#conflict in stories

[alpaca-clouds]

Solarpunk Storytelling - And People Who Have Never Read A Book (apparently)

And once more I am back at the topic that maybe annoyes me the most of all when it comes to "white people having bad opinions about solarpunk". (And yes, let's face it, most of the people are white.)

And that is people that argue like this:

"Uhm, actually, how are we supposed to bring in a conflict if it is not about the utopian solarpunk world hiding a dark secret?!"

To which I will always have to assume that these people are not in fact familiar with the concept of books, movies, series, or stories in general, and have not consciously ever consumed a story at all. Because otherwise I cannot fathom how one could come to this conclusion.

Because here is the thing: Most stories out there have a conflict that does not involve a government having a dark secret.

Unbelievable, right?

Escuse my sarcasm in this, but I really just find this argument so silly. I mean, Lord of the Rings most certainly does not draw its conflict out of any government hiding a dark secret. Nor does any of the Sherlock Holmes stories. Titanic is a very popular movie not building around the concept of a dark government secret. And... Ugh, I don't know. Forrest Gump and Fight Club are two very popular movies, that I don't like, but in fact do not work around a dark government secret as a conflict. Nor do my favorite Fantasy books: The Magic Castle trilogy (that includes Howl's Moving Castle) and The Witcher series.

You will find there are a ton of stories out there not focused on a dark government conspiracy. In fact those conspiracies tend to be a feature of only certain subsections of genre fiction: thrillers and dystopian fiction. And obviously especially dystopian thrillers. Which is why it is so common in the original punkpunk genre Cyberpunk: Most Cyberpunk stories are dystopian thrillers.

But Solarpunk is not Cyberpunk. And you can tell a lot of different stories that do not feature those kinds of conspiracies.

What those people do not really seem to grasp is that at the very core fantasy, science fiction, and all the punkpunk genre actually do not quite describe the sort of story you tell, but just the setting. Think about it: High Fantasy does not say anything about what kind of story you can expect. Sure, a lot of High Fantasy is either a war story, or an adventure story, but I have read high fantasy thrillers before, just as I have read one really cool indie mystery story that was high fantasy. Same with Urban Fantasy. Are most Urban Fantasy novels some sort of detective novel often with a strong romantic/erotic subplot? Sure. But I have read Urban Fantasy horror, pure Urban Fantasy romance, and Urban Fantasy adventure stories. (In fact I wrote an Urban Fantasy pirate adventure myself.)

Same with the other punkpunk genres. Yes, most Cyberpunk is in fact some sort of dystopian thriller. Some are more action heavy, others are more mystery heavy. But I have seen Cyberpunk erotica, Cyberpunk adventure, and Cyberpunk drama novels. Sure, they always tend to have dystopian subtext, because Cyberpunk worlds are dystopian - but... It is not the central theme in those stories.

Steampunk is maybe even stronger in this. Because I have seen I think any genre in Steampunk before. Romance, adventure, mystery, action thriller... I have seen it all. And I do not even like Steampunk particularly!

So, I really have to wonder: Why in the world can those people think of telling only one type of story with the Solarpunk-setting? And why is it the kind of story that is literally the polar opposite of Solarpunk as a setting-idea?

Because I can guarantee you: Every single genre is very much still possible even within an utopian Solarpunk setting, where the utopia is not a sort of conspiracy hiding a darker secret.

Mystery? Well, even in an utopian world people will go missing. Even in an utopian world, someone will commit murder. The world being utopian will not just fix humanity from its darkest instincts.

Romance? Duh, people will still fall in love in an utopian world. And people will still be complicated about it.

Adventure? Within a Solarpunk world there will still be people looking for lost treasure. Hell, there will probably still be some asshole private collectors who want it for themselves. Or you can even do it fitting with the theme: Instead of a lost treasure people are having an adventure looking for a supposedly extinct species!

Action? You do not need a government conspiracy for someone to come up with guns and do bad things with it, forcing good guys with guns to stop them and have cool fights while doing so!

Thriller? Again, it does not need to be a government conspiracy for that to happen. (Heck, I might write a different blog about that tomorrow.)

Horror? You can have both serial killers/slashers in a Solarpunk world, abusive people for psychological horror, and ghosts/demons if you wanna go supernatural. Literally neither of those care much about the setting they are in.

So, yeah. Really. If you think you cannot write an interesting story within a Solarpunk novel that does not involve the government hiding something and the world being build on a lie, that is very much a skill issue. Or to put it different: Maybe writing is not for you.

