as he gets up as well.

You hadn't allowed him to see any of your dresses, and this would be your third one today alone. He loved every one, and did not expect to be disappointed by the next. Or the one after that.

"Hey, congrats, Coriolanus." He tears his gaze away from your retreating figure to whoever was talking to him.

"Thank you, Hilarius." He nods, smiling politely at him and reaching out to shake his hand.

"I saw this one coming miles away." His classmate laughs. "You remember that though, right?"

"When you said that if I wasn't going to go after her you would?" Coryo asks, eyebrow raised. "I do remember that. It makes me wonder who let you in..." It's meant as a joke as he makes a point of looking past him toward the security they have at the entrance.

He furrows his brow when his eyes catch on your father standing there, arguing with one of the security guards, his wife by his side.

"If you would excuse me..." He says, walking toward them before Hilarius could even respond.

"Ugh, I know. Why did you even invite her, Y/N/N?" Clemensia complains as Tigris helps you step out of your gown.

"Who?" You ask, unsure what she was even talking about.

"Livia." She states, yet another glass of red wine in her hand.

"Oh, I kind of had to. Connections and all that." You shrug. You weren't Livia's biggest fan, she had a "greater than thou" attitude that drove you up the wall, but who in this city didn't?

"Ah, yes. Of course." She hums. "She had a lot of audacity to show up in that dress though..."

Your head whips around to look at her. "What dress?"

"You haven't seen her?" She gasps. "I thought you saw her! It's this white-based floral, really questionable for someone else's wedding. Looks like a tablecloth." She accentuates the statement with a sip from her glass.

Your jaw ticks and you look toward the door, already seeing red.

"Hey, Y/N, it's okay." Tigris rests her hands on your shoulders, prompting you to look at her. "We'll tell security, they can escort her out if that's what you want."

You take a breath, forcing a smile on your face. "Let's not bother them. I'll just go chat with her." You smile, stepping out of the dress in bare feet, quickly grabbing Clemensia's overfilled wine glass from her hand on your way out the door.

"Y/N, Wait! Don't!" Tigris calls after you, well aware of your notorious temper by now, but you don't listen.

You're in your white slip when you storm back out to the reception area through the back patio, immediately and quickly scanning the crowd for the guest in question. You know you have seconds before Tigris likely tries to stop you, but you know Clemensia won't. Then, you see her.

You're seething already. That's practically a wedding dress on its own. You would kill her.

You stomp across the ground, tunnel vision locked on her as she raises her glass to her lips, laughing, and talking with other guests, completely careless to what she had done wrong. Well, she would learn today.

"Livia Cardew!" You grin, walking up to her. "I don't recall sending you an invitation, but here you are!"

Immediately, she's taking in your appearance, giggling at your lack of appropriate attire and shoes. "Y/N! Congratulations." She says, eyes finally locking with yours again.

"May I have a word?" You ask, already grabbing her arm and pulling her away.

"Is there a problem here?" Coriolanus asks, addressing only his security as your father stands there, red-faced with anger.

"Yeah, they've got no invite." He nods, showing Coryo the list in his hands which he quickly pretends to look over.

"Oh! Sorry, yes. There you are..." He says, pointing down at the bottom and your father visibly relaxes. "Under the title there that says 'not welcome under any circumstances'... Well then." He looks at your father now for the first time, tilting his head at him.

"No, this is my daughter's wedding and we will be let in!" He demands, raising his voice.

Coryo clicks his tongue, slightly shaking his head. "No, sir, I thought we were clear on this."

"No, you said the wedding. This, if I'm not mistaken, is the reception. I made my sacrifice. Now, I'm here."

"And only about two hours late." Coryo hums uninterestedly, looking down at his watch. "Father of the year."

Your father's fuming, and it's hard for Coryo to not laugh in his face. "I paid for everything here! You can't deny us entry!"

"I can." Coryo says. "Well, actually, my apologies. Mrs. Y/L/N, you are welcome to come in, if you'd like." He smiles at her, polite demeanour flicked back on like a light switch.

Your father quickly pulls her back behind him. "It's both of us or neither of us. Go ask our daughter." He states, gripping tightly on her arm.

"Oh, no. I won't be ruining our wedding." Coryo shakes his head, firm in his decision. "I'll tell Y/N you send your love, Ma'am. Have a good night."

"No! You will let us in right now or-" Your father's tantrum is interrupted by a commotion across the yard, drawing Coryo's attention. People gasp in shock, and then he sees you, about to absolutely lay into Livia Cardew, who now has red wine all over her face and the front of her dress.

"I must be going, now." Coryo tells them, turning back to the security guard and adjusting the cuffs of his shirt to be able to roll up his sleeves. "If you don't mind, call for peacekeepers to escort him from the property. Thank you."

He doesn't have time to hear your father's angry disagreement as he walks away.

"So," You drop her arm, turning to face her. "I'm not sure if you are aware, but this isn't your wedding." You spit, gesturing to her dress. "And listen, I get it! You're jealous. That's fine, but it's extremely tacky and honestly embarrassing for you to wear a white dress to a wedding that's not yours."

Livia's lips fall open in shock, looking down at her dress before she laughs. "Y/N, come on. It really isn't that serious, you realize that, right?"

You stare at her for a moment, weighing your options. You could smash the glass over her head like you wanted to, demand that she leave immediately, or, you could 'accidentally' spill the glass on her. Before you complete the thought, you're throwing the contents of Clemensia's glass at the front of her dress, smiling as it splatters up over her face and in her hair, dripping down the front of her expensive-looking gown.

"Oops."

Livia gasps, wiping the red substance from around her eyes and flicking it off. "I thought that for one day you could be normal! God, you are vile!" She's practically screaming now.

"This is entirely your fault, you do realize that, right?" You tilt your head at her, a slight laugh under your tone. "If you wanted my husband just say that."

"I- ugh!" She groans in frustration and anger, swiping her hands over the liquid on her chest and flicking it all at you, staining the perfectly white satin of your slip. You look down at it, and then back at her. You were about to go through the roof.

The amount of people watching in the immediate vicinity is the only thing keeping you from grabbing her hair and shoving her head into the dirt. You decide to scream instead.

It turns into more of a wail, pumping angry tears into fake sad ones. Coryo is there in a second. "Darling, what's happened?" He asks, horrified as he looks between the two of you, grabbing your shoulders.

"I-" You sniff, pointing to the girl in front of you. "I just came to offer her something to change into because that is out of dress code and I tripped and-" You hiccup as he's rubbing up and down your bare arms. "It was an accident, and then she... It was just an accident! Now my dress is ruined and, and-"

He turns his gaze to Livia who just looks pissed while you ramble on about having had a little too much to drink, that was all. He's sure that's not what happened, he knows his wife better than that, but this show was not for him. He looks her up and down, visibly disgusted by her choice of dress. It honestly looks better now.

"Coriolanus that's not-" She chuckles with the shock of the accusation, shaking her head as she pleads with him.

"It's time for you to go." He tells her, looking toward a member of security who's not busy with your father, quickly waving him over.

Livia looks at the approaching security man in shock. "I didn't do anything!"

"That dress and causing a scene over it is more than enough." He states, wrapping an arm around your waist and wiping your tears from your cheeks. "Let's get you some water, Darling. It's okay..."

"It's not!" You cry, gesturing to the few small drops of wine on the front of your dress. "It's ruined! She ruined everything!"

Just as she's about to be escorted out, you make eye contact with her, offering a smug smile. She scoffs, which earns her a grab on the arm and a more forceful expulsion from the reception.

"Y/N!" Tigris is rushing across the lawn toward you, careful not to stumble in her shoes and bridesmaids' dress. "What happened?" She asks, addressing her cousin now.

"She's okay, there was just an accident with a glass of wine. We're just going to take a few minutes. I'll help her change." He explains to her.

She nods, looking worriedly down at the small stains in your dress. "I should be able to get this out, alright?" She assures you, rubbing a clean spot of the fabric between her fingers to make sure.

"Okay, thank you." You sniff, leaning into your husband's side as he guides you back up to the house.

You get inside and upstairs to what has become your dressing room and secondary bedroom over the last year. As soon as he shuts the door behind you, you can't hold your laughter back anymore. You're practically doubled over with it, and immediately Coryo understands. He chuckles, shaking his head at you.

"What a show..." He grins fondly, pulling you into a hug which you happily return.

"Oh, you liked it?" You giggle, coming down from your laughing fit.

"It was wonderful." He agrees, kissing the top of your head. "For a moment I was worried about you."

"Aw, really?" You look up at him, jutting your lip out in a pout.

"Definitely." He hums, kissing you softly. "Now come on, let's get you changed, huh?"

"Please." You nod, kissing him again before pulling back to pull your next dress from the closet. "I was supposed to wear this underneath, but now I can't." You sigh, hanging the full dress on the door before pulling the wine-stained one over your head.

"Just that will do, I suppose." Coryo mumbles, wrapping his arms around your waist from behind as you toss the slip onto the ground.

"Oh, you suppose, do you?" You chuckle, reaching up to pull the new dress from its hanger.

"Mhm." He nods, planting a kiss in the crook of your neck. "Makes my job easier later."

You laugh, blush spreading over your cheeks and flushing your chest while you unzip the back. You carefully balance as you step into the opening in the fabric, pulling it up around your waist.

"Don't rush, Darling. It will probably take you a while to recover before we can return to the party." He says, watching you adjust the skirt before you plan on zipping it up.

"Good point." You agree, but make no effort to stop until Coryo places his hand over yours.

"What should we do with all this time we have to kill, hm?" He's already leaning down to kiss over the back of your neck.

"I feel like you have an idea..." You mumble, tilting your head to adjust to his presence.

"Have I told you how much I love you?" He asks as he gently pushes the fabric back down to drop in a pool around your ankles.

"You may have mentioned it..." You turn under his palms as they land on your lower back, gently pulling you closer. "And I love you too. More than you could ever imagine, Coryo."

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[superb-fox]

While Echoes of Wisdom really isn't for me (I absolutely cannot STAND the echo system, just let me swing a fucking sword or do magic spells), the game's main antagonist Null is such a fascinating introduction to Zelda lore.

Null is a godly entity on par with the Golden Goddesses and really seems like their opposite. It is consumption, erasure, nothingness while they are life, creation, and everything. The way they describe it existing makes me think that it won once, as in they consumed everything that existed reducing it all to nothingness and it was like that for a while before the Golden Goddesses stepped in and created the universe possibly all over again. Hell, I'd even bet this wasn't the first time Null just consumed all creation, it could be a cycle similar to the Link-Zelda-Ganon one but on a godly level. Though the lore isn't without issues, the game says ever since creation happened Null was making these rifts trying to consume everything but the Tri just kept patching it up only this time they got overwhelmed. I think it's WAAAAY too much of a stretch to believe, I think a better explanation is Null just figured out how to make echoes and that increased it's power enough to start making the rifts at all. But otherwise in game it's portrayed so good. It just wants to consume and devour everything, even the Triforce is just to keep devouring more. It's so cool we get an opposing godly force that's not evil it's just pure glutinous erasure. Other Zelda villains want power to rule and destroy but this entity doesn't hate the kingdom or have any real desires, it just wants to consume and what it consumes is all creation, a true and utter void of nothing. Hell, the only reason it's seeking power is so it can just consume more!

There is also the theory I see floating around that perhaps Demise was a creation of Null to lash out at the Goddesses creations. The evidence is his burning hatred for the goddesses and he came from a rift. And that would be cool if so! Like Demise is Null's chosen like Link and Zelda are the Goddesses chosen, a nice parallel. However I don't think Null is really in the business of creating... anything. The only thing we see it creating are imitations, anything it makes is something already existing. It doesn't seem capable of making anything besides copies because it's a being of nothingness. But yeah, overall I love Null as a villain and it's place in Zelda lore, great job with that.

[bethelighthalazia]

Chapter 1 - A journey´s beginning

Summary:  Y/n witnesses a fight on the village´s market and things start to get stirred up in her life. Who are these strangers and why does she feel that something about them will decide her fate?

Genre: adventure, fluff

Pairing:  ?? x fem!half-siren!reader

Additional Characters: ATEEZ, Stray Kids

Word Count:  2014

Warnings: mentions of violence, mentions of weapons, fighting

Networks: @mirohs-aurora-society

Notes: There might be an explanation ‘chapter’ for some things, only if you all want/need it. As for now, ‘mother rain’ is just a name that y/n has given her parent. The being itself does use any pronouns, but is feminine appearance wise, which is why y/n calls them mother.

additional links: << PrevCh Masterpost Next Ch >>

© by bethelighthalazia. Do not repost, copy or translate. Unless stated otherwise, those works are mine and born from my own ideas. I don't have any claim on the mentioned real existing Idols whatsoever.

“When the red moon rises, And paints the land in its fiery shade. A child shall be born to land and sea, Its’ heart's voice with the power to unite. The path will be torn,  But a heart's melody will lead. Clawed embraces like a thorn, The one eyed’s Illusion offers a home. When the child gains powers,  Land and sea their witness and friend. Deep ocean's bell calling home all sirens, To gather under one heart's voice. A new queen will be raised to her throne,  Her call heard far and near. Friends won't shy, fighting for her to rise, When blood is against her, seeking demise.”

It had been eons since the last red moon hung in the night sky, so the excitement rose high when the birth of y/n fell on the day of this very rare lunar event. Highly anticipated amongst the sirens of this clan, since the child born on this day would become the ruler of their entire species, even though y/n was only the outcome of her mother being bedded by a human pirate. Excitement was replaced with disappointment the moment y/n took the first breath of air and water, because even though she looked as if screaming from the depths of her lungs, no sound was heard. The girl was born without a voice. How could this thing become their queen one day? This had to be kept a secret, the child disposed of very quickly. So, in the dead of night, one chosen of the clan's warriors was sent to bring the child to the highest mountain of the nearest island, so it would not be able to touch the sea and soon starve and dry out. 

Fate had different plans for this half siren though, and even if left for its death, the child survived thirteen days without food or water before she was found by none other than the soul of the sea itself. Disguised as a human being, they took her in and raised y/n, naming her after a mythical remedy that had long been forgotten. The child's youth was filled with warmth, wonders and love, protected and sheltered by the incarnation of the sea itself, yet living in a small hut on land.

Years went by and the little rainbow scaled half-siren rose into a beautiful young woman, her white hair shimmering in all the colors of the light when swimming in the water. While growing older, she learnt to hide her scales from human eyes, so she could walk through the nearby village, sirens have always been feared and often hunted. Every time she'd leave home to visit the market, y/n had been told to be careful. “Remember, my child. The wolves control these lands, do not cross the crescent moon pack.” The sea always told her and, once again, the young woman nodded with a smile. Y/n had heard these words often enough that they have carved itself into her mind by now. The basket for goods from the market in hand, her flute and a bag with some coin attached to her belt, the young half siren walked over to her parent, kissing their forehead.

‘Do not worry, mother rain. I will not stray from my path. My friend will accompany me again.’ Y/n communicates, using her hands and a language without words for this. Not many people understand her, nor do they want to, most of them call her way of communicating a work of magic and don't want anything to do with it. At the name y/n had given them, the sea let out a melodic laugh, shaking his head. “You have yet to explain to me why you call me that, my little tadpole,” they hum, cupping the girl's cheek for a moment before sending her off to the market. 

Why does y/n call them mother rain? She doesn't quite know herself. Mother, because they always have been there for her as far as she could remember. They're her mother, it's that easy. Rain, because - well, why? Walking down the dirt path to the village, y/n kept thinking about an explanation and before entering the market, she found it. The falling rain always has been soothing for y/n, the feeling on her scales, the sound it makes when hitting the ground, it just made her feel safe and calm. Mother rain had the same effect for the young woman. And she never learned her parent’s real name, nor is she aware that they are the sea itself.

“Y/n! Over here,” a familiar voice called out when y/n neared the village, drawing her attention to the young male, who's crouched on a boulder. His ashen brown hair falling into his face didn't hide a new scar under his eye. Her eyes wide and brows furrowed in worry, y/n pointed at the scar when she came closer, causing the young man to chuckle. “This? Oh, it's fine, don't worry.” He hummed, jumped off the boulder and stepped closer to y/n, so she could inspect the scar. “Wolves do cry sometimes. I just had to be reminded of it.” Now that y/n was able to see it up close, the scar reminded her of tears trailing down the man's face, causing her to huff out some air. “Don't be upset, please. It didn't hurt…well, not badly at least-” His words drew another huff from y/n, who shook her head. Her best friend often misjudged the gravity of some of his actions, so he got into trouble a lot and therefore got punished by - well, she's not sure by whom. Although, now that she thought about it - he usually referred to himself as one of the wolves. Y/n always downplayed this as him joking around, but what if he really is one of the feared pack controlling these lands?

A tap on her nose pulled her out of her thoughts, causing her to look up at the face of her friend. Jeongin never judged her, nor did he ever harm her or get her into dangerous situations, so why should she judge him? Even if he was one of the pack, she would never want to lose him as her best friend, one of the only people in this village who liked her and talked to her. “Did Rain send you to the market again?” The young man asked, gesturing towards the empty basket and when y/n nodded, he took her hand to walk with her to the village. Jeongin never cared or minded that she was mute, he didn't need to hear her talk to understand her. Being dragged after the young male, y/n gave a silent chuckle, but then stopped, holding Jeongin back from walking further. She could sense something familiar, something that sent a shudder down her spine; she felt the presence of another siren. 

“Huh? What's wrong, y/n? Are you not feeling well? I can bring you back to Rain, if you like-” Jeongin stopped, his head snapped towards the market, because sudden shouting and other noises came from there. Both of them looked at each other before the young male started running towards the commotion, y/n stumbling after her best friend. It only took them a few moments to reach the market and both could see what caused the noises. People hurriedly put away their wares and tried to get their market stands out of the way, while others were standing around the entry to the tavern.

Eyes wide, y/n let go of Jeongin's hand when the young male hurried towards the commotion to talk to one of the people around. The young half siren also stepped forward, freezing in place when she saw what's happening. A young man with dark hair and one eye covered by a bandage was fighting with someone else. 

“Hyung! What happened?” y/n could hear Jeongin's voice and she walked over to him, grasping the young man's arm with a frightened expression. “Jisung, why is your mate fighting that man?” The one Jeongin spoke to was trembling slightly, looking worried to the fighting people before turning to the younger male. “This man shoved me, I- I accidentally bumped into that man's friend-” Y/n could sense that the man Jeongin called Jisung was nervous, maybe even scared, so she put a hand on his arm gently, trying to calm him down.

A collective gasp drew the young woman's attention, her hands going up to her mouth when she saw what happened to cause this. The black haired one, who was wearing the same clothes like Jisung, had managed to cut, or rather claw, the other's chest. However, the other didn't seem to give up, despite the begging of his friend, a white haired male. “Hongjoong, please! Stop it, or this wolf will kill you!” The man pleaded, causing y/n to freeze, her eyes widened in realization. That white haired person was the siren she sensed, another half siren! 

“Minho, stop!” Another man walked onto the marketplace, but he didn't seem in a hurry. He looked intimidating, a scar across his face and the fur vest not covering much of his torso, which also was scattered with old and some seemingly newer scars. His voice actually made the fighting male stop, it had something like an echo to it, as if he wasn't the only one speaking, yet no one else had opened his mouth. What seemed off to her, was that Jeongin and Jisung also cowered at this voice. “Chan, he attacked Ji-” “Stop! We do not start fights with guests of the village, Minho!” The man, Chan, hushed the other quickly, none of them noticing the movement from the one eyed one called Hongjoong.

Y/n did notice though and before he could attack the others again, she rushed between them, stomping on the ground hard once, which sent a little shockwave of water across the area, a faint ring of a bell sounding through the water. This not only calmed the people in the area, but also revealed the rainbow scales on her legs for a split second. Despite that, Jeongin and his friends, as well as the white-haired one and Hongjoong saw it before y/n was able to hide them from view. “Seonghwa, she’s-” Hongjoong gasped and looked at his friend, the white haired guy, but the friend just shook his head. When the young woman looked at Jeongin, she got a glimpse of his shocked expression, but even though he was surprised about this revelation, he spoke up quickly, approaching the injured Hongjoong with y/n. 

“We have to bring him to Rain, they can help.” Jeongin spoke calmly and helped the white haired guy to pick up Hongjoong and support him. Chan watched the scene cautiously, gesturing to Minho to follow their youngest. “You go with him and make sure he comes home in one piece. I'll clean up your mess here, Minho,” the oldest of the wolves hissed, wondering how none of them had noticed a siren living close by. Minho already wanted to protest, but one look from Chan silenced him. 