[ancientroyalblood]

Character Growth and Change: Crafting Dynamic Protagonists

Characters aren’t static entities frozen in time; they are living, breathing entities that evolve, learn, and change. As I embark on the journey of exploring character growth and change, my thoughts meander through the profound responsibility a writer bears in crafting protagonists that resonate not just at the beginning, but throughout the entire narrative. The Seed of…

[atavist]

Layan Albaz is one of thousands of Palestinian children who had lost limbs in Israeli air strikes since October 7—and one of the very few evacuated to the U.S. for medical care. 

The new Atavist story, COMING TO AMERICA, is now live, and also available in Arabic:

The average U.S. public school has about 550 students. Imagine eight or nine schools in an area roughly the size of Philadelphia where every kid is missing at least one limb. Imagine also that their amputations happened alongside a torrent of other tragedies: the loss of family members, friends, neighbors, schools, houses.

Now imagine that the only hope to reclaim some semblance of physical normalcy required those children to leave home. Gaza’s sole manufacturer of prosthetics and its affiliated rehabilitation center were destroyed in an air strike months ago; as a result, many families of children who have lost limbs are trying to evacuate them so they can receive medical care abroad. Social media is brimming with their desperate pleas, and only a few get what amounts to a lucky ticket for the mortally unlucky: Countries willing to take pediatric amputees from Gaza are doing so in relatively small numbers.

The kids who do find a way out board planes for distant places. In Layan’s case, that place was more than 6,000 miles away from everything and everyone she knew.

[bixels]

Scary Sunset.

I'm concepting things way outta order in this story, but I'm sure you can piece things together. Context is for a storybeat where, after defeating and capturing Adagio (thus having all three sirens in her possession), Sunset enacts her revenge plot to release the sirens on Canterlot as Thea discovers she's been manipulated. In a confrontation, the two scuffle and fight over the siren orbs while Sunset struggles with her conflicting wants and emotions.

[bacchuschucklefuck]

binging drawtectives... have u seen them. have u frickin seen them!!!

[bevioletskies]

If God doesn’t want us to love each other, then what’s the point of having God in this world?

GEMINI NORAWIT & FOURTH NATTAWAT in TICKET TO HEAVEN (2025)

[schemelin]

Palmer and Altairus

[calcified-fluorited]

Hot take, season 2 feels like piltover apologist propaganda

Piltover has been oppressing and exploiting zaun for who know how long, but the timeline where everything is good, all that had to be different was for hextech to not exist

at several points in the story, including Cait's poison gas mission, enforcers go down there to brutalise people in pursuit of jinx, but all of that unnecessary violence is brushed aside because there is a new Big Bad that we all must unite against. How convenient!

the Big Bad (Viktor) was from Zaun, and we need Piltover's police force to save us from this zaunite. Actually, the previous season's big bad was also from the undercity

zaunites come to help the people who treated them like animals their entire lives AND THEY PUT ON THE UNIFORMS OF PEOPLE WHO OPPRESSED THEM? I'M SORRY WHAT

Sevika who conveniently hasn't spoken a line since what, episode 4? her opinion isn't important, just be happy that she's on the council now.

entirety of act 3 actually

the "dirt under your nails" line. ????? Who wrote this? I want to talk.

[bluerosefox]

GHOSTS WITH HEARTBEATS

When Jason had been going to Gotham Academy, he had (for a good reputation for the media and to help him catch up on his penmanship, remember he had been on the streets and dropped out of school before getting picked up by Bruce for a while) signed up for a penpal project for 'less privileged people' to write to.

(Although Jason was annoyed the penpal project stayed within the states and only selected a middle of nowhere town, he knew the Richie Rich Elites would never subjugate their 'Heirs' to actual kids in need of learning how to read and write)

But Jason didn't mind his penpal.

Danny Fenton was a riot to talk, err write to in all honestly.

From his dry punny humor (and boy can he give even Dick a run for his money in the pun department but hey using some of them actually got Dick to warm up to him a few missions ago) and death jokes so many death jokes, to his nerdy love for space Jason enjoyed writing to Danny.

Even the short stories he would write about a ghost kid protecting a small town from other ghosts was interesting to read. He really liked the different kinds of ghosts there could be. Granted some seemed very OP like that Clockwork dude.

Jason liked writing to Danny, and even after the penpal project was over they had plans to keep sending letters, maybe even exchange numbers soon...

But then he died by the hands of the Joker.

The letters leaving Wayne Manor may had decreased but the letters being sent never did or at least until a few years ago.

Then Jason somehow returned to the land of the living.

Got taken by the LoA, tossed in the green waters and turned into their Pit Raged weapon for a while before leaving them behind and setting out for his revenge against the Joker and to force B's hand.

And becoming a Crime Boss for a while too. Can't forget that.

Point being with all this going on, the old warm memories of exchanging letters with Danny Fenton was pushed into the back of his mind and forgotten about for a while.

It isn't until one afternoon at Wayne Manor that while roughhousing with Dick, who had Jason in a brotherly headlock as they walked down a hall to one of the sitting rooms, that while Jason had slipped out of Dick's hold had stumbled into a hallway desk that had a few things on the top of it, one of the things being a small box that tumbled off when Jason hit it.

The box lid opened and out of it spilled out a good number of letters.

"Shiii-p, dang it Dick!" Jason said when he looked at the mess he accidentally made and stopped himself from swearing, the place might be named Wayne Manor but everyone knew this was Alfie's domain and no swearing was a rule within his halls.

Dick only laughed and teased only in a way a sibling can do "Hey not my fault your as big as a tank Jaybird! We should get you some caution signals if you keep bumping into things!"

Jason flipped him his favorite finger, thankfully Alfred only knew when they swore thus it did not summon him, and bent down to the letters.

His hands froze when he recognized the hand writing and the address it was sent from.

"From: Danny Fent Nightingale

Amity Park, IL"

To: Jason Todd-Wayne

Gotham City, NJ.

Wayne Manor"

And when Jason opened the letter. He really wasn't expecting what was written inside.

"Jason.

I'm finally leaving Amity Park. I can't be there anymore, not after everything. I'm too tired, and emotionally hurt. Everything is just to much. And I can't keep doing this to myself. My parents still can’t understand there is nothing ‘wrong’ with me or why I refuse to let them take care of Ellie, I refuse to let her live the way Jazz and I did, Jazz has to much on her plate already with her own life and college but she’s been hounding me to reach out to mom and dad, Sam refuses to listen to me when I tell her I want to be more than ‘Phantom’ in Amity Park, and Tucker is so busy trying to get into a good college and job we barely have time to talk nowadays. And don’t get me started on Vlad, that fruitloop’s been breathing down my neck since Ellie’s deaging.

Despite how much of a hellhole you like to call it, I think Gotham might be my, no mine and Ellie’s best bet of living some kind of life, especially now since the whole deaging she had to go through, she needs an ectoplasm rich city as well and since she has no actual papers because she was my clone and I remember you saying Gotham has people who can create new identities and-

I’m rambling again, to letter you again. I really need to stop it.

I can’t keep pretending you’re going to read these.

I know you’ll never read these. You’re gone. I can’t even find you in the Realms no matter where I look.

I’m sorry. For using you as, well, a way to vent my life for last couple of years. I shouldn’t had done it but it helped me.

Believing my friend was still alive and getting my letters I mean.

Again I’m sorry.

This will be my last letter to your ghost, pun unintended.

Goodbye Jason. Wish us luck in your city.

-Danny Fen-Nightingale...."

The sent date on the letter was roughly eight years ago.

[bugboy-behaviour]

a collection of queer Palestinian stories in Gaza from queering the map.

Don't let pink washing get to your head. Queer people live everywhere, including in Gaza, where they are currently being massacred.

images are from the tiktok link i attached, there's even more there.

[chipsncookies]

I've been playing the arc suit stories in pokemas and I love it so much. I have to redraw this scene

[secondhandsorrows]

Some Vital Scenes to Include in a Romantic Subplot, pt. 1

I’ve been in the plotting stages of a novel I’ve been working on for some time now. It’s not a romance novel, per se, but the romantic aspect is very prevalent… dare I say important. Anyway, so as I was working on my scenes and character arcs, I began to realize that I didn’t have enough fleshed-out about romantic arc, nor deepened the protagonist’s love interest or their connection, for that matter. This led me to devise up some scenes that I felt were crucial to the story if I wanted to keep this romantic angle to it, and now that I’ve most of them arranged, I find now that I’m way more excited about my characters’ love story. 

These tips will be unnumbered because, obviously, the sequence of these events and how they will fall into your storyline will probably be different. Also, you don’t have to use only one scene for every suggestion that will be mentioned, as you can have multiple scenes of flirtations or deep conversations, for example. They usually blend all together into the narrative at this point. Just remember that there should be some relevance to the plot at hand in some of these scenes as to not derail completely from the main narrative or other conflicts.

I was going to post this all at once, but decided it was too long and wanted to split it into two parts to go more in-depth and for easy reading. /-\ Enjoy ~

- The meet-cute, or the meet-ugly:

Ah, yes, the first encounter. Or, as we sometimes like to call it: the meet-cute, or the meet-ugly if you’re feeling a little unconventional or perhaps mischievous. Though we may enjoy setting up our star-crossed characters in a whole range of moments from awkward to swoon-worthy, the initial meeting is what’s important (if your characters haven't already met before the beginning of the story, ofc, but this is useful to have in mind). Let us quickly define the two:

Meet-Cute: A charming and serendipitous first encounter between the characters in question that sets a positive, memorable, and oftentimes romantic tone.