Leading them down the path to Rain's hut, y/n was thinking about what happened, how shocked the ones who saw her scales were. “Y/nie, Stop worrying-” Jeongin's voice got cut by Seonghwa, who sounded curious rather than upset or scared. “You're a half siren, aren't you?” He asked in a calm manner, still supporting his friend while walking. Y/n merely nodded, her head hanging low. She remembered her parent's words, that most people despise sirens and are afraid of them. The group stayed silent the rest of the way, only when they reached the small hut, y/n got more lively again, hurrying inside and dragging the others with her. The only one who stayed outside the hut was Minho, who was very suspicious of the whole situation around this young woman.

taglist: @mingis-mizu, @tinyelfperso, @hotteokkay, @minkilicious, @bunnliix,

@gong-fourz, @yeosangiess, @dinossaurz, @scuzmunkie, @h3arteyes4mingi

(if you want to be added to a taglist, follow the taglist-link in my pinned post)

[shamythelazypotato]

"Going back" AvA AU

First part of this / Next part

"A weekly battle?" Chosen asks with a confused look. It's been a week since he moved in with the CG, and it's been... interesting to say the least. He got his own room in a pixelated place thanks to something the kids called 'Minecraft.' He had heard of it before; it became a pretty popular game for a while. But to be honest, nothing interested TCO more than conquering websites alongside Dark back then.

Ah, Dark. For some reason, his thoughts always drift back to him...

Chosen found out the kids lacked individual names. Oh, they claimed they did, but in reality, they were simply identified by their colors. Red, Green—mere descriptors that couldn't help but make Chosen scoff inwardly, How could they settle for being identified solely by their colors?

It seemed too simplistic, too devoid of identity, for Chosen, his name had always been his beacon, his identity etched into every pixel of his existence.

Powerful, glorious, strong, special.

It is true that the black hollow-head didn't grasp the importance of it at first, but after what happened, Chosen actually had time to think, not about destruction or mayhem, just actually think. And now that he thinks about it, these kids are way more different than he is or what he's used to. Still, being named after a color is stupid at least. It looks like Alan couldn't care enough to at least name them properly.

No, Chosen shakes his head slightly as his red eyes glance at the bar task under him.

It's better this way, no expectations, no destiny or something. The kids are actually lucky, luckier than he was at least.

"What are these weekly battles about?" Chosen finally asks. He reclines himself over the soft sofa on the left side of the desktop, leaving enough space to appreciate the battle that is about to start.

"Oh, that's easy!" Second says with a smile. "It's when we usually reunite together to have like a sparring contest! The winner gets one of these," Second says excitedly as he takes out of nowhere a cubic-like trophy in gold. Seems like these kids have made their whole life around Minecraft.

The red kid (Chosen assumes the youngest one) is bouncing eagerly around, throwing punches at the air and getting excited in general. Meanwhile, the green one is patting his shoulder, probably to calm him down and then pointing at himself in an arrogant way. Red only points at him, saying in a tone of defiance, "Hey! Just because you mostly win it doesn't mean you're the best!"

Green says, leaning with his hands on his hips and smirking, "Isn't that exactly what it proves? That I'm the best?"

"Ugh! Don't try to use your mind tricks on me Green! It won't work," but Chosen could clearly perceive a hint of hesitation in Red's eyes. Kids, he thinks in a mixture of amusement and exasperation.

Meanwhile Blue and Yellow were standing more closely to Second, who was almost Infront of Chosen.

The blue one seemed excited as well but in a calmer way, while the yellow one shared his enthusiasm in the same level of excitement, she was also talking about possible strategics and nudging playfully at her blue partner about winning.

They really think this is a game.

Chosen's pupils look at the side without moving his head.«No wonder these kids don't know what to do in a real fight» his eyes narrow as he stares at a lost point on the desktop. His perceptive memory still remembers how the same sticks disintegrated in front of his helpless form.

Pinned, bloody, and beaten up. Helpless. Weak. Weak.

Cursors. Chosen hates Dark for making him feel this way, and this desktop is not helping at all. Ironically, the only other place where he has felt like this before. Thanks to a certain cursor.

Why did he think it was a good idea to come back to this place in the first place? Maybe his house was too painful destroyed to live in. Maybe it's because there are multiple wanted signs searching for him (not that he's afraid). Maybe it's because it doesn't matter where he is anymore.

He will grief survive anyway.

He won't fail again.

"Wanna join us Chosen?" Since Chosen told his name to the kids, he hasn't stopped hearing his name, he almost felt self conscious of it, Chosen glances at Second and says in a monotonous voice "Wouldn't it be unfair?"

"Unfair?...uh" Second trails off as he rests his hand on his chin. Second tilts his head with a curious look to the black stickfigure. "Maybe, but it's just a friendly sparring! You can even teach us cool moves or new techniques to learn! And probably-"

"I meant you" Chosen says in a dead tone, his crimson eyes flickering to see the green confusion in Second. "Isn't it unfair if you and I fight with them?" Second has a puzzled expression on his face.

"What do you mean by that? We're all the same here! Well except for you that you're super fast and powerf-"

"We're both powerful" Chosen says bluntly, he narrows his eyes slightly, «strange» since they came back from defeating Dark, Chosen tried to give his thanks to Second yet, the orange stickfigure looked confused about it, trying to deny he remembers anything about "healing powers" or "Resurrection" and thanking Chosen instead.

And just now, Second shakes his head stubbornly as he says "No Chosen! I already told you, I'm glad you appreciated our efforts but I was just as helpless as my...friends were" Second bows his head in the floor, his lip trembling slightly "I... almost died with them, until you saved us"

At the mention of death, the rest of the stickfigures fell silent and glanced at Chosen then at Second, seems like it was still a sensitive topic for the colorful sticks.

«So he doesn't really remember anything» Chosen thinks inwardly with a sigh, it's not of his surprised that Second is oblivious of his own powers, probably even Alan doesn't know anything about them.

Funny enough it's how it was only activated when he had to survive.

Chosen remembers being in control since the first time he was created, not a trigger or a reason, just a purpose

Survive

Still he's smart enough to know when he has done enough questions to someone, Second actually looks affected by what has happened a days ago before. Even the rest of the colorful sticks were silent and looking down or leaning on each other as if to reassure to each other they're good, they're alive.

«Enough probing»

Chosen sighs again

"If I join you, do you guys will let me be?" Chosen asks with the slightly twitch of an eyebrow in a questioning tone, sounding more reluctant than excited yet Chosen tries.

Second seems to not notice and he perks up at his question, his face splits into a wide smile as he says in a joyful tone "Oh yes please! It'll be fun, we promise!"

Red, who's in the right side of the desktop also smiles, he exclaims childlike "Yes! You'll see me kick this dude's ass!" Red chuckles as she shoves Green playfully, the latest snort at Red's statement and shoves back affectionately as he says "Hah! In your dreams!" And start bickering.

Yellow just smiles in amusement at his friends antics as Blue says with a more gentle smile looking at Second "Yeah! Maybe that would help us to improve our fighting skills as well!"

"My thoughts exactly!" Second beams as he approaches to the now excited stickfigures, shaking his arms up and down in anticipation.

Chosen looks at them with a questioning look for a few seconds, before his lips traitorously twitch slightly into the attempt of an amused smile. Kids

He quickly composes himself as he gets up slowly from the couch and asks

"So? When do we start?"

[cardentist]

(Note I'm seeing this through lens of being horribly ill and struggling with health providers rn but)

I never saw it as an addiction metaphor I saw but how disabled people are denied aid and stuff because its 'wrong' and you 'should just be able to exist without it'.

But 'it hurts me to see you using cane/meds/wheelchair'

So it made sense to me that yeah he'd feel great using it but also feel horrible guilty

Context: [Link]

I didn't get into this in the original post because I was worried I wouldn't be able to word it right (in part because I haven't finished my relisten, and in part because this is More than just meta about a story I like and I didn't want to say anything ignorant).

BUT I'm absolutely glad that you're bringing this up.

because the truth is that my Other problem with the discussion about monsterhood in the magnus archives as addiction (in holding characters morally accountable for being monsters because they "should" be able to just Choose not to do monstrous things if they were good people) is that it Is accurate to how people treat addicts, and that's a bad thing when people parrot it without realizing that.

because the truth is, addicts often Do need their addiction to survive. medically, emotionally, or just. You Know. because addiction often means you can't just cut cold turkey without major consequences (consequences that, to be clear, Can Kill You). and they Are often treated poorly by the people around them for not just being able to Do Better as if anyone could be expected to do "better" in their situation.

when ""better"" means being in pain, when ""better"" is unlivable without the necessary support to Make it bearable.

and this Absolutely crosses over with ableism. in real life And in the show.

you don't Need to be an addict for someone to treat you like you're immoral for needing aid they don't. though I think it'd be a mistake to talk about it without Also keeping addiction in the conversation, because it's not right when people do it to addicts either.

needing aid to survive And being an addict aren't mutually exclusive, and that's what I meant when I said my last post was In Conversation with the addiction metaphor.

jon's situation being a mirror (in many ways, it's not an exact one to one of course) with addiction doesn't mean that he's Less deserving of compassion or that his situation was somehow his own fault, it means that we should be taking that compassion and understanding of his situation and Apply That to the real people who are also deserving of those things.

we Watched jon be stripped of his own agency and forced into a position where he could Only be a monster or die, and in response many people have said that he should've just Chosen not to be, as if the choice is Reasonable. as if asking him to starve or die is Reasonable.

and of course, I'm not qualified to speak about addiction in detail, but it's just something that's sat wrong with me for years. the Show's use of addiction as a metaphor works for me because of the empathy and humanity it's Meant to show to addiction. but the fandom's reception to that messaging isn't. always stellar.

and I don't think people necessarily do it on purpose, but I Do wish there was more of an awareness of it. how it might come across, you know?

[therealvinelle]

What are your thoughts on the titanic movie?

Oh I wanted to watch it, tried once as a child, didn't make it through, then again with @theoriginalcarnivorousmuffin, at which point I also didn't make it through.

I'm here for the ship, literally only the ship. Rose and Jack would not get off the screen and let me look at ship, and so even though I made it to the part where they impact the iceberg, I realized I couldn't sit through Jack and Rose running around the decks, no matter how true to life the models were. Watch party ended, and some time later we tried Raise the Titanic with Alec Guinness instead (a deeply silly movie where a dangerous weapon was on board the Titanic when it sank, and the Americans must find it before the Soviets do).

James Cameron's movies have a very consistent problem where he is in love with a concept, or an idea or a new bit of technology, so he makes a movie to show it off and has to put a story in there somewhere so we're watching something happened. This worked incredibly well in the two first Terminator movies, it gave us a deeply funny Aliens movie, but it did not work out for Titanic as his worst tendencies all came out to play.

I like him, as a director, I just don't like the majority of his movies, if that makes sense.

His characters are plainly good or bad with one note motivations and no nuance, and they are all consistently and painfully American, to the point where they feel like caricatures. Jake Sullivan, who is such a staple army vet that he has no personality whatsoever other than being a protagonist with the assigned traits that would make him sympathetic to as wide an audience as possible, is a terrific example of this, as are the gun-toting military crew heading to the colony in Aliens, but so too are the characters of the Titanic, only in a different way. Rose's mother and peers are what I can only describe as Victoria's parents in Corpse Bride without the satire - they are not real people, but old world aristocrats seen through the eyes of filmmakers who fundamentally don't understand class. Rose becoming infatuated with a working class boy is a very simple and straightforward matter where there is no actual reason for them not to be together, it's just that Jack gets made fun of for not knowing the right forks to use. It's just shallow.

I have more complaints, but much of the movie is luckily forgotten so I'll stick to the big one: I wish Cameron had either made this a purely fictional story that was inspired by the Titanic but without actual victims, or else gone out of his way to be respectful of the fact. Going of the wikipedia page for how historical characters were treated, Bruce Ismay being depicted as boorish and attributed decisions he never made in life so he can be at least partly blamed for the sinking. The man's life and mental health was ruined after the real sinking as the act of surviving made him a media target, Cameron could have chosen to leave his memory be and I side-eye his decision not to. The movie has First Officer Murdoch shooting passengers and then himself, I struggle to see what this added to the movie besides upsetting his surviving family.

Perhaps I'm overly strict, but even fictionalized retellings have historical import because they play a much larger role in how people remember the past than history books or documentaries do because more people see them. The film industry has immense power over how we view the past, and in turn over how history is remembered. This comes with a responsibility, and a plea for consciousness of the fact. Set your stories to whichever periods and cultures you may like: but do so knowing that no matter how much media and recorded history already exists on your chosen subject, there will be people walking away from your product whose view is now affected by your depiction.

In other words, Raise the Titanic is somehow more respectul in my eyes because while it was a very silly movie, it insulted no one's memory. And I'll be sticking to documentaries and animations when it comes to RMS Titanic-related media.

[y-rhywbeth2]

Yknow, after having read Waterdeep and seeing how he’s characterized there, I have a very hard time actually accepting Durge’s *habits* (outside of murder) as being things that Bhaal himself is actually into. I think that bg3 absolutely did him and Bhaalists in general dirty, and I hesitate to consider any of its lore Deity and religion wise canon.

Ah, I'm taking this as an opening to ramble/complain about Bhaal's characterisation and how BG1+2 are kind of misrepresented and this plan makes no sense. Cause I kind of very agree.

(And my response might be off or something because I ignored my brain and answered this at 2AM)

Neither fucking corpses nor eating them are Bhaal's domain, only making them in stylish and skilful fashion (eating them is probably more Malar's deal, fucking them is Sharess' area).

The necrophilia is definitely Durge's personal quirk, as far as I can tell.

Bhaal is depicted with a very literal bloodlust in the Moonshae Trilogy - where he was depicted as brutal, though not stupid or lacking in patience or control of his bloodlust - and his physical hunger for the blood of the living could be interpreted as cannibalism, but that's still just the blood: Durge is taking it to whole new levels. He also did use an army of undead, polluting the world underfoot.

An important thing about Bhaal is that he doesn't just want death: he wants respect, he wants power, he wants to rule. He delights in the fear of those who dread death and violence, and the grief of the survivors, not just the death itself. This guy didn't want to be god of murder, he wanted to be Jergal: ruler of the dead, god of tyranny. His whole argument to the other two when he had to settle for death was that technically he controlled the other two with power over life or death (destroying Bane's kingdom, or starving Myrkul's), therefore he was the real ruler.

You cannot rule a world that has nobody in it to rule. Also he would be dead and powerless because nobody would be there to empower/sustain him; killing the world is suicide. There was a whole three-instalment game series featuring the disaster that happened because Bhaal very, very much did not want to be dead! And a tabletop adventure where he successfully engineered a plan not to be dead.

He did want to kill a world - the out of the way Moonshaes that the rest of the pantheon wasn't really paying attention to - to create his own physical realm on Toril. But he's not stupid enough to aim for the entire planet and start a war with every other god he can't possibly win, nor was he going to lose himself worshippers (the 'world of death' would be populated by undead, his offspring, and his worshippers (the only things permitted to live being those beholden to him and his rule) thus letting him rule his subjects in his happy place unmarred by filthy unfaithful life without killing him - 'let's kill everything on the planet' is not a viable plan.

(To be fair, I don't think any of the Dead Three actually expect the Absolute plan to succeed in-game. They're really not that invested in it, just its by-products (the increase in fear and appeasement worship, and possibly the increase of the power of their churches) and the results of the dick measuring contest between them to prove who's best. We don't hear from Myrkul again after Ketheric falls, Bane shrugs it off if his plan fails and admits he doesn't really care, and Bhaal drops out and loses interest too when Durge becoming the Absolute clearly isn't going to happen.))

And the Bhaalspawn were not supposed to destroy the world or be his Chosen, they simply existed to kill and die to the last one and restore him to life. (And Sarevok was never interested in being a god's Chosen nor did he ever worship Bhaal, only sought to usurp the 'fool.' I will complain about fact this until the end of the world.)

'In order to live again as a deity, a power must be worshipped and cannot have been utterly destroyed [which is basically impossible]...

Some of Bhaal's priests were still faithful and active.

...Then something must be done to suddenly and massively direct a great deal of worship power into the deity. This involves a prolonged ritual in which the dead power's name is repeatedly invoked. Often massive quantities of offerings of the type most favoured by the power are also made...

That is to say: The Bhaalspawn Crisis. Bhaalspawn cause death and spread the memory and fear of Bhaal into the hearts of everyone all over the continent. Their deaths, when the soul goes to the Throne of Blood, plus all the murders they do, would be Bhaal's favourite offerings.

...and sometimes artifacts are used to somehow direct the power generated by the ceremony more efficiently to the deity...

The mana forge.

...Finally, Ao must decide to let the dead power re-establish a connection with the Realms. - Faiths and Avatars

Ao was in fact on standby to settle whatever the outcome of the prophecy was.

That was it. Just a plan to not be dead.

[taytjiefourie]

How to Outline a Novel

Hi there, Darlings! I'm excited to dive into the fascinating world of outlining a novel with you today. Don't worry, we won't be here as long as you might think. So, let's get started and have some fun!

Note: this is a longish post and relies on my preferences and experience.

When it comes to outlining your story, you may hear some people insist that the more detail, the better. However, let's be real, we don't want to get bogged down with trivial details like how the trash is being disposed of in our fantasy world, right?

No way, we're all too busy to devote that much time and energy to it! Personally, I have two versions of an outline that I like to use. The first is a basic outline, which works well for stories set in a world similar to our own, or stories that draw from existing myths or legends like Supernatural, Paranormal or Greek Mythology.

The second outline is a bit more detailed, but don't worry, it's not as complicated as some people make it out to be. Since creating a unique Fantasy or Sci-Fi world requires a bit more thought, this outline helps you add in those extra details without overwhelming you. To use it, you'll start with the basic outline, and then add some additional information to create the more detailed version.

In this blog post, I'll be sharing some insights into why certain elements are essential in your outline (for those who love to write but don't know all the 'why's' when it comes to certain things), and how they can make a huge impact on both your writing process and the readers who pick up your book. And don't worry, I've got you covered at the end with a summarized version of each outline - minus all the extra details - so you can simply copy and paste it for your own use.

Without further ado, let's dive in and start with the basics of outlining your novel!

I hope you've got a tiny inkling of what your story might be about - whether it's a character with a vague purpose, an antagonist with an unclear hero, or even just a cool world with no plot in mind yet. Whatever it may be, it's totally okay to start with just a little dot of information. The important thing is that you've got something to work with!

Book Information.

Starting a novel can be a daunting task, but having the right information can make a world of difference. Let's go over the three key aspects you should consider before diving in: Genre, Trope, and Target Audience.

First up is Genre, which is the category or type of book your story fits into. Once you've picked your genre, you can explore the different tropes that are commonly used within it. A trope is a recurring literary device or theme that helps readers understand the story and its themes.

By combining your chosen genre and tropes, you can begin to define your Target Audience. This is the group of readers who are most likely to enjoy your story based on its genre and themes. It's important to remember that you don't have to stick to just one genre or trope, and that exploring multiple options can help you find the perfect combination for your story.

Genre:

Choosing the right genre for a book is super important because it gives readers a sense of what to expect in terms of plot, themes, tone, and style. Think of genres as categories that books fall into based on their subject matter, writing style, and intended audience. For instance, a mystery novel is all about solving a crime or puzzle, while a romance novel is all about lovey-dovey relationships.

Knowing a book's genre can be helpful for readers who are searching for stories that interest them. Plus, it can help publishers and booksellers market and sell books to the right audience. For writers, it's helpful to stick within the conventions of a genre while still adding their own unique perspective.

All in all, genres make life easier for everyone involved in the book world, from writers to readers to publishers. They help us understand the style and content of a book and make communication and engagement between authors and audiences so much smoother!

With so many genres to choose from, it can be overwhelming to decide which one is right for your story. But don't worry, I'm here to help! Let me give you a quick rundown of some of the most popular genres out there and how they can shape your story:

Romance Plot: Focuses on the development of a romantic relationship between two characters. Theme: Love, passion, and relationships. Tone: Emotionally charged, often with elements of humor or drama. Style: Emphasizes character development and emotional depth.