Meet-Ugly: An unconventional, awkward, or disastrous initial meeting that adds a unique twist to the start of the romantic connection, often leading to unexpected chemistry and an added intrigue on whether or not they’ll get together.

You don’t have to nail your characters’ first encounter into a label or bubble such as these two examples, but I like bringing these up for a general idea. 

- Bouts of flirting and/or banter:

Just as the title suggests, these are scenes containing the flirtaious communication between the two characters. These kinds of interactions will, of course, develop over time and deepen the bond or relationship. Playful interactions, gazes, and witty exchanges between the characters can create a lighthearted and flirtatious atmosphere that hints at their growing attraction.

The way they might flirt or tease can reveal their personalities. For example, one character might be more sarcastic, while the other responds with quick wit, or quiet bashfulness. There’s an element of subtlety, as flirting lets the characters express their romantic interest without explicitly stating it (unless one of your characters lacks subtlety in general and prefers to shout their undying love from the rooftops, which would make for an interesting dynamic, but I’m only spit-balling). 

Banter, teasing, and romantic tension underscoring heated debates or loathsome gazes suit just as nicely, especially if you’re writing with enemies-to-lovers or rivalry tropes in mind. But be careful! A little goes a long way: too much all at once can repel any growth for the characters or narrative.

- Initial conflict or struggle:

Depending on your story’s big-picture conflict, the introduction of challenges or obstacles can create tension between the characters, adding depth to their relationship and making their eventual connection all the more satisfying. This might include cultural or class differences, opposing goals or values, history of past heartbreak, personality weaknesses such as stubbornness, or external pressures that threaten to keep the characters apart. Even a nosy family or a disapproving mother can be considered. How the characters navigate and resolve these conflicts contributes significantly to the overall emotional impact of the romance subplot, as well as allowing for some exploration of each character's strengths, weaknesses, and resilience. 

- Shared vulnerability:

This kind of scene involves the characters opening up to each other about their innermost fears, insecurities, past trauma, or personal struggles. Shared vulnerability goes beyond surface-level interactions. It involves characters revealing their authentic selves, exposing their emotional vulnerabilities, and allowing the other person to see them in an honest — and sometimes new — light.

This is a symbolic gesture of commitment we’re talking about, here… something that requires trust. As characters share their fears or past traumas, they are entrusting the other person with sensitive information, fostering a sense of trust and emotional intimacy. It might be scary, it could be out from left field, but they will end up learning something new about themselves, their situation, or about the other person, and thus deepen their connection, little by little.

[barib-yariel]

scammer bot: hello👋🏾 I'm arab abu-froud from gazza😔. yesterday my grandfather mohamad gazzinsky has been murdered to death by the IDF😨. he was only 3 years old🫃. since then we are starving and homeless😭. 15 minutes ago Isra*l🤮🤮🤮 bombed our disabled tent of color🏳️‍⚧️. we don't know what to do🤕. please donate💵 to my gofundme so I can survive this genocide💪🏿 and make lebanon a recyclable city again 🇸🇩.

average tumblrina:

[booasaur]

Special Ops: Lioness - 1x07

[loveydive]

The Tragedy of Hayakawa Aki - chainsaw man, tatsuki fujimoto

grief lessons: four plays by euripides, anne carson // chainsaw man, tatsuki fujimoto // deathless, catherynne m. valente // “untitled,” 2016, ink on paper, kara walker // james, clementine von radics // slide tackle, japanese breakfast // how to cure a ghost, fariha róisín // red glove, holly black // the letter, richard paul evans // interview with james hall, richard siken // ptolemaea, ethel cain // iq84, haruki murakami // the godfather, mario puzo // god's silence, franz wright // crush, richard siken // tumblr user ojibwe // when i was done dying, dan deacon

[shitpostingkats]

Not to be xehaqus posting on main but the amount of (misplaced) trust Eraqus puts in Xehanort makes me insane. What do you mean he watched his boyfriend murder someone before his eyes and cried alone in his room at night but still thought it alright to let that boy walk away from him and study ancient dark magics? To confront him about it, years later, only to have his face sliced open and still, still, even later welcome him back into his home like nothing's changed? To take a wounded, obviously traumatized kid off his hands and not even consider it might be a red flag? Even when your students approach you and go "hey your old beloved old man partner might be up to something?" the blinding confidence to go "No, that doesn't sound like him :/ " To, even after you are both dead, at vaguely eachother's hand, to reach out beyond death and still believe there's good in him?

Like, one can joke a lot about how Eraqus' bad taste in men is what doomed the narrative to its current path, but also, this is a character who watched someone he loved make bad choice after bad choice after bad choice and always thought he was going to suddenly start making good ones instead. And he did this for sixty years. What if I threw up.