Mystery Plot: Involves a crime or puzzle that needs to be solved. Theme: Crime, justice, and the human psyche. Tone: Suspenseful and atmospheric, often with a dark or gritty tone. Style: Tightly plotted, with clues and red herrings that keep readers guessing.

Science Fiction Plot: Often involves futuristic or speculative elements, such as space travel, aliens, or advanced technology. Theme: Exploration, innovation, and the impact of technology on society. Tone: Can be serious or lighthearted, depending on the focus of the story. Style: Imaginative and creative, with an emphasis on world-building and scientific accuracy.

Fantasy Plot: Often involves a magical or supernatural world, with mythical creatures and/or magical powers. Theme: Good versus evil, heroism, and the power of imagination. Tone: Can be dark or lighthearted, depending on the focus of the story. Style: Richly detailed and descriptive, with an emphasis on world-building and creating a sense of wonder.

Historical Fiction Plot: Set in a specific time period in history, often with real historical figures and events. Theme: The human experience and the impact of history on individuals and society. Tone: Often serious and thought-provoking, with an emphasis on authenticity. Style: Meticulously researched and detailed, with an emphasis on historical accuracy and atmosphere.

Thriller Plot: Typically involves high stakes, danger, and tension, with a focus on action and suspense. Theme: Danger, survival, and morality. Tone: Tense and exciting, with a sense of urgency and danger. Style: Fast-paced and plot-driven, with a focus on action and suspense.

Horror Plot: Focuses on creating a sense of fear, dread, or terror in the reader. Theme: Fear, darkness, and the unknown. Tone: Dark and ominous, with elements of terror and suspense. Style: Often graphic and unsettling, with a focus on atmospheric setting and vivid descriptions of gore or violence.

Young Adult (YA) Plot: Typically features teenage protagonists dealing with coming-of-age issues, such as identity, relationships, and personal growth. Theme: Identity, belonging, and the transition to adulthood. Tone: Often earnest and emotional, with a focus on relatable characters and experiences. Style: Accessible and engaging, with a focus on character development and relatable themes.

Literary Fiction Plot: Emphasizes character development and exploration of ideas, often without a clear plot-driven structure. Theme: Human experience, social issues, and the complexities of life. Tone: Serious and contemplative, with an emphasis on emotional depth and complexity. Style: Often stylistically experimental or unconventional, with a focus on character psychology and introspection.

Comedy Plot: Emphasizes humor and satire, often with a focus on exaggerated characters and situations. Theme: Laughter, joy, and the absurdity of life. Tone: Light and comedic, with an emphasis on humor and wit. Style: Often fast-paced and filled with witty banter and humorous observations.

Western Plot: Set in the American West during the 19th century, often with a focus on cowboys, outlaws, and frontier life. Theme: Courage, survival, and rugged individualism. Tone: Rustic and tough, with an emphasis on adventure and action. Style: Often descriptive and atmospheric, with a focus on the unique landscape and culture of the American West.

Dystopian Plot: Set in a society or world that has become dark, oppressive, or dysfunctional, often as a result of a catastrophic event. Theme: Freedom, rebellion, and the dangers of totalitarianism. Tone: Bleak and pessimistic, with an emphasis on the dangers of conformity and control. Style: Often atmospheric and descriptive, with a focus on world-building and the exploration of dystopian themes.

Sub-Genre:

As a writer, you've probably heard of sub-genres before. They're like categories or subcategories within a broader genre, based on specific themes, settings, plot elements, or writing style. These sub-genres help to further define and categorize works of literature within a broader genre, making it easier for readers to find books that align with their interests.

For example, in the broad genre of science fiction, there are many different sub-genres like cyberpunk, space opera, hard science fiction, and more. Each sub-genre has its own unique characteristics and themes that differentiate it from other types of science fiction. Likewise, in the genre of mystery, there are sub-genres like cozy mysteries, police procedurals, and psychological thrillers, each with its distinct elements and themes.

Romance

Historical romance: These stories are set in the past and often explore themes of social norms and historical events. They can be sweeping epics or more intimate love stories, and the writing style can be more formal or descriptive.

Contemporary romance: Set in the present day, these stories often explore modern relationships, dating, and career aspirations. They can be light and funny or emotional and dramatic, with a more conversational and informal writing style.

Paranormal romance: These stories feature supernatural elements like vampires, werewolves, and witches. They can explore forbidden love, good versus evil, and the challenges of having supernatural abilities. The tone can be dark and moody or romantic and sexy, and the writing style often includes descriptive world-building.

Romantic suspense: Combining romance and suspense, these stories often involve a heroine in danger who is protected by a hero. They can be fast-paced and action-packed, with a tense and dramatic tone and a plot-driven writing style.

Inspirational romance: These stories often explore themes of faith, redemption, and personal growth. They can involve characters overcoming obstacles and finding hope in their beliefs, with an uplifting and hopeful tone and a focus on character development and inner dialogue.

Erotic romance: These stories feature explicit sexual content and explore themes of passion and desire. They can involve characters exploring their sexuality and forming intense emotional connections, with a sensual and steamy tone and a descriptive and graphic writing style.

LGBTQ+ romance: These stories feature same-sex or non-binary relationships and explore themes of identity, acceptance, and overcoming societal norms. They can be heartfelt and emotional, with a writing style that varies depending on the sub-genre (like historical, contemporary, or paranormal).

Western romance: These stories are set in the American West and often involve cowboys, ranchers, and outlaws. They can explore themes of rugged individualism, adventure, and romance, with a rugged and outdoorsy tone and a writing style that includes descriptive landscapes and dialect.

Fantasy romance: These stories combine elements of fantasy and romance and often involve mythical creatures, magic, and epic journeys. They can explore forbidden love, quests, and battles between good and evil, with a sweeping and grand tone and a writing style that includes descriptive world-building.

Multicultural romance: These stories feature characters from diverse cultural backgrounds and explore themes of identity, family, and tradition. They can involve characters navigating cultural differences and forming deep connections, with a sensitive and heartfelt tone and a writing style that varies depending on the sub-genre (like historical or contemporary).

Mystery

Cozy Mystery: Cozy mysteries are often set in small, quaint towns or villages, and feature an amateur sleuth who solves a murder or series of murders. The tone is light and often humorous, with a focus on character and relationships rather than graphic violence or sex.

Police Procedural: Police procedurals focus on the investigation process of a crime, and often feature a professional law enforcement detective as the main character. The plot is driven by the methods used to solve the crime, and the tone is often gritty and realistic.

Hard-Boiled Mystery: Hard-boiled mysteries feature tough, cynical detectives who operate outside of the law to solve crimes. The tone is dark and gritty, with a focus on violence and corruption.

Historical Mystery: Historical mysteries are set in the past and often feature famous historical figures or events as part of the plot. The tone is often atmospheric, with a focus on the historical setting and culture.

Amateur Sleuth: Amateur sleuth mysteries feature a non-professional detective as the main character, such as a journalist, librarian, or chef. The tone is often lighthearted and cozy, with a focus on the amateur detective's unique skills and abilities.

Legal Thriller: Legal thrillers often involve legal proceedings or courtroom drama as part of the plot. The main character is often a lawyer or judge, and the tone is often intense and suspenseful.

Noir: Noir mysteries are characterized by their dark and pessimistic tone, with flawed characters and morally ambiguous situations. The focus is on the psychological aspects of crime, rather than the procedural.

Romantic Suspense: Romantic suspense combines elements of both romance and mystery, with a focus on the relationship between the main characters as well as the suspenseful plot.

Whodunit: Whodunit mysteries are characterized by their focus on the puzzle-like aspect of solving a crime, with a twist ending revealing the identity of the culprit. The tone is often light and playful, with a focus on the clues and red herrings that lead up to the solution.

Science Fiction.

Cyberpunk: This sub-genre typically features a near-future, dystopian setting in which advanced technology has both empowered and oppressed society. The tone is often gritty and dark, with a focus on the impact of technology on human identity.

Space Opera: This sub-genre is characterized by grand-scale adventures and space battles set in a future where humanity has colonized the galaxy. The tone is often adventurous and heroic, with an emphasis on world-building and exploration.

Post-Apocalyptic: This sub-genre is set in a world after a major catastrophe or disaster, and focuses on the struggle for survival and rebuilding of society. The tone is often bleak and pessimistic, with themes of isolation, desperation, and survival.

Alternate History: This sub-genre explores what would happen if key historical events had played out differently, resulting in a different present-day world. The tone and themes can vary widely depending on the point of divergence in history.

Hard Science Fiction: This sub-genre emphasizes scientific accuracy and plausibility in its exploration of speculative concepts and technologies. The tone can vary, but often has a focus on problem-solving and logical deduction.

Time Travel: This sub-genre involves characters traveling through time to alter the course of history or prevent a catastrophic event. The tone can vary widely depending on the consequences of altering history.

Alien Invasion: This sub-genre typically features humans struggling to defend Earth from an alien invasion. The tone is often action-packed and suspenseful, with a focus on survival and overcoming seemingly insurmountable odds.

Steampunk: This sub-genre is set in a world where steam power is the dominant technology, often featuring Victorian-era settings and aesthetics. The tone is often adventurous and fantastical, with an emphasis on creativity and innovation.

Military Science Fiction: This sub-genre typically involves soldiers and military units in futuristic settings, often featuring advanced technology and alien races. The tone is often action-packed and focused on combat and strategy.

Biopunk: This sub-genre explores the implications of biotechnology and genetic engineering, often featuring genetic modification of organisms or humans. The tone can be dark and cautionary, with themes of ethics and control.

Cyberprep: This sub-genre is a hybrid of cyberpunk and preppy fashion, featuring high-tech and high-fashion elements in a futuristic setting. The tone can be lighthearted and satirical, with a focus on fashion and style.

Space Western: This sub-genre combines science fiction and Western themes, often featuring space cowboys and frontier settlements on distant planets. The tone is often adventurous and action-packed, with a focus on individualism and freedom.

Slipstream: This sub-genre blends elements of science fiction with surrealism, often featuring strange or unexplained phenomena. The tone can be dreamlike and ambiguous, with a focus on atmosphere and mood.

New Wave: This sub-genre emerged in the 1960s and 1970s, featuring experimental and avant-garde styles and themes. The tone can be unconventional and challenging, with a focus on literary techniques and subversion of traditional science fiction tropes.

Mundane Science Fiction: This sub-genre emphasizes realism and plausibility in its exploration of near-future technology and societal developments. The tone is often introspective and critical, with a focus on the impact of technology on everyday life.

Fantasy

High Fantasy/Epic Fantasy: This sub-genre is characterized by a richly developed fictional world, often with its own history, geography, and mythology. The plot often centers on a hero's journey or quest to save the world or defeat evil. The tone is often grand and epic, with a focus on magic, destiny, and larger-than-life conflicts.

Urban Fantasy: This sub-genre is set in a contemporary, urban setting, often featuring supernatural elements like vampires, werewolves, and witches. The tone can be dark and gritty, with a focus on action, suspense, and the clash between the supernatural and the mundane.

Historical Fantasy: This sub-genre is set in a historical period, often featuring elements of magic and the supernatural. The tone can be romantic and atmospheric, with a focus on historical accuracy as well as fantastical elements.

Fairy Tale Retellings: This sub-genre reimagines classic fairy tales with new twists and perspectives. The tone can range from whimsical to dark and brooding, with a focus on themes of transformation and the power of storytelling.

Mythic Fantasy: This sub-genre draws on elements of myth and folklore, often featuring gods, goddesses, and other supernatural beings. The tone can be mystical and spiritual, with a focus on themes of destiny, fate, and the search for meaning.

Dark Fantasy: This sub-genre often features supernatural or horror elements, and may have a bleak or nihilistic tone. The plot can involve antiheroes or morally ambiguous characters, and may explore themes of power, corruption, and redemption.

Portal Fantasy: This sub-genre involves characters who travel between different worlds or dimensions, often featuring a contrast between the magical and the mundane. The tone can be adventurous and whimsical, with a focus on exploration and discovery.

Sword and Sorcery: This sub-genre features heroes who are skilled with weapons and magic, often set in a medieval-inspired world. The tone can be action-packed and swashbuckling, with a focus on adventure, combat, and daring exploits.

Comic Fantasy: This sub-genre combines elements of fantasy and humor, often featuring absurd or satirical elements. The tone is often lighthearted and comedic, with a focus on wordplay, satire, and parody.

Paranormal Romance: This sub-genre combines elements of romance and fantasy, often featuring supernatural love interests like vampires or werewolves. The tone can be romantic and steamy, with a focus on passion, desire, and forbidden love.

Steampunk Fantasy: This sub-genre is set in a world where steam power and clockwork technology are the norm. The plot often involves a mix of adventure, science fiction, and fantasy elements. The tone is often gritty and industrial, and the style is characterized by a Victorian aesthetic and the use of intricate machinery.

Contemporary Fantasy: This sub-genre takes place in the present day and features magic and fantastical elements that coexist with the mundane world. The plot often involves characters discovering or coming to terms with their magical abilities. The tone is often lighthearted, and the style is characterized by blending magic and realism.

Magical Realism: This sub-genre blends elements of the fantastical with the ordinary, creating a world where magic is a natural part of everyday life. The plot often explores the intersection between the magical and the real, with characters struggling to make sense of their extraordinary experiences. The tone is often dreamlike, and the style is characterized by richly descriptive prose.

Historical Fiction.

Historical romance: Set in a specific historical period, the plot centers on a romantic relationship between characters. The theme may focus on societal expectations, class differences, or political intrigue. The tone is usually romantic, with elements of drama and tension. The style emphasizes historical accuracy and details, such as costumes, settings, and dialogue.

Alternate history: The plot imagines an alternate version of history, where events unfold differently from what actually happened. The theme may explore the consequences of different choices or highlight how different societies might have evolved. The tone can range from serious to playful, depending on the author's intent. The style often emphasizes world-building, creating a detailed and believable alternate reality.

Historical fantasy: Combining elements of historical fiction and fantasy, this subgenre often involves magical or supernatural elements. The plot may center on a quest or adventure set in a specific historical period, with magical or mythical creatures and events. The theme often explores the intersection of history and fantasy, highlighting how beliefs and legends shape society. The tone can be fantastical or historical, depending on the balance of elements. The style often emphasizes world-building, creating a fully realized alternate reality.

Historical mystery: Set in a specific historical period, the plot centers on a mystery that must be solved by the protagonist. The theme may explore social or political issues of the time, and the tone is often suspenseful and dramatic. The style often emphasizes historical accuracy, highlighting the details of daily life and societal norms of the period.

Historical adventure: The plot centers on a thrilling adventure set in a specific historical period, often involving exploration, battles, or other daring escapades. The theme may explore themes of heroism, duty, or sacrifice, and the tone is often action-packed and exciting. The style emphasizes historical accuracy, highlighting the details of weapons, clothing, and other cultural aspects of the period.

Historical drama: The plot centers on the emotional and personal struggles of characters living in a specific historical period. The theme may explore issues of social justice, morality, or individualism, and the tone is often serious and introspective. The style emphasizes historical accuracy, highlighting the details of the characters' lives and the period's cultural norms.

Biographical historical fiction: The plot is based on the life of a historical figure, often imagining details that are not known or not recorded. The theme may explore the motivations and struggles of the individual or highlight the cultural and political context of the time. The tone can be serious or light-hearted, depending on the focus of the story. The style emphasizes historical accuracy, often using primary sources to create a realistic portrayal of the individual's life and times.

Historical horror: Combining elements of horror and historical fiction, this subgenre often involves supernatural or mystical elements set in a specific historical period. The plot may center on a curse or a haunted location, with the theme often exploring how historical beliefs and legends shape modern fears. The tone is often eerie and unsettling, and the style emphasizes historical accuracy and the use of atmospheric details to create a sense of dread.

Historical romance mystery: This subgenre combines elements of historical romance and historical mystery, often involving a romantic relationship that is threatened or complicated by a mystery or crime. The theme may explore social or political issues of the time, and the tone is often suspenseful and romantic. The style emphasizes historical accuracy, highlighting the details of daily life and societal norms of the period.

War fiction: Set during a specific historical conflict, the plot centers on the experiences of soldiers, civilians, or others affected by the war. The theme may explore issues of sacrifice, duty, and morality, and the tone is often gritty and realistic. The style emphasizes historical accuracy, highlighting the details of weaponry, battles,

Thriller

Psychological thriller - The plot revolves around the mental and emotional states of the characters, often featuring unreliable narrators, unexpected plot twists, and intense psychological tension. Themes may include mental illness, trauma, and the dark side of human nature. The tone is usually suspenseful and ominous.

Crime thriller - These stories focus on a crime, often a murder, and the investigation that follows. The plot typically involves a detective or law enforcement officer trying to solve the crime and bring the perpetrator to justice. Themes may include corruption, justice, and morality. The tone can range from gritty and dark to fast-paced and action-packed.

Spy thriller - The plot involves espionage, secret agents, and international intrigue. The themes may include politics, espionage, and espionage. The tone is usually suspenseful and fast-paced, with high stakes and intense action scenes.

Legal thriller - These stories focus on lawyers and legal proceedings, often involving a courtroom drama. The plot typically involves a lawyer working to uncover the truth and bring justice to a case. Themes may include justice, ethics, and the law. The tone is usually suspenseful and dramatic.

Techno-thriller - This sub-genre combines elements of science fiction and thriller, often featuring technology as a major plot point. The plot typically involves a threat to society or the world that can only be resolved through the use of advanced technology. Themes may include artificial intelligence, cyber warfare, and technological advancement. The tone is usually fast-paced and action-packed.

Action thriller - These stories are heavy on action and may include elements of crime, espionage, or terrorism. The plot typically involves a protagonist fighting against a powerful antagonist or organization. Themes may include heroism, justice, and revenge. The tone is usually fast-paced and full of action scenes.

Historical thriller - The plot is set in a historical period and involves mystery, intrigue, and danger. Themes may include historical events, social issues, and politics. The tone is usually atmospheric and suspenseful.

Disaster thriller - The plot typically involves a natural disaster or catastrophic event, and the characters must fight to survive. Themes may include survival, human nature, and the fragility of society. The tone is usually tense and suspenseful.

Medical thriller - These stories involve medical professionals, diseases, and medical research. The plot typically involves a medical crisis that threatens the lives of many people. Themes may include medical ethics, science, and the nature of life and death. The tone can range from intense and suspenseful to thoughtful and introspective.

Horror thriller - This sub-genre combines elements of horror and thriller, often featuring supernatural or paranormal elements. The plot typically involves a protagonist facing off against a powerful and evil force. Themes may include fear, death, and the supernatural. The tone is usually dark and terrifying.

Horror

Supernatural horror - This sub-genre involves supernatural elements such as ghosts, demons, and witches. The plot typically revolves around an evil presence that haunts or possesses individuals or places. Themes often involve the struggle between good and evil, the afterlife, and the supernatural world. The tone can be eerie, unsettling, or frightening. The style can include vivid descriptions of supernatural events or paranormal activity.

Psychological horror - This sub-genre focuses on the psychological aspects of fear, anxiety, and mental breakdowns. The plot may involve a character's descent into madness, paranoia, or obsession. Themes can explore the limits of the human mind, the duality of human nature, and the fragility of sanity. The tone can be disturbing, disorienting, or unsettling. The style can include introspective narration, unreliable narrators, or surreal imagery.

Slasher horror - This sub-genre involves a serial killer or a group of killers who hunt down and murder their victims. The plot often revolves around a group of people who are trapped or isolated with the killer, such as a group of teenagers in a cabin in the woods. Themes can explore the fear of death, survival instincts, and the consequences of violence. The tone can be intense, gory, or suspenseful. The style can include graphic violence, jump scares, and tense chase scenes.

Gothic horror - This sub-genre is characterized by dark, atmospheric settings, such as abandoned castles, haunted mansions, and ancient ruins. The plot typically involves supernatural or mysterious occurrences, such as curses, ghosts, or ancient evils. Themes can explore the corruption of power, the dangers of obsession, and the struggle between rationality and superstition. The tone can be melancholic, oppressive, or ominous. The style can include ornate language, archaic settings, and romanticized descriptions.

Body horror - This sub-genre focuses on the physical horror of bodily transformation or mutilation. The plot may involve diseases, mutations, or body horror caused by technology. Themes can explore the limits of the human body, the dangers of scientific progress, and the horror of physical transformation. The tone can be grotesque, revolting, or terrifying. The style can include vivid descriptions of bodily horror, visceral imagery, and medical terminology.

Literary Fiction

Historical Literary Fiction: This sub-genre is characterized by a focus on historical events and figures, with an emphasis on the emotions and inner lives of the characters. The plot is often driven by the characters' personal struggles and relationships, rather than by external events. Themes in historical literary fiction often explore the impact of history on the individual and the human condition. The tone can be reflective, nostalgic, and introspective, and the style is often lyrical and descriptive.

Contemporary Literary Fiction: This sub-genre focuses on the present-day world, with a focus on realistic and complex characters and their relationships. The plot often centers around the characters' struggles with personal issues and societal problems, with an emphasis on character development and introspection. Themes can vary widely but often explore the human experience in contemporary society. The tone can be serious, contemplative, or satirical, and the style is often characterized by literary devices such as metaphor, symbolism, and stream of consciousness.

Experimental Literary Fiction: This sub-genre is characterized by an unconventional approach to narrative structure, language, and form. The plot can be non-linear or fragmented, and the themes may be abstract or philosophical. The tone and style can vary widely but often aim to challenge the reader's expectations and push the boundaries of traditional storytelling.

Multi-Cultural Literary Fiction: This sub-genre explores the experiences and perspectives of characters from diverse cultural backgrounds. The plot may focus on the challenges of living between cultures or on the intersection of different cultural identities. Themes often explore issues of identity, belonging, and cultural heritage. The tone can be serious, humorous, or satirical, and the style is often characterized by rich descriptions of cultural traditions and practices.

Metafiction: This sub-genre is characterized by a self-referential approach to storytelling, with the author drawing attention to the construction of the narrative itself. The plot may involve characters who are aware of their existence within a fictional world or who interact with the author. Themes often explore the nature of fiction, reality, and the relationship between author and reader. The tone and style can be playful, ironic, or philosophical.

Psychological Literary Fiction: This sub-genre focuses on the psychological development and inner lives of the characters. The plot may center around the characters' struggles with mental illness, trauma, or personal crises. Themes often explore the nature of the human mind and emotions, and the impact of past experiences on the present. The tone can be introspective, haunting, or disturbing, and the style is often characterized by vivid descriptions of the characters' psychological states.

Postmodern Literary Fiction: This sub-genre is characterized by a skeptical attitude toward grand narratives and an interest in the fragmentation and deconstruction of meaning. The plot may be non-linear or fragmented, and the themes may explore the breakdown of societal norms and values. The tone and style can be playful, ironic, or satirical, and the style often incorporates elements of popular culture and intertextuality.

Comedy

Romantic Comedy: A humorous story focused on a romantic relationship between the main characters. The plot often includes obstacles that the couple must overcome in order to be together. The tone is light-hearted and the style is witty and charming.

Satire: A story that uses humor to criticize social or political issues. The plot often involves exaggerated or absurd situations and characters. The theme is often social commentary or critique of certain practices. The tone can be biting or ironic, and the style is often sharp and clever.

Farce: A comedic story that relies heavily on physical humor, improbable situations, and mistaken identities. The plot is often fast-paced and chaotic, and the tone is over-the-top and exaggerated. The style is often slapstick and absurd.

Parody: A story that imitates the style or conventions of another work in order to make fun of it. The plot is often a tongue-in-cheek version of the original story, with exaggerated or nonsensical elements. The tone can be mocking or affectionate, and the style often mimics the original work.

Dark Comedy: A story that uses humor to address serious or taboo subjects, such as death, disease, or crime. The plot often involves characters in bleak or macabre situations, and the humor is often edgy and uncomfortable. The tone is often ironic or sardonic, and the style can be morbid or irreverent.

Comedy of Manners: A story that satirizes the social behavior and customs of a particular group or class of people. The plot often involves witty banter and subtle social cues, and the humor is often sophisticated and intellectual. The tone is often dry or understated, and the style is elegant and refined.

Comic Fantasy: A story that combines humor with elements of fantasy or science fiction. The plot often involves fantastical or absurd elements, and the humor can be whimsical or silly. The tone is often light-hearted and playful, and the style can be fanciful or imaginative.

Black Comedy: A story that uses humor to explore dark or taboo subjects, such as death, crime, or mental illness. The plot often involves characters in extreme or disturbing situations, and the humor is often irreverent or gallows. The tone can be bleak or nihilistic, and the style is often daring or provocative.

Absurdist Comedy: A story that uses humor to explore the meaninglessness or irrationality of human existence. The plot often involves surreal or absurd situations, and the humor can be nonsensical or absurd. The tone is often detached or alienated, and the style can be experimental or avant-garde.

Western

Classic Western: The plot usually revolves around a conflict between good and evil, often involving cowboys, Native Americans, and lawmen. The themes are typically centered around justice, honor, and self-reliance. The tone is often serious and gritty, and the style is straightforward and unadorned.

Western Romance: The plot revolves around a romantic relationship between two main characters set against the backdrop of the American West. The themes typically involve love, commitment, and the challenges of living in a rugged and unpredictable environment. The tone is often romantic and sentimental, and the style is descriptive and emotionally expressive.

Western Adventure: The plot involves an exciting and dangerous journey or quest undertaken by the main characters, often set in the wilderness or on the frontier. The themes are usually centered around courage, perseverance, and survival. The tone is often action-packed and suspenseful, and the style is fast-paced and visually descriptive.

Weird West: This sub-genre blends elements of Western fiction with supernatural or science-fiction elements, often set in an alternative or fantastical version of the American West. The themes typically involve the clash between the natural and the supernatural, as well as the exploration of the human psyche. The tone is often dark and unsettling, and the style is imaginative and evocative.

Western Noir: This sub-genre features the classic noir elements such as crime, corruption, and moral ambiguity, set in a Western setting. The themes often explore the dark side of human nature, including greed, violence, and betrayal. The tone is typically bleak and cynical, and the style is atmospheric and evocative.

Spaghetti Western: This sub-genre originated in Italy and is characterized by its stylized and exaggerated depictions of violence and action, often set in the American West. The themes typically involve revenge, justice, and survival, and the tone is often highly dramatic and operatic. The style is visually stunning, with striking landscapes, vivid colors, and innovative camera work.

Dystopian

Post-Apocalyptic Dystopia: In this sub-genre, the world as we know it has ended, and society has collapsed. The plot often centers around the characters' struggle for survival in a world where resources are scarce and danger lurks around every corner. Themes include the consequences of environmental disaster, the dangers of unchecked technology, and the importance of community in times of crisis. Tone is often bleak, but there can also be moments of hope and resilience. Style can be gritty and realistic or more imaginative and surreal.

Utopian/Dystopian Hybrid: This sub-genre features a world that appears to be a utopia on the surface but hides a darker side. The plot often revolves around a protagonist who uncovers the dark underbelly of the supposedly perfect society. Themes include the dangers of conformity, the corrupting influence of power, and the importance of individuality. Tone can be both optimistic and pessimistic, with a sense of tension and unease permeating the story. Style can be both realistic and fantastical.

Political Dystopia: In this sub-genre, the world is ruled by an oppressive government or dictator. The plot often revolves around a protagonist or group of protagonists who rebel against the ruling powers. Themes include the dangers of totalitarianism, the importance of personal freedom and democracy, and the corrupting influence of power. Tone can be dark and somber, with a sense of urgency and danger. Style can be both realistic and fantastical.

Technological Dystopia: This sub-genre features a world where technology has become a threat to humanity. The plot often centers around the unintended consequences of technological advancement and the struggle to regain control. Themes include the dangers of artificial intelligence, the loss of privacy, and the importance of human connection. Tone can be both pessimistic and optimistic, with a sense of wonder and awe mixed with fear and uncertainty. Style can be both realistic and fantastical.

Environmental Dystopia: In this sub-genre, the world is suffering from ecological collapse. The plot often centers around the struggle to survive in a world where natural resources are scarce and the environment is toxic. Themes include the consequences of climate change, the importance of sustainable living, and the dangers of greed and short-sightedness. Tone can be both somber and hopeful, with a sense of urgency and the need for action. Style can be both realistic and fantastical.

Medical Dystopia: In this sub-genre, society is threatened by a deadly disease or virus. The plot often revolves around the search for a cure or vaccine and the struggle to contain the outbreak. Themes include the dangers of biological warfare, the importance of medical research and innovation, and the importance of global cooperation in times of crisis. Tone can be both tense and suspenseful, with a sense of urgency and the need for quick action. Style can be both realistic and fantastical.

Cyberpunk: This sub-genre features a dystopian future where technology has become the dominant force in society. The plot often centers around characters who are marginalized or oppressed by the ruling powers and who use technology to fight back. Themes include the dangers of unchecked capitalism, the loss of privacy, and the importance of personal freedom. Tone is often dark and gritty, with a sense of danger and rebellion. Style can be both futuristic and retro.

Steampunk: This sub-genre features a dystopian world where technology has taken a different form, with steam-powered machines and Victorian-era aesthetics. The plot often revolves around characters who are struggling against a corrupt ruling class or using technology to achieve their goals. Themes include the dangers of industrialization, the importance of individuality and creativity, and the need for social reform. Tone can be both

Tropes

Let me break down the importance of tropes in storytelling for you. Tropes are literary or storytelling devices that are commonly used in a specific genre or type of story. They can help readers identify and understand the story's themes, providing them with a sense of familiarity and expectations about the plot and characters.

For instance, in fantasy and adventure stories, the "hero's journey" is a popular trope where the protagonist embarks on a quest, faces challenges, and eventually triumphs over adversity. When used effectively, tropes can create a sense of comfort and connection between the reader and the story, while also allowing authors to explore new ideas and variations on established themes.

Tropes can also be used to subvert or challenge reader expectations, which can create a sense of surprise or intrigue. For example, a romance story that plays with the "enemies to lovers" trope by having the two characters come from opposing sides of a political conflict can create a fresh and unexpected twist on a familiar theme.

Overall, despite sometimes being viewed as cliché or overused, tropes serve an important purpose in storytelling by helping readers engage with and understand the story. Plus, they offer authors a useful framework for exploring new ideas and themes.

Romance

Enemies to Lovers - two characters who start out as adversaries or even enemies, but eventually fall in love.

Friends to Lovers - two characters who have been friends for a long time, but eventually realize their feelings for each other go beyond friendship.

Second Chance Romance - two characters who have a history together, but for various reasons, didn't work out. They get a second chance at love.

Forbidden Love - two characters who are attracted to each other but are prevented from being together due to societal or cultural constraints, such as a workplace romance or a relationship between a boss and an employee.

Fake Relationship - two characters who enter into a fake relationship for various reasons, but eventually develop real feelings for each other.

Love Triangle - two characters who compete for the affection of a third character.

Billionaire Romance - a wealthy character falls in love with someone from a different social class, creating a conflict between money and love.

Small Town Romance - two characters fall in love in a close-knit community or small town setting.

Alpha Hero - a strong, dominant male character who falls in love with a strong, independent female character.

Marriage of Convenience - two characters agree to marry for practical reasons, such as financial stability or immigration purposes, but end up falling in love.

Single Parent Romance - a character falls in love with someone who already has a child, creating a family dynamic.

Time Travel Romance - a character travels through time and falls in love with someone from a different era.

Bodyguard Romance - a character falls in love with their bodyguard, creating a dynamic of danger and protection.

Sports Romance - two characters fall in love in the context of a sports team or competition.

Beauty and the Beast - a physically unattractive character falls in love with someone who sees beyond their appearance.

Amnesia Romance - a character loses their memory and falls in love with someone who helps them regain it.

Opposites Attract - two characters who are very different fall in love, creating a dynamic of contrast.

Office Romance - two characters fall in love in the context of a workplace or office setting.

Vacation Romance - two characters fall in love while on vacation, creating a dynamic of escape and adventure.

Royalty Romance - a character falls in love with someone from a royal or aristocratic family, creating a conflict between love and social status.

Mystery

Whodunit - the main focus of the story is to discover who committed a crime.

Detective Protagonist - a detective or investigator is the main character, who solves the mystery.

Amateur Sleuth - a non-professional character who is drawn into the mystery and works to solve it.

Closed Circle - a group of people is trapped in a confined space with a murderer, forcing them to solve the mystery before they become the next victim.

Cozy Mystery - a lighthearted and humorous mystery featuring an amateur sleuth in a small town setting.

Police Procedural - a detailed look at the inner workings of a police investigation, from collecting evidence to solving the crime.

Locked Room Mystery - a murder occurs in a room that appears to be locked from the inside, leaving investigators to solve how the killer could have escaped.

Serial Killer - a story centered around a killer who has committed multiple murders and is being pursued by law enforcement.

Noir - a dark and gritty mystery with a bleak outlook, often featuring an anti-hero protagonist.

Hard-boiled - similar to noir, featuring a tough, cynical protagonist who operates outside the law to solve the mystery.

Amateur Detective Team - a group of amateur sleuths work together to solve the mystery.

Red Herring - a misleading clue or character that is intended to distract the reader and throw them off the scent of the real culprit.

Femme Fatale - a mysterious and seductive woman who often plays a central role in the mystery.

Plant - a seemingly innocuous detail or character that is later revealed to be a crucial piece of evidence.

MacGuffin - an object or concept that drives the plot, but ultimately has little importance in the resolution of the mystery.

Culprit POV - the story is told from the perspective of the killer or the criminal, creating a unique twist on the traditional mystery formula.

Protagonist Framed - the main character is framed for a crime they did not commit, forcing them to clear their name and solve the mystery.

Covert Ops - a mystery that involves espionage or intelligence gathering.

Unreliable Narrator - the story is told from the perspective of a character who may not be telling the truth, creating uncertainty and confusion for the reader.

Supernatural Mystery - a mystery that involves supernatural or paranormal elements, such as ghosts, werewolves, or vampires.

Science Fiction

Space Opera - a story that takes place in a vast and complex universe with epic battles and larger-than-life characters.

Time Travel - the ability to travel through time, either to the past or the future.

Alien Invasion - a story that revolves around an extraterrestrial invasion of Earth.

Post-Apocalyptic - a story that takes place after a catastrophic event has destroyed civilization as we know it.

Cyberpunk - a subgenre of science fiction that features a dystopian future where advanced technology has led to a breakdown of society.

Artificial Intelligence - the creation of intelligent machines that can think and reason like humans.

Colonization - a story that explores the colonization of a new planet or the colonization of Earth by extraterrestrial beings.

Galactic Empire - a vast empire that spans across multiple planets and galaxies.

Genetic Engineering - the modification of DNA to create new forms of life or enhance existing ones.

Interstellar Travel - the ability to travel between star systems and explore the vastness of space.

Parallel Universes - the concept of multiple universes or realities existing simultaneously.

Cybernetics - the integration of machines and technology with the human body to enhance abilities or extend lifespan.

Post-Human - the evolution of humanity beyond its current form, either through technology or genetic modification.

Utopia/Dystopia - a society that is either a perfect utopia or a nightmarish dystopia.

Transhumanism - the belief in the ability of humans to evolve beyond their biological limitations.

Hard Science Fiction - a subgenre of science fiction that focuses on the scientific accuracy and realism of the story.

Soft Science Fiction - a subgenre of science fiction that focuses on the social, cultural, and philosophical aspects of the story.

Space Western - a story that combines elements of science fiction with the themes and tropes of a Western.

First Contact - a story that explores the initial meeting between humans and an extraterrestrial species.

Singularity - the point at which artificial intelligence becomes more advanced than human intelligence, leading to a transformation of society.

Fantasy

Epic Quest - a story that revolves around a hero or group of heroes on a perilous journey to achieve a great goal.

Magic - the use of supernatural forces to achieve extraordinary feats or solve problems.

Swords and Sorcery - a subgenre of fantasy that features action-packed adventures with battles and magic.

High Fantasy - a subgenre of fantasy that takes place in an alternate world with its own history, culture, and mythology.

Dark Fantasy - a subgenre of fantasy that incorporates horror elements and a darker tone.

Prophecy - a prediction or foretelling of future events that drives the plot.

Chosen One - a hero or heroine with a special destiny or purpose.

Magical Creatures - the inclusion of fantastical creatures such as dragons, unicorns, or griffins.

Medieval Setting - a story that takes place in a time period similar to the Middle Ages, with knights, castles, and kings.

Fairy Tales - the retelling or reimagining of classic fairy tales such as Cinderella, Snow White, or Beauty and the Beast.

Parallel Worlds - the concept of multiple worlds or dimensions existing simultaneously.

Coming-of-Age - a story that focuses on a character's growth and development as they transition from childhood to adulthood.

Hero's Journey - a story structure that follows a hero or heroine through a series of trials and challenges.

Mythology - the inclusion of gods and goddesses, myths, and legends from various cultures.

Quest Objects - a magical or mythical object that serves as the goal of the hero's journey.

Underworld - a mysterious and often dangerous realm that exists beneath the surface of the world.

Romance - a romantic subplot or love interest that drives the plot.

Time Travel - the ability to travel through time, either to the past or the future.

Folklore - the inclusion of traditional stories, beliefs, and customs of a particular culture.

Elemental Magic - the use of magic that is connected to the elements such as fire, water, earth, or air.

Historical Fiction

Time Period - a story that takes place in a specific historical time period, such as the Middle Ages, Renaissance, or Victorian era.

Historical Figures - the inclusion of real-life historical figures, such as kings, queens, politicians, or artists, as characters in the story.

Political Intrigue - a plot that involves political maneuvering, conspiracy, and power struggles.

War and Conflict - a story that focuses on a historical war or conflict and its impact on individuals or society.

Romance - a romantic subplot or love interest that is set against the backdrop of a historical event or time period.

Social Commentary - a story that explores social issues and injustices of a specific historical time period, such as class, gender, or race.

Court Intrigue - a plot that takes place in a royal court, with its politics, gossip, and drama.

Historical Mystery - a mystery story that takes place in a specific historical time period, often featuring real-life historical events or figures.

Historical Adventure - an adventure story that takes place in a specific historical time period, often featuring exploration, discovery, and danger.

Family Saga - a multi-generational story that spans a significant period of time and follows a family's history and relationships.

Historical Biographical Fiction - a fictionalized account of a real-life historical figure's life and experiences.

Secret Societies - a plot that involves secret organizations or societies, often with historical significance.

Historical Romance - a romantic story set in a specific historical time period, often with themes of social class, duty, and tradition.

Historical Fantasy - a blend of historical fiction and fantasy elements, such as magic, mythical creatures, or alternative history.

Historical Horror - a blend of historical fiction and horror elements, often exploring the darker aspects of a specific historical time period.

Time Travel - the ability to travel through time to experience different historical time periods.

Historical Crime - a crime story that takes place in a specific historical time period, often featuring real-life historical crimes or criminals.

Historical Epic - a grand, sweeping story that covers a significant period of time and multiple characters.

Historical Drama - a dramatic story that takes place in a specific historical time period, often featuring conflict, struggle, and personal growth.

Historical Fictionalization - a fictional story that takes place in a specific historical time period, often featuring real-life historical events or figures.

Thriller

High Stakes - a story where the protagonist is facing extreme danger or risk to their life or the lives of others.

Psychological Thriller - a story that focuses on the psychological and emotional state of the characters, often involving mind games and manipulation.

Serial Killer - a plot that involves a murderer who kills multiple victims over a period of time, often with a specific motive or pattern.

Conspiracy - a plot that involves a secret organization or group that is working against the protagonist and their goals.

Race Against Time - a story where the protagonist has a limited amount of time to achieve their goal before a catastrophic event occurs.

Action-Packed - a story with plenty of fast-paced action scenes, often featuring chases, fights, and explosions.

Law Enforcement - a plot that involves law enforcement agencies or officers investigating a crime or trying to stop a criminal.

Revenge - a plot that involves a character seeking revenge against those who have wronged them or their loved ones.

International Intrigue - a story that takes place across multiple countries and involves espionage, international conflicts, or political intrigue.

Kidnapping - a plot that involves the abduction of a character or characters, often for ransom or other nefarious purposes.

Spy Thriller - a story that features a spy or secret agent working to stop a dangerous threat to national security.

Cat-and-Mouse - a plot that involves a game of cat-and-mouse between the protagonist and their enemy, often with each trying to outsmart the other.

Betrayal - a plot that involves a character being betrayed by someone they thought they could trust.

Technological Threat - a story that involves a dangerous technological threat, such as a computer virus or rogue AI.

Locked Room Mystery - a mystery where the crime or danger takes place in a confined space, such as a locked room or an isolated location.

Political Thriller - a story that involves political power struggles, corruption, or conspiracies.

Survival - a story where the protagonist is fighting for survival in a dangerous or hostile environment.

Medical Thriller - a story that involves a medical mystery, such as a virus or disease outbreak, or a medical conspiracy.

Heist - a plot that involves a group of characters planning and executing a high-stakes theft or robbery.

Paranormal Thriller - a story that involves paranormal or supernatural elements, such as ghosts or psychic abilities, in a thriller setting.

Horror

Haunted House - a story that takes place in a house or building that is haunted by ghosts or other supernatural entities.

Supernatural Forces - a plot that involves supernatural entities or forces, such as demons, witches, or monsters.

Psychological Horror - a story that focuses on the mental and emotional state of the characters, often involving fears, phobias, or psychological trauma.

Body Horror - a plot that involves grotesque or horrifying physical transformations or deformities, often caused by disease or experimentation.

Gore - a story that involves graphic and bloody violence, often featuring mutilation or dismemberment.

Slasher - a plot that involves a killer who stalks and murders their victims, often with a signature weapon or method.

Survival Horror - a story where the characters are fighting for survival against a threat that is overwhelming and seemingly unstoppable.

Found Footage - a plot that involves footage or recordings of an event or situation, often presented as a documentary or amateur recording.

Creepy Children - a plot that involves creepy or malevolent children, often with supernatural abilities or knowledge.

Possession - a plot that involves a character being possessed by a demon or other supernatural entity.

Monster - a plot that involves a monstrous creature, often with a unique or terrifying design.

Ghost Story - a plot that involves ghosts or spirits, often seeking revenge or trying to communicate with the living.

Curses - a plot that involves a character or location being cursed, often with a deadly or horrific consequence.

Urban Legend - a plot that involves a well-known urban legend or myth, often with a dark or gruesome twist.

Religious Horror - a story that involves religious or cult themes, often with a sinister or demonic presence.

Vampires - a plot that involves vampires, often with unique or interesting twists on the classic vampire lore.

Demonic Possession - a plot that involves a character being possessed by a demon, often with terrifying consequences.

Body Snatchers - a plot that involves aliens or other entities that take over human bodies, often with the goal of domination or destruction.

Cult Horror - a story that involves a cult or secret society, often with dark or violent rituals.

Cosmic Horror - a story that involves vast, unknowable entities or forces that are beyond human comprehension.

Young Adult (YA)

Coming of age - a plot that focuses on a character's journey from adolescence to adulthood, often involving self-discovery and personal growth.

Love Triangle - a plot that involves a character choosing between two potential love interests, often causing conflict and tension.

High School Drama - a story that takes place in a high school setting, often involving cliques, popularity contests, and social hierarchies.

Dystopian - a plot that takes place in a futuristic or alternate world where society has become corrupted or oppressive.

Superpowers - a plot that involves characters with supernatural abilities, often exploring themes of responsibility and identity.

Forbidden Romance - a plot that involves characters who are not allowed to be together due to social, cultural, or familial reasons.

Identity Crisis - a plot that involves a character questioning their identity, often exploring themes of race, gender, or sexuality.

Fish out of Water - a plot that involves a character being placed in a new and unfamiliar environment, often leading to culture shock and personal growth.

Rebellion - a plot that involves characters fighting against authority or oppressive forces, often with themes of social justice and empowerment.

Time Travel - a plot that involves characters traveling through time, often exploring themes of consequences and destiny.

Survival - a plot that involves characters fighting for survival in a hostile environment or situation.

Fantasy - a plot that takes place in a fantastical world, often involving mythical creatures and magical powers.

Mystery - a plot that involves a character solving a puzzle or unraveling a mystery, often with a twist ending.

Apocalyptic - a plot that involves characters trying to survive in a world that has been destroyed by a catastrophic event, often exploring themes of hope and resilience.

Boarding School - a story that takes place in a boarding school setting, often involving themes of independence and friendship.

Road Trip - a plot that involves characters going on a journey, often exploring themes of self-discovery and adventure.

Sports - a story that involves characters participating in a sports team or competition, often exploring themes of teamwork and perseverance.

Rich vs. Poor - a plot that involves characters from different socioeconomic backgrounds, often exploring themes of inequality and privilege.

Friendship - a plot that explores the relationships and bonds between characters, often with themes of loyalty and trust.

Teenage Rebellion - a plot that involves characters rebelling against their parents or society, often exploring themes of independence and self-expression.

Literary Fiction

Character study - a plot that focuses on the inner workings of a character's psyche and emotions.

Family drama - a story that involves familial relationships, often exploring themes of love, loss, and identity.

Coming of age - a plot that focuses on a character's journey from adolescence to adulthood, often involving self-discovery and personal growth.

Memory and nostalgia - a plot that explores the past and memories, often with themes of loss, regret, and longing.

Art and creativity - a plot that explores the creative process and the artist's relationship with their art, often with themes of inspiration and obsession.

Existentialism - a plot that explores the meaning of life and existence, often with themes of identity and purpose.

Love and relationships - a plot that explores the complexities of romantic relationships and the human condition.

Social commentary - a plot that uses characters and their stories to comment on societal issues and concerns.

Loss and grief - a plot that explores the themes of loss and grief, often with themes of redemption and acceptance.

Mental health - a plot that explores the struggles and experiences of characters with mental health issues, often with themes of stigma and acceptance.

Nature and environment - a plot that explores the relationship between humans and nature, often with themes of conservation and preservation.

Historical fiction - a plot that takes place in a historical setting, often with themes of nostalgia and nostalgia.

Travel and adventure - a plot that involves characters traveling to new and unfamiliar places, often with themes of self-discovery and adventure.

Mystery - a plot that involves a character solving a puzzle or unraveling a mystery, often with a twist ending.

Philosophy - a plot that explores philosophical concepts and ideas, often with themes of morality and ethics.

Politics and power - a plot that explores the dynamics of power and politics, often with themes of corruption and morality.

Religion and spirituality - a plot that explores the themes of religion and spirituality, often with themes of faith and doubt.

Aging and mortality - a plot that explores the themes of aging and mortality, often with themes of acceptance and legacy.

Experimental fiction - a plot that plays with narrative structure, language, and form, often with themes of innovation and creativity.

Identity and culture - a plot that explores the themes of identity and culture, often with themes of belonging and alienation.

Comedy

Fish out of water - a plot that involves a character being thrust into an unfamiliar or absurd situation.

Screwball comedy - a plot that involves absurd or zany situations, often with fast-paced dialogue and physical humor.

Satire - a plot that uses humor to mock or criticize societal norms or institutions.

Parody - a plot that mimics or exaggerates the tropes and conventions of a particular genre or story.

Romantic comedy - a plot that involves a romantic relationship, often with humorous misunderstandings and obstacles.

Workplace comedy - a plot that takes place in a workplace setting, often with exaggerated or quirky characters and situations.

Farce - a plot that involves chaotic or ridiculous situations, often with mistaken identities and physical humor.

Slapstick - a plot that involves physical humor and exaggerated movements and actions.

Black comedy - a plot that uses humor to address dark or taboo subjects, often with themes of mortality and existentialism.

Situational comedy - a plot that involves humorous situations or misunderstandings.

Spoof - a plot that parodies a particular movie or TV show, often with exaggerated and absurd humor.

Gross-out comedy - a plot that involves bodily humor and gross or taboo subjects.

Buddy comedy - a plot that involves two characters with contrasting personalities who become friends, often with humorous results.

Surreal humor - a plot that involves absurd or dreamlike situations, often with a philosophical or satirical edge.

Comedic irony - a plot that uses irony to create humor, often with unexpected twists and turns.

Stand-up comedy - a plot that involves a comedian's experiences and observations, often with humorous anecdotes and jokes.

Comedic monologue - a plot that involves a character delivering a humorous speech or monologue, often with satire or parody.

Prankster comedy - a plot that involves practical jokes and humor at the expense of others.

Wit and banter - a plot that involves clever and witty dialogue, often with wordplay and sarcasm.

Running gags - a plot that involves recurring jokes or situations, often with escalating humor.

Western

Gunslinger - a plot that involves a skilled shooter or outlaw seeking redemption or justice.

Lawman - a plot that involves a law enforcement officer pursuing criminals and bringing them to justice.

Cattle drive - a plot that involves a group of cowboys driving a herd of cattle across long distances.

Revenge - a plot that involves a character seeking revenge against those who wronged them or their family.

Outlaw with a heart of gold - a plot that involves an outlaw with a moral code who takes on a noble cause.

Homesteader - a plot that involves a character settling and cultivating land in the frontier.

Duel - a plot that involves a one-on-one confrontation between two characters, often with guns or knives.

Train robbery - a plot that involves a group of bandits robbing a train of its cargo or passengers.

Gold rush - a plot that involves characters seeking wealth and fortune in the frontier, often through mining.

Indian wars - a plot that involves conflict between settlers and Native Americans, often with themes of racism and colonialism.

Saloon - a plot that involves characters gathering in a western-style bar, often with gambling and drinking.

Bounty hunter - a plot that involves a character pursuing and capturing fugitives for a reward.

Stagecoach - a plot that involves a group of characters traveling by stagecoach, often with danger and excitement along the way.

Showdown - a plot that involves a final confrontation between the hero and villain, often with high stakes.

Frontier justice - a plot that involves characters taking the law into their own hands, often with themes of vigilante justice.

Lone wanderer - a plot that involves a character traveling alone through the frontier, often with themes of isolation and survival.

Land conflict - a plot that involves characters fighting for ownership or control of land in the frontier.

Old west town - a plot that involves a character navigating life in a wild and lawless western town.

Rancher - a plot that involves a character managing a large ranch, often with themes of family and legacy.

Horseback chase - a plot that involves a chase scene on horseback, often with themes of pursuit and escape.

Dystopian.

Totalitarian government - a plot that involves a government or ruling power that has complete control over society and its citizens.

Oppressive society - a plot that involves a society that enforces strict rules and regulations on its citizens, often with extreme punishments for disobedience.

Rebel uprising - a plot that involves a group of rebels or revolutionaries who rise up against the ruling power.

Propaganda - a plot that involves the use of media and messaging to manipulate and control the population.

Social hierarchy - a plot that involves a society divided into social classes or castes, often with those at the bottom suffering the most.

Surveillance state - a plot that involves constant surveillance and monitoring of citizens by the ruling power.

Lack of personal freedom - a plot that involves citizens having limited or no personal freedoms, often with restrictions on speech, movement, and expression.

Environmental disaster - a plot that involves a society struggling to survive in the aftermath of an environmental catastrophe.

Post-apocalyptic world - a plot that involves a society trying to survive after a global disaster, such as a nuclear war or pandemic.

Dystopian love story - a plot that involves a romance set in a dystopian world, often with themes of forbidden love and societal restrictions.

Totalitarian leader - a plot that involves a single leader who holds absolute power over society.

Brainwashing - a plot that involves the use of psychological manipulation to control the population.

Genetic engineering - a plot that involves the manipulation of genetics and biology to create a new type of human or animal.

Rebellion leader - a plot that involves a charismatic leader who inspires and leads the rebellion against the ruling power.

Resistance movement - a plot that involves a group of individuals fighting against the ruling power, often through acts of sabotage and rebellion.

Corrupt government - a plot that involves a government that is corrupt and self-serving, often at the expense of the citizens.

Apocalyptic event - a plot that involves a catastrophic event that threatens the survival of humanity.

Oppressive technology - a plot that involves the use of advanced technology to control and manipulate citizens.

Civil war - a plot that involves a society torn apart by a conflict between factions or groups.

Protagonist as symbol of hope - a plot that involves a protagonist who becomes a symbol of hope for the oppressed and downtrodden citizens.

While I've only listed 20 common tropes found in these genres, there are actually many more out there waiting for you to discover! A quick Google search can help you track down all sorts of interesting and unique tropes to use in your writing.

Target Audience

It's important to understand who your book's target audience is, as it allows you to write a book that connects with them on a deeper level. Your target audience is the group of people who are most likely to enjoy your book, find it valuable, and recommend it to others. By writing with your target audience in mind, you can ensure that your book is relevant to their interests, speaks to their needs, and is more likely to be successful. After all, when you connect with your readers, you create a powerful bond that can make them lifelong fans of your work.

If you've already decided on your genres, sub-genres, and tropes, finding your target audience is a breeze. All you have to do is a quick Google search and voila! However, to help you out, I can provide you with some general information on target audiences. Do keep in mind that this information is not set in stone, as everyone's interests differ. For instance, plenty women enjoy thrillers, action stories, or horror. Nonetheless, this outline can serve as a starting point for your research.

Young Adult:

Genres: Fantasy, dystopian, contemporary, romance

Tropes: Coming-of-age, love triangles, chosen one, forbidden love, adventure

Themes: Identity, self-discovery, social justice, belonging, family, friendship, first love, mental health

Needs: Relatable characters, emotional resonance, accessible language, diverse representation, empowerment

Adult:

Genres: Mystery, thriller, romance, historical fiction, literary fiction

Tropes: Second chance at love, redemption, suspense, revenge, secrets and lies, unreliable narrators, twists and turns, complex relationships

Themes: Love and relationships, societal issues, personal growth, identity, history, culture, family dynamics, Love and loss

Needs: Engaging plot, well-developed characters, nuanced themes, evocative language, diverse representation

Middle-grade:

Genres: Adventure, fantasy, science fiction, historical fiction, humor, contemporary

Tropes: Overcoming obstacles, friendship, finding one's place, underdogs, magic

Themes: Family, friendship, self-discovery, perseverance, identity, problem-solving, Self-acceptance, courage, teamwork

Needs: Engaging plot, relatable characters, age-appropriate language, adventure and humor, positive messaging

Children:

Genres: Picture books, early readers, chapter books

Tropes: Animals as main characters, imaginative worlds, humor, adventure, family relationships, lessons learned

Themes: Family, friendship, growing up, learning new things, self-expression, empathy, problem-solving, diversity, kindness

Needs: Simple language, colorful illustrations, engaging storytelling, relatable characters, age-appropriate messaging

Women:

Genres: Romance, mystery, historical fiction, women's fiction, contemporary fiction, literary fiction

Tropes: Second chance at love, forbidden love, strong female lead, enemies-to-lovers, happily-ever-after, family secrets

Themes: Love and relationships, family, personal growth, empowerment, sisterhood, identity

Needs: Emotional resonance, well-rounded characters, diverse representation, nuanced themes, satisfying endings

Men:

Genres: Thriller, science fiction, fantasy, action/adventure, historical fiction

Tropes: Action-packed, gritty, hero's journey, good vs. evil, moral dilemmas, Tough-guy heroes, high stakes, intricate plots, historical accuracy

Themes: Honor, justice, redemption, brotherhood, duty, perseverance

Needs: Engaging plot, well-researched historical details, realistic action, diverse representation, nuanced themes

LGBTQ+:

Genres: LGBTQ+ romance, coming-of-age, drama, contemporary fiction, young adult, literary fiction, speculative fiction

Tropes: Coming out, forbidden love, self-acceptance, exploring sexuality, found family, overcoming prejudice, love conquers all

Themes: Identity, discrimination, love and relationships, acceptance, self-discovery, community

Needs: Authentic representation, diverse characters and experiences, nuanced portrayal of LGBTQ+ issues, positive messaging, happy endings

Seniors:

Genres: Historical fiction, literary fiction, memoir, mystery, romance

Tropes: Second chance at love, reflection on past mistakes, family drama, secrets and lies

Themes: Aging, family, legacy, life lessons, reflection, personal growth.

Needs: Thoughtful themes, well-rounded characters, evocative language, diverse representation, positive messaging

Note: "Nuanced" means that something is complex and has many different parts or aspects that make it unique. It's not just one simple thing, but has layers and details that make it more interesting and complicated. For example, a nuanced character in a book might have both good and bad qualities, and their personality and behavior might change depending on the situation they're in.

Here are some example's of nuanced themes:

Love and loss: exploring the complex emotions surrounding love and loss, such as grief, regret, and nostalgia.

Identity and belonging: examining the struggle to find one's place in the world and how our sense of self is shaped by our experiences and relationships.

Power and corruption: exploring the abuse of power and how it can corrupt individuals and institutions.

Morality and ethics: examining the gray areas of morality and the difficult choices we face when navigating right and wrong.

Mental health: exploring the complexities of mental health and how it impacts individuals and their relationships.

Social justice: examining issues of inequality, discrimination, and systemic oppression, and the need for change.

Cultural differences: exploring the nuances of different cultures and the challenges and benefits of navigating those differences.

Nature and the environment: examining the relationship between humans and nature, and the impact of human behavior on the environment.

Family and relationships: exploring the complexities of family dynamics and relationships, including love, loyalty, and betrayal.

Aging and mortality: examining the process of aging and the impact of mortality on individuals and their loved ones.

Starting to plot your novel is an exciting step, and choosing your genre, trope, and target audience are vital for laying the groundwork of your story. But it's important not to overlook other essential elements that can elevate your story to the next level. For example, have you thought about how you want your readers to feel when they read your book, or what you want them to learn? These questions can help you create a more impactful and meaningful story that resonates with your readers.

As an author, you likely have a specific purpose in mind when crafting your story. Whether you aim to entertain, convey a message, or educate your readers, it's important to consider the intended impact on your audience. To achieve your creative goals, you'll need to pay attention to key elements like plot, characters, setting, and themes, and ensure they work cohesively to create an engaging and immersive experience.

For readers, understanding the author's intent can enhance their appreciation of the story and lead to a more fulfilling reading experience. By recognizing the impact and meaning behind the words on the page, you can fully immerse yourself in the story and gain a deeper understanding of the author's message. So whether you're a writer or a reader, don't forget to consider the impact of your words and how they can connect with your audience.

Authors can convey various messages, lessons, and ideas through fictional writing. Here are a few examples:

Moral lessons: Fictional stories often have a moral lesson or message that the author wants to convey to the reader. The story may illustrate the consequences of certain actions or behaviors, and the characters may learn a valuable lesson by the end of the story.

Social commentary: Fictional stories can also be used to comment on social issues such as inequality, discrimination, or injustice. By using characters and situations that are relatable to readers, authors can help readers better understand and empathize with these issues.

Emotional connections: Through fictional writing, authors can help readers connect emotionally with the characters and situations in the story. This can help readers develop greater empathy and understanding of others in real life.

Imagination and creativity: Fictional writing can inspire readers to use their imagination and think creatively. Through vivid descriptions and imaginative storytelling, authors can transport readers to new and exciting worlds.

Personal growth: Fictional writing can also help readers learn more about themselves and their own values and beliefs. By exploring different characters and situations, readers can gain new perspectives and insights that can help them grow and develop as individuals.

I understand that all of this might sound a bit overwhelming and challenging, but please don't worry! If you're writing solely for the purpose of entertaining your readers and don't have any specific message to convey, you can simply skip this part when creating your novel outline. Don't feel obligated to include elements that you're not comfortable with, and focus on creating a story that you enjoy telling.

By the way, I'd like to share with you some examples of popular stories and their authors that effectively convey certain messages or teach valuable lessons through their fictional writing:

"To Kill a Mockingbird" by Harper Lee - This story teaches the importance of empathy, justice, and standing up for what is right.

"1984" by George Orwell - This dystopian novel warns about the dangers of totalitarianism and the importance of preserving individual freedom.

"The Handmaid's Tale" by Margaret Atwood - This dystopian novel warns about the dangers of patriarchal oppression and the importance of women's rights.

"The Lord of the Rings" by J.R.R. Tolkien - This epic fantasy novel teaches the importance of courage, loyalty, and sacrifice in the face of great evil.

"The Great Gatsby" by F. Scott Fitzgerald - This story critiques the superficiality and moral decay of the wealthy during the Roaring Twenties.

"Animal Farm" by George Orwell - This allegorical novel satirizes the rise of Soviet communism and warns about the dangers of political corruption and propaganda.

"Brave New World" by Aldous Huxley - This dystopian novel warns about the dangers of technological advancement and the dehumanization of society.

"The Catcher in the Rye" by J.D. Salinger - This story explores the themes of alienation, identity, and the struggle to find meaning in a world that can often seem cold and indifferent.

"The Color Purple" by Alice Walker - This story explores themes of race, gender, and the struggle for personal autonomy and self-determination in a society that seeks to deny these things.

"The Hunger Games" by Suzanne Collins - This dystopian novel critiques the excesses of consumer culture and warns about the dangers of totalitarianism and oppression.

Plot

Great job! We've completed the first part of outlining a basic novel. Now, let's move on to plotting. But wait a minute! Before you start plotting, there's some information we need first - your intended word count. This may sound like a small detail, but it's actually quite important. Knowing the total word count of your story can affect many things. For instance, publishers often have guidelines for the length of novels they will accept, so if your manuscript is too long or too short, it may be rejected. Additionally, readers may have certain expectations for the length of a novel in a specific genre, and if your book is significantly shorter or longer than expected, it may not be well-received. Lastly, the word count can influence the pacing and structure of your novel, with longer novels potentially allowing for more complex plot and character development, but requiring more attention to pacing and structure to avoid losing the reader's interest.

You might be thinking, "Hey, Taytjie, what if I want to post a web novel with over 1000 chapters? Do I have to plot everything in advance?" Well, my answer is no! However, I do recommend thinking of a web novel as a series of books, each with its own volume, rather than a single, massive work. So when plotting your web novel, it's best to approach each volume individually. This will make it easier to organize your ideas and create a cohesive story that engages your readers. Each 'Arc' of your web novel can be an individual volume of around 10 to 30 chapters or more, it's up to your preference.

Let me offer you a general guideline for word counts, but keep in mind that variations may exist based on factors such as sub-genre, target audience, and publishing goals. If traditional publishing is what you're aiming for, then different publishers may have different expectations. However, it's worth noting that while you don't have to stick to these word counts, readers typically expect them in the genres I've discussed in this post. Ultimately, what matters most is that your story is engaging and well-crafted, and if you achieve that, your readers will be hooked no matter the word count.

Romance: 50,000 to 90,000 words

Mystery: 70,000 to 100,000 words

Science fiction: 80,000 to 120,000 words

Fantasy: 80,000 to 120,000 words

Historical fiction: 80,000 to 120,000 words

Thriller: 80,000 to 100,000 words

Horror: 70,000 to 100,000 words

Young adult: 50,000 to 80,000 words

Literary fiction: 80,000 to 120,000 words

Comedy: 70,000 to 100,000 words

Western: 50,000 to 80,000 words

Dystopian: 80,000 to 120,000 words

You might be wondering why we're discussing word count under the 'plot' section instead of the 'book information' section. Well, it's because knowing your intended word count will help you figure out how many chapters your story will have. This, in turn, will affect your plot, as it gives you an idea of how much time you have to tell your story and how much you'll need to stretch it out.

Now it's time to decide on the number of chapters and the length of each chapter for your novel. To determine the chapter length, think about how many words you want to include in each chapter and use that to calculate the total number of chapters required to reach your desired word count for the whole story.

After figuring out the number of chapters, it's time to work on the plot. Don't worry, it doesn't have to be a lengthy essay, just a brief two-sentence summary will do. The main thing is to have a clear idea of what your story will be about.

Here's an example:

In a world of magic and intrigue, a young wizard falls in love with a powerful sorceress from a rival clan. Together, they must navigate the dangerous politics of their respective societies while discovering the true depth of their feelings for each other.

Alright, great job so far! Now let's dig a little deeper and focus on the beginning, middle, and end of your story. What's going to happen at the start to draw your readers in? What twists and turns will take place in the middle? And finally, how do you want it all to wrap up in the end?

Start: The story begins in a magical world filled with warring clans and powerful sorcerers. Our protagonist, a young wizard, is training at the academy of his clan when he meets a beautiful sorceress from a rival clan. Despite the tensions between their clans, they are drawn to each other and begin to secretly meet.

Middle: As their relationship deepens, our young couple finds themselves caught up in the dangerous politics of their respective societies. They struggle to keep their love a secret, while also trying to navigate the treacherous waters of their clans' rivalries. Along the way, they uncover a plot by a dark force that threatens both their clans and must work together to stop it.

End: In the climax of the story, our young wizard and sorceress face their greatest challenge yet. They must put aside their differences and unite their clans to defeat the dark force that threatens them all. Through their bravery and dedication, they prove that love can conquer even the most formidable foes. In the end, our young couple is able to come together openly and publicly, ushering in a new era of peace and prosperity for their people.

Congratulations, we've made progress! Now it's time to take our plot and start breaking it down into individual chapters. Think about the key events that need to happen in each chapter to move the story forward and write them down.

Chapter 1: Our young wizard protagonist meets the powerful sorceress from a rival clan and is immediately drawn to her.

Chapter 2: Our couple shares their first magical moment together, but the looming threat of their clans' rivalry casts a shadow over their happiness.

Chapter 3: Our wizard protagonist confides in his best friend about his feelings for the sorceress, but is warned about the dangers of falling in love with someone from a rival clan.

Chapter 4: The sorceress reveals that she feels the same way, and the couple begins to meet in secret.

Chapter 5: The first major conflict arises when our wizard protagonist's clan discovers his relationship with the sorceress and forbids him from seeing her.

Chapter 6: The sorceress' clan also discovers their relationship and the two clans begin to escalate their hostility towards each other.

Chapter 7: The couple's secret meetings become riskier as they try to find a way to be together without causing a war between their clans.

Chapter 8: A powerful sorcerer from our wizard protagonist's clan threatens the couple and warns them to end their relationship.

Chapter 9: Our protagonist turns to an older, wiser wizard for advice on how to navigate the dangerous politics of their clans.

Chapter 10: Our couple is caught in a dangerous ambush by members of the sorceress' clan who disapprove of their relationship.

Chapter 11: The sorceress' clan accuses our wizard protagonist of using dark magic to seduce her and threatens to retaliate.

Chapter 12: The couple decides to seek refuge in a neutral territory and try to find a way to resolve the conflict peacefully.

Chapter 13: Our protagonist discovers a sinister plot by a dark force that threatens both clans and realizes that they must work together to stop it.

Chapter 14: The couple's efforts to bring their clans together are met with resistance and suspicion from both sides.

Chapter 15: Our wizard protagonist and the sorceress embark on a dangerous mission to uncover the dark force's plans.

Chapter 16: The couple faces their greatest challenge yet as they confront the dark force and its powerful minions.

Chapter 17: Our couple must fight for their lives as they face overwhelming odds, but their love gives them the strength to prevail.

Chapter 18: The couple is hailed as heroes for saving their clans from the dark force, but their victory comes at a great cost.

Chapter 19: Our couple is finally able to publicly declare their love for each other, and their clans agree to a truce.

Chapter 20: The novel ends with our couple looking forward to a future together, as they embark on a new journey filled with hope and promise.

Great job! Now, for the final step: take each chapter and create a bullet-pointed outline of what you want to happen in it. This will help make your life easier when you begin writing the actual story because you'll already know what you need to write, and you just need to turn it into beautiful prose. But, Yes there is a but, If you just like to let the creative juices flow and don't want to write so rigidly, like I do, skip it. I personally just write the one or two sentences for my chapter when I build an outline, and then I just go for it.

Chapter One: A Meeting of Hearts

The chapter opens with our young wizard protagonist, whose name is Aaron, attending his morning training session at the wizard academy. During a break, Aaron wanders off into the forest for some quiet reflection and stumbles upon a clearing filled with glowing mushrooms. As he investigates the mushrooms, Aaron is startled by a rustling in the nearby bushes and turns to see a young woman emerge. The young woman introduces herself as Lyra, a powerful sorceress from a rival clan. Despite the tensions between their clans, Aaron and Lyra are immediately drawn to each other and begin to chat. Aaron discovers that Lyra is at the academy to research a powerful spell that could help her clan in their ongoing conflict with Aaron's clan. Aaron offers to help Lyra with her research, and they agree to meet secretly to work on the spell together. As Aaron leaves the clearing, he realizes that he is falling for Lyra and wonders how he will be able to reconcile his feelings with his loyalty to his clan. The chapter ends with Aaron returning to the academy, his thoughts consumed by thoughts of Lyra and the dangerous path they are embarking on.

By the way, in case you were wondering, the story we've been working on is a fantasy romance. Once you've completed outlining each chapter, congratulations, you've successfully outlined your novel! Now, let's move on to the next step: creating characters. You might be wondering why I saved this for after the plot section instead of before, but everyone has their own approach. Personally, I like to create my characters as I'm outlining my novel and really flesh them out while writing my first draft. Then, I use my second draft to make sure that the characters remain consistent throughout the book.

Characters

We've made it to the last section of our basic outline! As a writer, I prefer to develop my characters alongside my plot rather than before it. I start with some basic character details and adjust them as needed to fit the story. Sometimes, characters I initially thought were essential end up being cut, while others I created on a whim end up becoming integral to the plot. For example, in my current work in progress, I created a childhood friend of the main character on a whim, but he ended up becoming an antagonist who will go through a redemption arc and a friends-to-enemies-to-friends trope.

When it comes to creating your characters, there are some essential details you'll want to have nailed down. But don't worry, it's not necessary to have everything figured out until you finish your first draft. Just make sure you have all the important information for your main characters sorted out by the time you start working on your second draft. It's crucial to make sure your characters remain consistent throughout the story and that their actions and thoughts align with their established traits. After all, you don't want to project your own desires onto them - that's not good writing.

When it comes to creating your characters, there are some basic details you'll want to include, like their name and a brief history that matches their personality. For example, it might not make sense for a character with a tragic past to be overly optimistic and carefree all the time, not unless they're pretending.

List a few key traits that define your character's personality, such as being gruff yet secretly caring or sarcastic and cold. You don't need to create a whole resume, just a few words will do. As you write, you might find yourself adding more details to your character's personality, habits, or preferences, so make sure to jot them down.

Another important aspect is their appearance. Decide on this early on and make sure to note it down. You don't want to have to search through all your chapters to remember what your own character looks like! These are the basics, but there are three more things I want to mention that can help flesh out your character even more.

Outer conflict

Outer conflict is basically the challenges and hurdles that a character faces in their environment. It plays a significant role in the story as it generates suspense and propels the plot forward. The external obstacles that a character can encounter are diverse and varied, like dealing with natural disasters, social norms, cultural differences, achieving goals, or fighting against an adversary.

Moreover, the outer conflict can help to shape a character's personality and traits. As the character copes with and conquers obstacles, readers get to know their strengths, weaknesses, and motivations. This allows readers to form a deeper connection with the character and become more invested in their journey.

Furthermore, external conflicts can also symbolize inner turmoil. The external obstacles that a character faces can be a representation of the internal struggles they are going through, like battling fears or doubts. This creates a powerful emotional impact on readers and helps to convey crucial themes and messages.

Here are twenty examples of outer conflict:

A character struggling to survive in a post-apocalyptic world.

A character facing a physical illness or disability that limits their abilities.

A character fighting for justice against a corrupt system or organization.

A character facing discrimination or prejudice based on their race, gender, or other identity.

A character trying to escape a dangerous situation or person.

A character facing environmental or natural disasters.

A character navigating a war or political conflict.

A character struggling with addiction or substance abuse.

A character facing financial ruin or bankruptcy.

A character dealing with the aftermath of a traumatic event.

A character struggling to balance their personal and professional lives.

A character facing a difficult decision that could have major consequences.

A character in a survival situation in the wilderness or at sea.

A character trying to break free from a toxic relationship.

A character dealing with the consequences of a mistake or poor decision.

A character facing a physical or mental challenge or disability.

A character struggling to protect their family or loved ones from harm.

A character trying to survive in a hostile or unfamiliar environment.

A character dealing with the loss of a loved one or grieving.

A character facing betrayal or deception from someone they trust.

Inner Conflict

Inner conflict is a crucial element of a story that delves into the psychological and emotional struggles that a character experiences. It's the battle between their desires and their values, their fears and aspirations, or what they want versus what they know is right. This struggle is what creates tension, complexity, and depth in a character, making them more relatable and interesting to readers. By exploring the character's inner conflict, readers gain insights into their motives, thoughts, and emotions, allowing for character development and growth.

Take J.D. Salinger's "The Catcher in the Rye" for instance, where Holden Caulfield grapples with an inner conflict of wanting to preserve the innocence of childhood and yet desiring to mature and grow up. This conflict leads to his erratic behavior and search for meaning and purpose.

Similarly, in F. Scott Fitzgerald's "The Great Gatsby," Jay Gatsby faces an inner conflict of wanting to win back his lost love, Daisy, while also grappling with the fact that she is married to someone else. This inner conflict ultimately leads to his downfall and tragic end.

As demonstrated in these examples, inner conflict drives the plot, develops characters, and adds depth to their motivations and struggles.

Here are 20 examples of inner conflict:

Fear of failure

Insecurity

Lack of self-confidence

Difficulty making decisions

Guilt over past actions

Jealousy or envy

Grief over loss or trauma

Difficulty with vulnerability or trust

Struggle with addiction or temptation

Confusion over personal identity or purpose

Struggle with one's own morality or ethics

Difficulty with forgiveness or letting go

Shame over past actions or experiences

Struggle with self-acceptance or self-love

Difficulty with emotional intimacy or connection

Conflict with personal beliefs or values

Struggle with one's own mortality or purpose in life

Difficulty with facing the truth or reality of a situation

Struggle with balancing personal desires with the needs of others

Conflict between personal ambition and loyalty to others.

As a writer, it's important to understand how to weave outer and inner conflict together to create a compelling and multidimensional character in your story. Outer conflict provides the external challenges and obstacles that the character must face and overcome, driving the plot forward. On the other hand, inner conflict gives readers a window into the character's thoughts, feelings, and motivations.

The two types of conflict can also inform and influence each other. Inner conflict can affect how a character responds to outer conflict, and vice versa. For instance, if a character is struggling with self-doubt, this may make it harder for them to face a physical challenge presented as an outer conflict. Similarly, if a character is facing an outer conflict like a life-threatening situation, this may trigger an inner conflict related to their deepest fears and desires. The interplay between inner and outer conflict can lead to character growth, as the character learns to face their fears, confront their weaknesses, and achieve their goals.

By using both types of conflict effectively, you can create a character that is not only relatable and interesting, but also one that readers can root for as they navigate the challenges of your story.

Here is a list of 28 ways outer and inner conflict can interplay with each other:

A character with a fear of failure (inner conflict) must overcome obstacles to achieve their goal (outer conflict).

A character struggling with addiction (inner conflict) must face consequences of their behavior that endanger their loved ones (outer conflict).

A character dealing with trust issues (inner conflict) must work with a partner they don't trust (outer conflict).

A character struggling with guilt (inner conflict) must clear their name and prove their innocence (outer conflict).

A character struggling with self-doubt (inner conflict) must take on a leadership role to save their community (outer conflict).

A character who is closed-off emotionally (inner conflict) must learn to trust and open up to their love interest (outer conflict).

A character with a tendency to control others (inner conflict) must learn to work in a team and share responsibility (outer conflict).

A character struggling with their identity (inner conflict) must navigate a world that doesn't accept their identity (outer conflict).

A character dealing with trauma (inner conflict) must confront the source of their trauma to overcome it (outer conflict).

A character struggling with commitment issues (inner conflict) must make a difficult decision that affects their relationship (outer conflict).

A character with a lack of self-worth (inner conflict) must prove to themselves and others that they are capable (outer conflict).

A character struggling with loss (inner conflict) must learn to move on and find purpose in life again (outer conflict).

A character with a need for control (inner conflict) must learn to let go and trust others (outer conflict).

A character dealing with past mistakes (inner conflict) must confront those they have wronged and seek redemption (outer conflict).

A character struggling with their beliefs (inner conflict) must stand up for what they believe in despite opposition (outer conflict).

A character who is closed off from the world (inner conflict) must open up and make new connections to achieve their goal (outer conflict).

A character struggling with a lack of direction (inner conflict) must find purpose in their life and pursue it (outer conflict).

A character with a history of abuse (inner conflict) must confront their abuser to achieve closure (outer conflict).

A character struggling with their sexuality (inner conflict) must come out and face the social consequences of their identity (outer conflict).

A character with a need for revenge (inner conflict) must overcome their desire for revenge to achieve a greater goal (outer conflict).

A character struggling with their family history (inner conflict) must confront the past to move forward (outer conflict).

A character with a fear of the unknown (inner conflict) must step out of their comfort zone to achieve their goal (outer conflict).

A character struggling with their past (inner conflict) must come to terms with it in order to move forward (outer conflict).

A character with a lack of trust in others (inner conflict) must work with a team to achieve their goal (outer conflict).

A character struggling with their identity (inner conflict) must confront the expectations of others to find their true self (outer conflict).

A character with a tendency to self-sabotage (inner conflict) must overcome their negative patterns to achieve success (outer conflict).

A character struggling with mental illness (inner conflict) must overcome the stigma associated with their illness (outer conflict).

A character with a need for control (inner conflict) must learn to accept and adapt to unforeseen circumstances (outer conflict).

Character Growth

As a story progresses, the characters within it can undergo a significant transformation that we refer to as character growth. This growth can manifest itself in various ways, including changes in beliefs, values, behaviors, or relationships.

By portraying a character's growth, a writer can create a sense of depth and nuance that makes them more relatable and interesting to the reader. Furthermore, character growth is instrumental in driving the plot forward, as the changes experienced by the character often create new conflicts and challenges that must be addressed.

Witnessing a character's growth can be satisfying to the reader, providing them with a sense of catharsis as they watch the character overcome their obstacles and achieve their goals.

Character growth is crucial to the success of a story, and as a writer, it's important to ensure that your main characters evolve and change over the course of the narrative. People naturally experience growth and change in real life, whether it's positive or negative, as they navigate through life's challenges. The same principle applies to your characters.

When you're editing your second or third draft, take a close look at your characters and ensure that their development is evident. Keeping your characters stagnant and unchanged throughout the story isn't realistic and can hinder your reader's connection with them. By allowing your characters to evolve, you create a more relatable and believable story, one that resonates with readers and keeps them engaged until the end.

Here are some examples of good character growth in stories:

Katniss Everdeen in "The Hunger Games" by Suzanne Collins learns to trust others and become a leader.

Elizabeth Bennet in "Pride and Prejudice" by Jane Austen learns to let go of her prejudices and pride and become more empathetic towards others.

Harry Potter in "Harry Potter" series by J.K. Rowling learns to face his fears and take responsibility for his actions.

Frodo Baggins in "The Lord of the Rings" by J.R.R. Tolkien learns to sacrifice his own desires for the greater good.

Elinor Dashwood in "Sense and Sensibility" by Jane Austen learns to express her emotions and become more open.

Holden Caulfield in "The Catcher in the Rye" by J.D. Salinger learns to let go of his cynicism and find a sense of hope.

Ponyboy Curtis in "The Outsiders" by S.E. Hinton learns to appreciate the value of family and friends.

Scout Finch in "To Kill a Mockingbird" by Harper Lee learns to see the world from other people's perspectives and become more tolerant.

Andy Dufresne in "The Shawshank Redemption" by Stephen King learns to never give up hope and find redemption.

Hester Prynne in "The Scarlet Letter" by Nathaniel Hawthorne learns to stand up for herself and live on her own terms.

Jean Valjean in "Les Misérables" by Victor Hugo learns to find forgiveness and redemption through selflessness.

Atticus Finch in "To Kill a Mockingbird" by Harper Lee learns to fight for justice and become a role model for his children.

Bilbo Baggins in "The Hobbit" by J.R.R. Tolkien learns to step out of his comfort zone and embrace adventure.

Sydney Carton in "A Tale of Two Cities" by Charles Dickens learns to find a sense of purpose and redemption through self-sacrifice.

John Proctor in "The Crucible" by Arthur Miller learns to stand up for his beliefs and fight for what is right.

Scarlett O'Hara in "Gone with the Wind" by Margaret Mitchell learns to become more self-reliant and resourceful.

Charles Ryder in "Brideshead Revisited" by Evelyn Waugh learns to find a sense of meaning and purpose in life.

Captain Ahab in "Moby-Dick" by Herman Melville learns to confront his own obsession and find a sense of closure.

Marianne Dashwood in "Sense and Sensibility" by Jane Austen learns to find a balance between emotional and rational thinking.

Scout in "Go Set a Watchman" by Harper Lee learns to see her father, Atticus Finch, as a human being and understand his flaws.

Great news, you made it to the end of the basic novel outline! This is all you need to get started on writing your novel, and I'm excited for you to begin. Let's quickly recap what you'll need for your outline: a genre and sub-genre, a trope, a target audience, a word count, a chapter count, a two-sentence plot description, a more detailed plot description that covers the beginning, middle, and end of your story, and a chapter-by-chapter outline. For your characters, you'll need to include their names, brief histories, physical descriptions, personalities, outer conflicts, inner conflicts, and character growth. Once you have all of this information, you'll be ready to start writing your novel. Congratulations again, and happy writing!

Next up we'll be going into a bit more detail that focuses on world-building for fantasy or science fiction stories, anything that requires deeper world-building than a romance or regular modern paranormal fiction.

Going on from here, I won't be as detailed with explanations, what I'll be providing is mostly just information you need to get and it doesn't involve much hard research.

Races

Physical Traits:

Physical traits can play a huge role in creating unique and memorable fantasy races. By giving a race its own set of distinctive physical features, an author can make it stand out from other races and help it come to life within the story.

But physical traits aren't just about making a race look cool or interesting - they can also inform other aspects of a race's culture and history, making the story even more immersive and engaging. For example, a race with wings might have a rich history of flight, while a race with a natural resistance to fire might have developed unique technologies or traditions to harness that ability.

Religion:

Have you ever thought about the role of religion in a fantasy world? In many cases, it can provide a sense of depth and purpose to a race's way of life. Religion can shape everything from their beliefs and values to their traditions and customs, and even affect their interactions with other races and their environment.

By incorporating religion into your world-building, you can create a rich tapestry of different beliefs and practices that can help to shape the personalities of your characters. Whether it's through the way they approach challenges or the values they hold dear, religion can be a powerful tool for creating a unique and engaging fantasy race.

Here are something to think on while creating religions:

Deities and Mythology A. Different gods and goddesses B. Creation myths and legends C. Supernatural forces and entities

Religious Institutions A. Temples, shrines, and other holy sites B. Religious leaders and hierarchies C. Religious ceremonies and rituals

Beliefs and Values A. Moral and ethical codes B. Attitudes towards magic and other supernatural elements C. Relationship between religion and politics, culture, and society

Religious Conflict and Cooperation A. Religious differences and conflicts B. Religious tolerance and cooperation C. How religion impacts relationships and diplomacy between different societies

Culture:

Do you love exploring imaginary worlds filled with magic and wonder? If so, you'll know that culture plays a huge role in bringing these fantastic places to life. In a fantasy world, culture encompasses everything from shared beliefs and customs to art and social practices. By creating unique and vibrant cultures for each race and society, we can make these worlds feel alive and believable.

To craft a compelling culture for a fantasy world, we need to take into account many factors, such as the geography and climate of the world, the history and mythology of its inhabitants, and their level of technology. For example, if a society lives in a cold, mountainous region, they might have adapted their clothing and transportation to suit their environment.

In a well-crafted fantasy world, each race and society should have its own distinct culture that enriches the story and makes it more immersive. From the way they view concepts like honor and loyalty to the way they celebrate holidays and mark significant life events

Things to think on while creating cultures:

Beliefs and Values A. Religious and spiritual beliefs B. Moral and ethical values C. Attitudes towards magic and other supernatural elements

Social Structure A. Different classes and social groups B. Power dynamics and hierarchies C. Customs and traditions related to marriage, family, and social interaction

Art and Aesthetics A. Literature, music, and art B. Fashion and clothing styles C. Architectural and design styles

Technology and Industry A. Tools and weapons B. Transportation and communication C. Economic systems and trade

Language:

Language plays a crucial role in creating immersive and believable worlds. Language shapes the way people interact with each other and their environment, and can reflect the history, mythology, and values of a particular race or society.

In a well-crafted fantasy world, each race or society should have its own unique language or languages. This adds depth and complexity to the world, with the creation of new words, phrases, and even alphabets to reflect each race's unique linguistic characteristics.

Language can also be used to explore themes and ideas central to the story. For instance, the language used by those in power may reflect the power dynamic and make it difficult for the commoners to understand. In addition, language can create a sense of mystery and otherness. A completely invented language can make a fantasy race feel alien and distinct.

Furthermore, language can be used as a storytelling device, with characters translating between languages or struggling to communicate with other races. This can create tension, conflict, and opportunities for characters to learn about different cultures and deepen their understanding of the world around them.

Keep in mind that not every fantasy world or story needs detailed languages. If you prefer not to include them, that's okay too! However, if you're interested in exploring languages in your story, here are some factors to consider.

Language Families A. Different language families and their characteristics B. Historical and cultural factors influencing language development C. How languages relate to one another

Written and Spoken Languages A. Different writing systems and their evolution B. Spoken language and dialects C. How language shapes communication and relationships

Language Acquisition and Learning A. How characters learn new languages B. Cultural attitudes towards language learning C. The role of language in education and society

Translation and Interpretation A. How characters translate and interpret languages B. The challenges of language barriers C. The importance of accurate translation in diplomacy and trade

Magic

Having mystical abilities such as magic, mana, or superpowers can add excitement and intrigue to your story, but it's important to be mindful of how you use them. Many writers fall into the trap of creating limitless magical powers for their characters, which can make the story feel unrealistic and unsatisfying. To avoid this, it's helpful to answer a few questions about your magic system.

First, how does it work? It's important to understand the ins and outs of your magic system so that you can write your characters using it realistically. Knowing the mechanics of your magic system will prevent you from simply having your character magically power up in a crucial moment to get out of a tough situation.

Second, who can have it? Is there a criteria for who can use the magic or powers? Understanding why certain characters have magical abilities will prevent you from creating random characters that have the ability, and will also give your readers more information about your characters.

Third, what are the rules and limitations? Are there rules in your world about how the magic system should and should not be used? Are there physical limitations to what your characters can do? Setting rules and limitations will stop you from overpowering your character and will add conflict and tension to your story.

Additionally, it's important to consider how the general population feels about magic. Are there people who are against it, who hunt or experiment on those who possess it? Are magical individuals adored or seen as gods? Understanding how your world views magic will add depth and complexity to your story and create opportunities for conflict and tension. By considering these factors, you can create a well-rounded and engaging magic system that adds to the richness of your fantasy world. Here is a summery and some additional facts to think on when creating a magic system:

Types of Magic A. Elemental magic B. Divine magic C. Necromancy and dark magic D. Witchcraft and sorcery

Magic Mechanics A. How magic works in the world B. Limits and drawbacks to using magic C. How magic can be learned or inherited D. How magic can be controlled or regulated

Magic Users A. Different types of magic users B. Training and education for magic users C. Magic user communities and organizations

Magic in Society A. How magic impacts society and culture B. Magic in law and politics C. Magic in economics and trade

Magic in Conflict and Cooperation A. How magic can cause conflicts and tensions B. How magic can be used for diplomacy and alliances C. How magic can be used to resolve conflicts

History

Incorporating a world history into your story is an excellent way to add depth and richness to your world-building. By establishing a history, you can develop your world's cultures and religions, and intertwine it with your plot for added complexity. However, it's not necessary to have a history for the entire world's creation - just a basic overview of the setting where your story takes place is sufficient.

Another helpful aspect to include in your world-building is myths, lore, and major events that have shaped festivals or important days in your world. Additionally, highlighting significant historical figures can also provide valuable context for your story.

While it's not essential to introduce this information at the beginning of your story, it's a good idea to flesh out these details during revisions to ensure a cohesive and well-rounded world. This can help maintain consistency throughout your story and enhance the overall reading experience for your audience.

If you are creating an entire world history. Here are some things to think on:

Creation Myth and Cosmology A. Explanation of the world's creation myth B. Introduction of the cosmology of the world

Early Civilizations and Kingdoms A. The rise of early civilizations and kingdoms B. Development of early cultures and their impact on the world

Major Historical Events A. Wars and conflicts B. Great discoveries and inventions C. Natural disasters and calamities

Key Figures in History A. Heroes and heroines B. Villains and antagonists C. Leaders and rulers

Religion and Spirituality A. Explanation of the major religions and spiritual beliefs in the world B. Impact of religion and spirituality on world events and culture

Technology and Advancements A. Advancements in science and technology B. Development of new magic and spells

Current State of the World A. The current political and social situation in the world B. Ongoing conflicts and challenges C. Future possibilities for the world

Geography

Understanding the visual aspects of your story's setting is a valuable tool for crafting a rich and immersive world. By knowing the geography, you can better visualize how your characters will interact with their surroundings, what they'll wear, and what they'll eat. It can also play a major role in shaping the culture of the people inhabiting your world.

The geography of your world can even influence the physical characteristics of certain races, like those living near a volcano who may have tough, scaly skin to resist heat. Some key factors to consider when developing the geography of your world include the landscape, climate, weather patterns, natural resources, and the types of food available to your characters. These details can all work together to bring your world to life and make it feel like a fully-realized place with a unique identity.

Things to think on while creating your world geography:

Physical Features A. Landforms such as mountains, forests, and rivers B. Climate and weather patterns C. Natural resources and their distribution

Political Boundaries A. Different regions and territories B. Borders, boundaries, and conflicts C. How politics and culture influence geography

Cultural Landscapes A. Architecture and building styles B. Cultural and religious sites C. Impact of culture and history on the physical landscape

Mystical and Supernatural Features A. Magic and other supernatural elements B. Divine or cursed locations C. How these features shape the world

Politics

In the world of writing, it's easy to think that politics don't matter, especially when you're starting out. However, this is far from the truth. As you craft your story, there will come a point where your character will need to make a decision that affects the people around them. When others either agree or disagree with that decision, you're entering the realm of politics. In its simplest form, politics is all about how groups of people work together to make decisions and get things done. This can involve everything from choosing leaders and making laws to deciding how to use resources. In a fantasy world, politics can take on a different flavor. Different races and groups of creatures might be vying for control of territory or trying to gain power or fight for their rights.

The Players A. Different races and societies B. Leaders and powerful figures C. Factions, alliances, and conflicts

The Systems A. Government and governance B. Laws and regulations C. Use of magic and supernatural powers

The Issues A. Resource allocation B. Territorial disputes C. Power struggles and control

There are a lot of different factors that can affect politics in your fantasy world, and it's important to consider how your characters and societies will respond to them. Whether they're fighting for their rights, negotiating deals, or making compromises, the decisions they make will shape the world you're creating. So take some time to think about these things and how they'll impact your story

Technology

It's important to consider the level of advancement in your fantasy world. For example, if you're writing an old world fantasy kingdom, but there is technology present, your readers will likely be curious about where it came from, how it was developed, and who created it. Make sure to address these questions in your world-building

Here are some things to think on while working on technology for your world:

Types of Technology A. Explanation of various types of technology in the world B. Magic and technology: their relationship and interaction

Evolution of Technology A. The history of technology in the world B. Key figures and events that drove technological progress

The Creation and Distribution of Technology A. Who creates technology in the world B. How technology is distributed throughout the world C. Economic and social factors that impact technology development

The Impacts of Technology A. Positive and negative impacts of technology on society and culture B. Environmental impacts of technology

Limitations of Technology A. Constraints on technology development B. Limitations on the use of technology

Future of Technology A. Speculation on the future of technology in the world B. Potential implications for the world and its inhabitants

That's it! We are done! Cheers everyone! Great job on completing your detailed outline! Here's a recap of all the elements you should include: First, choose your genre, trope, target audience, and set a word and chapter count. Define your plot in 2-3 sentences, then expand it and break it down into beginning, middle, and end. Then create a chapter-by-chapter outline. For your characters, give them names, a brief history, physical descriptions, personality traits, conflicts, and character growth.

When it comes to world building, describe the geography and how it affects culture, politics, and history. Provide an overview of the various cultures, their practices and beliefs, and how they impact character interactions. Explain the political landscape, the systems, structures, and how they affect characters. Develop the world's history, including key events and figures that shaped it and how it affects the current state of the world.

Include an overview of the magical and technological systems in the world, how they interact, and their limitations and implications. Discuss the various religions, their beliefs and practices, and how they impact characters. Provide an overview of the languages spoken in the world and how they affect interactions between characters. Lastly, describe the various creatures and races in the world, their physical characteristics, cultural practices, and how they interact with each other and with humans.

For convenience, here is a scrivener template created with this style in mind and all the research is included in the template's resource folder. It's free, so don't stress and Download. Note that this is a google drive link. Simply Download and import into scrivener as a template.

Looking forward to seeing you again in the future! If you love fantasy, check out my free novel! HERE.

[deathsbestgirl]

thinking about this too much and i'm going straight to requiem with it.

if mulder knew during en ami, had been going to doctors...with the way scully's cancer was interfered with, her infertility, her pregnancy. i think it makes sense that mulder was also being monitored & interfered with. csm would have known.

part of what i like about en ami is he's finally treating her as more than an experiment or as a way to get to mulder. he didn't want scully to tell mulder about this, it was a caveat for him telling her anything. he spends the time psychoanalyzing her and trying to make him see as more than a villain. he tries to humanize himself. tells her she can have the cure for cancer, all human ailments. he tells her how she'd die for mulder but won't let herself love him. everyone knows she would die for mulder, sacrifice anything for him, give him anything. and it goes both ways.

csm may know a lot, but he doesn't know everything. he can plan for a lot, but he can't plan for everything.

if what happened to mulder from biogenesis through amor fati is the cause of his brain disease, something csm stole, had surgically removed from mulder and put into his own brain...was there concern for himself? granted, it couldn't have worked. it was a failed experiment, but having part of mulder implanted into him that developed a disease?

he did want a cure. and if it did exist, he could have taken it for himself. leaving mulder & scully with nothing.

csm doesn't know everything and he needed to figure out what scully knew. if she knew, not only would she have been driven as a doctor & as someone who was infected with a deadly cancer, but she would want it for mulder.

in the end, scully leaves with a blank disc and csm (presumably) throws the real one into the water, unlikely to by seen again. but that doesn't mean he doesn't have the cure. something, i think he would be interested in. to save his chosen few should the need arise.

but before that can happen, mulder is abducted. i know most people interpret mulder's reaction as angry, and that's part of it. his fear, especially concerning scully's tendency toward belief (beyond the sea, all souls). i think it's more complicated than that though. he knows about his brain disease. he remembers scully's cancer too well, her abduction, emily. mulder knows what scully would sacrifice for him. he knows what she sacrifices for others & the world. her safety, her autonomy, literally anything she has to offer. he knows what he almost did to get her cure for cancer...if mulder told scully about his brain disease, if she went along with csm without even knowing about it. there's no telling what she would do if she did know.

(mulder didn't want her to be used again, the way they both have been. he knows the pain of manipulation. he knows how her abduction affected her, and himself. they both know loss at the hands of this conspiracy several times over. he doesn't want this to be scully's life.)

the audience doesn't always understand how crazy dana scully is, but fox mulder knows very well.

in requiem, mulder tells scully the cost is too high. not for all the reasons they've been told, but the personal cost. he's at a point where he's starting to believe it isn't worth it. he wants her to live, like she wanted him to live. well, differently. mulder wants her to pursue the normal life she doesn't have, that she left behind to stay on the x files & to be with him. mulder was going to keep scully safe, he wasn't going to let her be abducted again. he convinces her to stay, but scully won't let him go alone. someone needs to have his back.

i don't know if mulder knew he would be abducted, that they were taking abductees with the brain activity he exhibited on biogenesis through amor fati. either way, he gets taken and not her.

scully doesn't find out about his brain disease until after mulder's been abducted. she denies the possibility because he would have told her, like she told him. when doggett suggests he doesn't trust her, she throws water in his face in a crowded bullpen. scully finds gibson in the desert, wanders the desert in search of mulder. hoping he'll turn up, having dreams of what he's going through.

scully suffers without him, has her prayers answered when he returns from the dead. she saves him from becoming a monster, and his brain disease is cured. and what if...this is what was on the disc? turning these people into hybrids eliminated human vulnerabilities, cured diseases, brought them back from the dead.

csm couldn't actually have scully know that. is a cure that takes away your humanity worth it? would she have found a way to counter it? (well, yes because she did.)

[naavispider]

What do you think Spider’s relationship with the McCoskers was like (Nash, Mary, and the boys)? Spider is apparently so desperate for a family that even Quaritch is considered a better candidate for a father than Nash so I’m assuming from that and what we’ve seen in the comics that it’s very negative, possibly bordering on abuse and neglect.

Imma preface this by saying I've only read The High Ground volume 1, so I don't know any of the background info from vol 2 and 3 about the McCoskers, however, I think I know everything I want to about them 😌 (tw abuse)

I hate to say it, but I think they were pretty awful to him. Mary and Nash were his adoptive parents, they wee the people who were supposed to love him, care for him, treat him as their own... and yet we never, not once, heard Spider even mention them. He acts like they don't exist, and for all intents and purposes, they don't.

Something must have gone extremely wrong for Spider to feel so 'parentless' despite having the McCoskers. Hell, we even see Norm and Max take a more active role in parenting him than his supposed family. Because that's what an adoptive family is: a family. True and total, despite not being blood related.

Which makes the fact that it failed even more heart-wrenching. I think this is strong evidence that points towards abuse. Spider is clearly desperate for parental figures in his life, and obviously he's not getting it from Nash and Mary. To me what makes the most sense if that they were abusive in the way they emotionally treated Spider.

they never wanted him around

they only took him because there was literally no one else

when they fell pregnant with their own kids, a lot of the caregiving fell on other adults' shoulders

they always favoured the boys more than spider

they changed spider's room into a nursery for their first child, without a plan for where spider would sleep when it arrived

the scientists were able to find him a spare room in Hell's Gate a bit further away from where the McCoskers live - it used to be a store cupboard but with a bit of help from Norm spider makes it look okay

neglect and emotional abuse take their toll on spider over the years and he comes to see Nash especially as just a person who was supposed to love him, but doesn't

he never called them mom or dad

the other scientists see what is going on but what can they do? they can't take spider in themselves

when spider gets back from the forest after a long day spent with the Omatikaya, the McCoskers just ignore his return.

"You're late Spider. Should we even bother saving dinner for you?"

"Perhaps you should ask to stay the night with Kiri and Lo'ak?"

"You got hurt? Go to the med bay, they'll sort you out."

Eventually, he just stops letting them know he's back safe, and they start to go days without even seeing each other (age 7-8)

Nash in particular starts to resent spider - "what are you doing here boy, we've just put the kids to bed!"

no one tells spider to brush his hair, take showers, brush his teeth etc.

spider takes meals where he can get them - he always misses dinner with the McCoskers because they eat early before putting the boys to bed

it's how he started to eat with the Sullys

he sometimes pops in for lunch with the science guys - he knows what time they break and also that the McCoskers aren't there

spider is never interested in playing with the McCosker's other kids (idk in my headcanon he is the only human child on Pandora even though that goes against established canon) because he would always get the blame if they got hurt or upset

the favouritism was so real that he started avoiding the family altogether

the McCoskers were obviously fine with this

Overall, terrible, terrible treatment of a child who needed a family. Even if that family was just one person. The McCoskers were chosen because they were a young couple who wanted kids of their own (they saw spider as 'practice'), and who were deemed 'reliable' - not because they actually wanted him or were emotionally available. It was a collective failure on all of the humans at Hell's Gate, because they all failed to step in and change the situation when it became clear the adoption wasn't working. Multiple failures all around.

And so, when Spider meets Quaritch - an adult whose singular parental focus is on him... who is constantly checking on his wellbeing, who gets mad when Spider puts himself in harm's way... it becmes abundantly clear why Spider falls for Quaritch as a father figure.

[dearweirdme]

https://www.tumblr.com/dearweirdme/756052918840573952/company-content-mediaplay-fan-service-if?source=share

"Birthdays", "awkward", "Taennie", "imagination", "TAE", "liar, attention seeker". If these words do not leave your mouth or a jikooker's, you’ll have a stroke.

There. Fixed it for ya 😘

Also, literally no one here is having a stroke over any jikook video. Maybe anon you need to "get out of your imagination" . Y'all so desperately want us to feel something about those teasers and clips that you are willing to imagine that we are having strokes over them. It's a fckn entertainment show, not a "day in the life of an idol couple" vlog series. They went to those locations with a crew, those aren't clips from their private trips. Why tf would we feel anything bad about a travel show? We've seen multiple seasons of BV and ITS. We know the drill. The only difference this time is that instead of the seven of them, it's just two. That's it. It might be a huge deal for y'all, as it should be (would've been for me if it were taekook), but trust me, we really, really aren't bothered.

Btw, didn't jimin travel to the US for hobi? He shows up for all of them bcs that's who he is. He is a very caring friend. What you forgot to mention is, jimin himself said that he hadn't met jk on his bday last year, infact he met yoongi on his own bday eve, who brought a cake for him. Why do y'all always ignore all the other members in favour of proving your narratives? Jimin himself said he was only close to yoongi and hobi last year. As for jk's bday in '22, hobi, jin and jimin all went to wish him. Y'all really need to stop singling him out. Just like how jungkook only saw jimin and hobi. Similarly in solo era, jimin only met yoongi and hobi. Seems like y'all are trying to downplay his relationship with yoongi here.

"Jungkook said “speak to someone” and not himself because they couldn’t even sit down and have a heart to heart" 🤣🤣🤣🤣. Sure love. Believe this if this gives you happiness. Why tf would they want to have a heart to heart infront of cameras??? Or do y'all really believe that anything and everything that's shown on tv is real and unscripted?

"For all you know jennie was probably the reason he became a little bit happier. " Y'all really need to stop using taennie. Proving anything in regards to tae ain't doing shit for your ship. Why is your side hell bent on proving him straight and involved? What does it have anything to do with jikook? Someone does have something to do with jikook though, and she's been a bit quiet since dropping those bombshells. But you'll never see us even talking about her after that. Bcs we really don't care about jimin's dating life. But jikookers are weirdly interested in tae and his alleged relationships, going so far as to pair him with his wooga squad friends.

"You’ve turned these boys lives into a lie so that you could force a reality that isn’t true onto them" No love that's all on you and your fellow dummies. The people who believe that a queer couple will enlist together. The ones who refuse to believe that jk and tae are very close, closer than any other pair in BTS. The ones who've oversexualize jikook to the point of not even understanding the difference b/w reality and ff.

You have an entire series coming in less than a month and instead of being happy about it,here you are, picking up unnecessary fights. Are y'all ever satisfied with your ship? Does your ship even exist without mentioning taekook and tae?

Hi anon!

It's always the same things with them. Just like they have their chosen moments to proof Jkk (GCF Tokyo, RoseBowl, Hickey-gate, enlistment, coupledays... some weird number theories... you know the drill) they also have their chosen topics to disprove Tkk (Taennie, Get out of your imagination, ITS talk). I think a lot is about contesting with Tkkrs for them? Like.. the usual rebuttle to a Jkk debunk is to come with something about Tkk. As if Tkk being not real would make Jkk real suddenly.

I have seen the birthday talk so much it gets boring... and the thing is, it's always about Jm going to Jk's birthday and not the other way around (I am actually unaware of the times Jk spent Jm's birthday with him outside of when they were together because of band stuff... anyone know?). But Jk actually does not always spend Jm's birthday with him right? When they were in Busan it was clear they were with their respective families.. and not spending Jm's birthday with their families combined. So how does all of that hold?

I'm very tired of Jkkrs saying things like... you are turning Jkk into fanservice and reducing their relationship to only that. No we are not! Not around here anyways.. and I'm not going to be held responsible for whatever it is other Tkkrs are saying.

[loquatenjoyer69]

More Natori/Wavering/Younger Cousin Thoughts

CHAPTER 116 SPOILERS UNDER THE CUT:

"Mitsuru will welcome you, show you that same scene; we can share our hearts without any falsehoods and become ones who stand up to those people together. You needn't walk alone into the night's darkness any longer." "...Wanting that was my weakness." Normally in scenes where a character is being offered their desire come true at the "cost" of living in a dream/illusion/etc, the expected response is something like "No, even though I want that and life is painful, it's still worth living because it's real and that would be an illusion/false," reinforcing the value of "reality" over "illusions" unquestioningly. However, Natori, instead of acknowledging that he's choosing to give up his desires to live in the Real World, goes the very unusual route of "...Wanting that was my weakness."

Or, in the mind of the reader (or me at least) with context, "...Wanting that was my weakness (which you were able to take advantage of [therefore it was dangerous to me and must be discarded])."

Mitsuru told Natsume that when she told Natori her name, he "wavered" for a moment. This was what allowed her to look into his mind and spin an illusion out of his long held desires.

"I at least wanted to know his name, to try calling out to him. So when I hurriedly told him my name... deep in his eyes, I was reflected there, wavering."

Anyway, back to what Natori says. "...Wanting that was my weakness," and...?

"I don't want that anymore. I have no use for sentimentality that just becomes weakness. I don't have a younger cousin. Mitsuru is an illusion, and you are an ayakashi, which I have chosen to spend my life fighting."

He affirms again that it's not "I don't want to live in an illusion," but "I don't want those things anymore," because "I don't need sentimentality that just becomes weakness." And then, as if he's speaking this new self into existence, "I don't have a younger cousin. The thing called Mitsuru is an illusion, and you are an ayakashi," and finally "which I have chosen to spend my life fighting," reaffirming himself as an exorcist, one who is opposed to ayakashi. It would seem that the days of wavering are over for Natori.

"I know-"

"Natori, lately you've come to resemble the Matoba brat."

[miggydiaz]

An additional thought...

Even though Buddie still is my endgame, I am pretty sure I would've been more on board with EddieTommy than I am with BuckTommy in the short term.

Not to say I am anti BuckTommy because I'm truly not. I think in another time, they could be really good together. But honestly, I think Buck needs to not be in a relationship for a little while. It's been Abby, then Taylor, then Ali, then Taylor, then Lucy, then Taylor, then Natalia...

And one of Buck's biggest character traits is that he feels he needs to go above and beyond to make himself worthwhile of love and attention. He thinks that if he's not giving all of himself to someone/something, if he's not doing THE MOST, that he's expendable. IMO, I think Buck really needs to work on learning to love himself and accept that other people can love him for just being him, without him having to turn himself into whatever he thinks they need or risk life and limb to earn that love. And that's a journey you take on your own, with your therapist, with your chosen family and friends who have been there to love and support you... it's not something you figure out through romantic relationships.

Buck's issues with relationship aren't that he can't find someone who will love him and appreciate him for who he is. It's that Buck hasn't figured out how to love and appreciate himself first. And no romantic relationship is going to fix that. It could *help* him figure it out, especially if he's with someone who has bore witness to Buck's chronic low self-esteem and has always (although maybe not always as gently as he should) tried to dispel Buck of those notions... but in the end, that lesson has to be one that Buck learns on his own. Which I don't think he's ever going to do, especially if he keeps looking for love and acceptance from romantic partners to fill that void. I think EddieTommy would've worked better just because Eddie is at a different place in his journey than Buck is. Eddie's problem isn't feeling like he's not enough anymore. Once upon a time, it was (his conversation with Bobby after Shannon died and his devastation that before she died, she told him she wanted a divorce). But now, Eddie's issue is he keeps trying to recreate the same dynamic he had with Shannon because he thinks that's what is correct for him. He's romanticized a lot of his relationship with Shannon -- and I say that as someone who truly believes he loved her and was in love with her -- and he's trying to get back to that brief stint of time where the two of them and Chris were happy. And because that looks very specific to him, he's trying to find a woman who can slide into that place in his life. The one who makes him want to wrap his arms around her and his boy on Christmas morning, and makes his heart squeeze every time he looks at pictures of her.

But Eddie's trying to recreate something that never existed in the first place. Not in the way his brain has romanticized it anyway. Because underneath those feelings of wistful melancholy, he and Shannon still had real problems that they never worked through. Shannon knew that, which is why she asked for a divorce. But to Eddie, who was ready to re-propose to her, things were good again. If Shannon hadn't have died, I think Eddie would've realized that wasn't the case, but since she did die... he can just hold onto that idea of them. The one where things were good and could have eventually been perfect, just like things could be perfect again if only he could find a new Shannon.

He needs someone to shock him right out of that 'doing the same thing over and over again and expecting different results is the definition of insanity' situation he keeps finding himself in, and you know who would've been really great for that? Tommy. Full on record scratch moment for him. Simply *because* Tommy is a man.

Now, do I think Eddie also has a notion that he's in love with his best friend? Yeah, I do. I just don't think he realizes that's what it is yet. Right now Buck is... Buck. The person who shows up for Eddie, and for Christopher, the person who dragged him to safety after being shot, the person who was there when he had his breakdown, the person he couldn't even look at when they were dying in the hospital because he cannot deal with that level of loss again. I think, somewhere in his mind, Eddie knows that Buck is MORE than just a best friend... he just doesn't have the vocabulary to really name what that thing is. Primarily because he's trapped in this very Catholic idea of what sex and family and romance should look like for himself.

Tommy would've been a safe person to jar him out of those notions -- that his family and his romantic life has to look this certain way because that's what it looked like before -- because Tommy already disrupts that thinking just by being a man. It forces Eddie to consider that maybe his ideas of what a perfect family for him should look like aren't the end all be all. And, if Eddie freaks out, or it doesn't work out, it doesn't hurt his friendship with Buck at all. It may, in fact, help Eddie figure out that while he's not going to have that kind of relationship with Tommy, he's already got that relationship he's been looking for... it's just with BUCK, who he never consciously considered as an option because Buck is a man. I know there's no going back now, because BuckTommy is a thing, and Eddie is trapped in Catholic hangups hell with M*risol, but the more I think about it, the more bummed I am that this wasn't the route they took. I hope Eddie still gets a queer story arc, and I obviously hope Buddie is endgame, but damn, we really could've had EddieTommy helping Eddie figure out how to put a name to the thing he's had for Buck forever and Buck acting like an insane person until he figured out that who he's really in love with is the person who always makes him feel like he's enough and not expendable, the person who accepts him for exactly who he is and indulges all of his quirks and doesn't ask him to change a thing.

[tarnishedxknight]

Munoh merging with Caelen. Elaborate on that.

{out of dalmasca} Alrighty, here we go! This is in reference to this post, btw, for anyone following this whole odd bag of headcanons of mine, haha.

So... hmm... what should I talk about. I guess there are some aspects of the whole Caelen + Munoh melding that I've been mulling over that I didn't necessarily share in my original post, or that I didn't go into much detail on before, so I'll try to scrape my brain and pour out all that detail for you, heh.

Why, or under what circumstances would this merger occur?

This merger would really only occur if Munoh wanted it and would be completely driven by Munoh. Caelen would have no say in the matter, for two reasons: 1) he has no power/ability to accomplish such a merger, and 2) it would likely occur after he was dead or as he was dying. The reason would have to be that Caelen was either killed or brought to the brink of death by someone or something Munoh deemed to be seriously cruel and quite honestly, the last freaking straw.

They were particularly drawn to Caelen's self-spoken kindness, and his pacifism is admirable to them, so they have gone to great lengths to preserve that kindness and safeguard Caelen's right to practice pacifism if he wants to. There have been several people and incidents that have threatened to force him into situations he doesn't want, that have tried to harm him, or that have taken advantage of him, and Munoh has tried very hard to prevent all of that from happening. I see this merger occurring as a result of Munoh's patience being pushed too far with regard to keeping their chosen hume safe, like no more games, no more holding back, you screwed with my favorite human one too many times, I'm 1000% done.

Why it would occur is because... well aside from the obvious of Munoh wanting to literally save Caelen from death... it would be because they want to protect his soul. They want to be in charge of it now to make sure it's safe, because it's not safe on its own. The world is too cruel, time to step up their game, heh. But it would be the result of an extreme emotional outburst from Munoh, which in itself is an anomaly, given that the Occuria are usually very even-tempered and aloof due to their ancient age. Although, Gerun (the leader of the Occuria in FFXII) does snap at Ashelia when she tries to say that Venat is like them. Gerun yells back they're a heretic, but it's honestly more just an assertion of arrogance and dominance over Venat, and over Ashelia, really. Anyway my point is, the Occuria are capable of emotion, they just often don't need it and are in far more control of it than younger, more impulsive humans.

Functionally speaking, how would this merger occur?

Okay, so... the way I understand it in my head (I love how I say that like I'm trying to understand a real thing and not something my brain just came up with on a whim, hahaha) is that Munoh would magically bond their life energy to Caelen's in order to kindof grab him as he's leaving his body and keep him contained and safe. Lots of things can happen to a human soul after death, and Munoh wants to keep him under their protection. Munoh is an incorporeal entity, so a living being but without a physical body. Like a soul, but an ancient and magically powerful one. Caelen's soul is a lot like the energy that makes up Munoh, just on a much, much smaller and weaker scale.

The problem is that a human soul can't really exist outside of its body unless it moves to another plane of existence, so in order for Munoh to anchor Caelen's soul, they not only have to infuse it with the power to go on living but also house it inside something. That obvious thing would be Caelen's own body. But of course, his body is either dead or dying. This is where it gets weird, haha...

Munoh can easily restore Caelen's body, that's a mere parlor trick for an Occurian, but they can only repair it using their own energy, because that's all they have. So depend upon how damaged Caelen's body was, more or less of Munoh's energy would go into repairing it. That energy would change the body, because even a smidgeon of magical power from an Occurian is an insane amount of life energy for a human. It's like trying to repair a lost leg on an ant with an industrial stapler, haha, it's so overkill it's not even funny. The result... is that Caelen's body would physically change as a result of being influenced by Munoh's energy. It would grow taller, stronger, more muscular, his senses would become sharper, etc. So it's not only that their two "souls" are being melded together, but then all this energy is now going to be housed inside a human body not meant to handle it, and it alters that body as a result.

Because it's so much energy that maybe has nowhere else to go, and because there's far more energy in an Occurian than there is in a human soul, the rest of Munoh's energy may take physical form in other non-human ways. In addition to Caelen's body becoming a bit larger than life or a bit superhuman, he might also grow other appendages or parts that humans don't have, for example, wings, a living halo, or living body armor. By living, I mean... his armor isn't made of metal or something he can take off, but it's actually part of his body. Either that, or it would be made of pure magic, the leftover energy that didn't "fit" as an infusion into Caelen's body and had to maintain itself in other ways.

Wings are a definite thing he'd have, "he" meaning the merged being, I think, because the visual representation of an Occurian's body (and specifically Munoh's) often include energy wisps that resemble wings. Munoh's energy manifests a halo, so the merged being would likely have one as well. Think of it like pouring a pitcher of water into a glass until it's full, and then the water starts spilling over the side. The vessel can't hold any more so it has to go somewhere else. That's what these extra appendages would be.

What would it be like to encounter this being, for those who knew neither of them beforehand?

Depends on who you are, heh. For humans and most mortal creatures, you'd have a sense of being in the presence of an insanely powerful being. On an instinctual level, you might sense their power. You might get goosebumps or shiver a little or something about them will make you feel a bit apprehensive or intimidated, even if you can't explain why. On an intellectual level, this being would carry themselves with grace and poise, but also confidence so solid it might seem overwhelming. What I mean is... they have a commanding presence simply because of the way they carry themselves. These effects might be lessened in more powerful beings who are in their own right powerful, or who are used to feeling such energies/presences already.

Visually speaking, this being would look like an oversized human that's bathed in a golden light and that seems to be wearing a lot of white, yellow, and gold armor and that has probably two pairs of angel-like wings. The coloration would be drawing from Caelen's love of and relationship with the sun. I could see the wings looking like they consisted of metal-tipped feathers. For those who have seen the movie Legion, this being would be able to fight/attack/slice/etc. with these wings every bit as naturally as they could fly with them. The flying is essential, because Munoh could fly effortlessly as an incorporeal being, so the merger being would manifest wings to continue that behavior, as well as aesthetically wanting to resemble the magical "appendages" of an Occurian. So yeah, that's what you'd see if you happened upon this being.

What would it be like to encounter this being, for those who knew Munoh previously?

They would find the Munoh side of the being obviously more tangible than before, heh, but also far more emotional. More impulsive in some situations, quicker to anger, quicker to act, less reserved and wise and more affected by the whims of a mortal mind.

What would it be like to encounter this being, for those who knew Caelen previously?

Those looking at the being as a form of Caelen would find him more hardened than before. That is not to say he'd be a jerk, haha, or a cruel being, but he would not be as soft or as warm. That kind heart is now behind bulletproof glass, in a way, heh. He's not willing to extend himself to the world as freely as readily as before. Also... where as Munoh would be simplified and rendered less wise by the influence of a short-lived human mind, Caelen's half, on the other hand, now has the wisdom of ages in his mind. (It's not like two halves mashed together, it's one being, they're fully blended, but it's just easier for me to see it from one side or the other when explaining.) This being which used to be part human now has at his disposal the vast knowledge, history, power, and influence of an ancient Occurian being. So the perspective has changed for both of them, because now all this power and knowledge has been placed into the hands of a being more willing to act on what they think and feel based on emotion rather than on a zoomed-out view of what is best for the overall maintenance of the world.

What would this being's mind be like? What would motivate him?

I'm realizing now that this being would identify as male. No idea why it chose Caelen's gender, but that's what the being is telling me, heh. But anyway, this being would still be looking to further good, but less by doing so peacefully or by helping the oppressed side and more by punishing evil. And I'm not saying always, like it's black and white or something, but Caelen was a pacifist and Munoh specifically tried to stay out of major conflicts and choose a single good person to aid... and now... this merged being is a bit fed up with evil people getting away with things, with rampant cruelty and war, and with things like complacency and apathy. They are more likely to act, to act impulsively, and to act impulsively with force. This is partly because of the intense emotions that caused the being to come into existence in the first place, but also because of a feeling of being taken advantage of or maybe like their efforts were unappreciated or ignored while they were two separate beings.

Motivation... would definitely be justice. Proper, swift, appropriate, and meaningful justice for the oppressed, those taken advantage of, those treated with horrible cruelty, and those who have no one else to advocate for them. This being would be a force of nature, truly, with regard to not taking any shit and not allowing others to take shit alone. They would want to be a voice for the silences, a sword for those unarmed, a shield for those exposed, and an executioner to any who would perpetrate horrors against the meek, the gentle, and the disadvantaged. Scary justice, haha, is how I would put it. You do not want to piss this being off. But at the same time, they would act with honor. That act might be to brutally kill someone, heh, but whoever they're killing will absolutely have it coming to them for things for which they have only themselves to blame. I could also see them taking up causes for others, like... enacting someone's revenge if they're unable to, carrying out a dying wish for someone they could not save, or even agreeing to go scare someone and put the fear of the gods in them so that they stop their shit, heh.

Would this being retain the minds and memories of both Caelen and Munoh, or would they be a clean slate?

They retain everything, it's just that they're now one mind. So they will remember any ships Caelen have and will still feel the same towards them. They will know and remember all the Occurians Munoh was familiar with. They would know how to cast all manner of magicks that Munoh knew how to cast, as well as retaining all knowledge of the crafting and wielding of physical weapons that Caelen understood. So everything that each of them knew and did and loved and valued, etc. would still be there, it is only that they are now one, single, blended mind.

What would the Occuria think of this occurrence and what would they do about it?

Oh man. Ohhhhh man, heh. The Occuria would not be happy at all and would basically want this being eliminated immediately. It would be the equivalent of a Nephilim on earth. In some mythologies, the Nephilim were the result of angels mating with humans, and they were generally seen as overpowered abominations that needed to be killed with extreme prejudice. The reasons why they were seen as such abominations were: 1) the blending of human and angelic blood was seen as blasphemy, 2) the resulting being was far too powerful for what was supposed to be allowed for a mortal, and 3) the being was far too emotional and had too much free will for an angel. Now... replace "angel" with "Occurian" and basically the same three offenses, if you will, apply to the Caelen/Munoh merged being.

So the Occuria would feel nervous about this being, they would feel offended at its existence, they would not be able to control it as far as keeping it in line in a cultish fashion, so they would feel like they needed to kill the being in lieu of being able to keep it under their control.

However... I'm not sure they would just go ahead and kill him. They could, certainly, but... it would need to be discussed at length, because they would be killing one of their own, a heretic yes, but still one of their own, and they would have to appear on Earth to do it, which would cause a bit of a stir. Nothing they can't handle, but they honestly prefer being off the radar from mortals until they need to connect with them.

But the main reason they might leave the being alone is because his potential. If they think at some point that they might be able to win him over and get him to do what they want (yeeeah, good luck with that, heh), he is a unique being capable of things or maybe going about things in ways the Occuria cannot just by virtue of what they are.

As powerful as they are, they will have a different presence, influence, and social optics than a physical being on Earth will. So they may want to keep him around and see what happens. If he doesn't interfere with anything they're doing, they might decide it isn't worth the epic battle to destroy him, and best to leave him alive in case they want to use him for something later.

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Okay that's all I can think of at the moment, but if I have any other interesting developments I come up with, I can always write another post about this in the future. =)