#helpful guide for newbie writers

[topazadine]

Writing Post Masterlist

All my posts about writing - plus some I absolutely loved by other writers.

Masterlists by Other People (all good)

"Writing Tips Masterpost" by @deception-united - Deception-United has an incredibly wealth of resources available, far more comprehensive and detailed than mine. Go check it out!

"WQA Post Master Lists" by @writingquestionsanswered - Another fantastic and wonderfully comprehensive resource that covers damn near everything you need to know about writing. Genuinely one of the best free resources on writing that you could find on the internet.

General Advice for a Happy Writing Life

"The Myth of the Martyr Artist" - An incredibly important post, perhaps my most important one ever, that discusses why mental illness is a burden, not a benefit. I have no idea why this even needs to be said, but it does, apparently.

"Advice to Beginner Writers: The Good, the Bad, and the Unpleasant" - How long it takes to become a good writer, what to focus on when learning, and why fanfic is such a useful tool.

"Mindset Shifts: Fanfiction -> Original Fiction" - What fanfic writers should know about deciding to take on original characters and stories.

"Defeating Protracted Writer's Block" - What to do when you find it impossible to write for days, weeks, or months at a time.

"Five Common Anxieties of Newbie Writers, Demystified" - Explorations of five mindsets that can set younger writers back as they learn their craft, including overcompetitiveness, overdescribing, and fearing they're "too old."

"Good Motivations for Continuing to Write" - Why it is crucial to have a passion for writing beyond fame and fortune.

"Extremely controversial writing opinions that will make you mad (but I'm going to say them anyway)" - Things you really don't want to hear, but need to be said. A bit of tough love, including the insignificance of ideas, the cold hard truth about how non-writers react to your writing, and the essentiality of having a well-rounded life.

"Why Mindfulness Is a Key Practice for Writers" - On the need to slow down and let our brain rest - plus some options that are categorically not sitting there in dead silence (boring).

"Writing When Happy" - Wherein I hijack someone's question to discuss the Myth of the Martyr Artist, why we might self-limit because of it, and how to do the impossible: write when we're happy.

"The Neurodivergent Writer’s Guide to Fun and Productivity" by @bookishdiplodocus - Excellent advice on how enjoying the process and reminding yourself that writing is supposed to be fun can help you stay motivated and productive, even when your brain is not cooperating.

"The Glorification of Self-Deprecation in Art/Writing Spaces" by @nicolkoutoulakiauthor - I've discussed before how crucial it is to have a healthy self-esteem when writing, but Nicol does it even better here. Nicol also includes some excellent reframing tactics so you can stay motivated.

Generalish Writing Advice (multifactorial)

"'How Do I Start Writing?'" (Or; A Psychoanalysis of Newbie Writer Fears) - Inspired by the dozens of Reddit posts that ask this exact same thing, often with useless responses. So why do people ask this? I offer my theory.

"How to improve your writing style : a 5-steps guide" by @writer-logbook - Especially great information on why reading widely is so helpful for your craft!

"Some Writing Advice" by @whispers-whump - Especially great discussion of why you shouldn't write what you mean.

"Practical Writing Advice Part 2" by @so-many-ocs - Does what it says on the tin. Simple, easy-to-follow advice that can break you out of writer's block.

"25 Prose Tips for Writers" by @thewriteadviceforwriters - I absolutely love the emphasis on sound and harmony here. As someone whose entire book series revolves around the magic of poetry, of course I think this is incredibly important advice!

"Pacing and Show Don't Tell" by @mylordshesacactus - Two for one deal! First, learn more about why pacing is important; then, look at some examples of the classic advice "show, don't tell." The post does a great job on breaking down what show don't tell actually means and what is not a violation of this guideline so that newer writers aren't confused.

Writing tools

"How to Build a Sustainable Writing Habit Through SCIENCE (Fuck Off, NaNoWriMo)" - Why NaNoWriMo doesn't actually motivate young writers and how to do better through a spreadsheet (yes, really, a spreadsheet). It also explains the importance of intrinsic motivation!

"'I've Outlined Too Much and Now I Can't Write!' (Or: the Double Outline Method for Overanxious Plotters)" - Some of us tend to go absolutely ham on our outlines, to the point where they're practically their own books. But then we also tend to not actually do the writing attached to said outline. Does this mean outlining is useless? Of course not. My method lets you have your outline and eat it too. (.... Wait.)

Worldbuilding

"Stop Making Everything So Damn Complicated!" - Why fantasy (and scifi) does not need to be dizzyingly intricate to be enjoyable.

"Grounded vs. Airy Fantasy" by @aethersea - Excellent breakdown of different levels of groundedness in fantasy and why it's important to understand your own approach.

"Fantasy Guide to Building a Culture" by @inky-duchess - Thorough and methodical analysis of what can create a compelling fantasy culture, including those things that many fail to think about when writing.

"Writing tip - Research" by @pygmi-cygni - Fantastic assessment of the importance of research, including for fantasy stories. As Pygmi-Cygni said, a lot of people claim that they don't need to do any research for fantasy novels, which isn't true! Any parallels to IRL need to be realistic, or you will lose credibility.

Plotting

"How to Find a Plot When All You Have is Characters and Setting" by @rheas-chaos-motivation - This is a common problem for many writers, when you have cool characters or an intriguing setting. This short post can help you kickstart your ideas for how to create an intriguing plot that has built-in tension.

Description

"Remembering Perspective When Writing Descriptions" - Key factors to think about when describing other characters or settings from your POV.

"Description, Momentum, and Tension; Or, How Not to Bore a Reader" - Why, when, and where to put description so that people don't skip over it. Hopefully.

"Writing Notes: Seasons" - Each season has both benefits and downsides. In this post, we look at the negatives and positive aspects of each so you can decide how a particular season may strengthen your themes - plus some descriptions to help inspire you.

"How to Write Smut?" by @unfriendlywriter - Wonderful examples of how to write heartstopping smut.

"How to pull off descriptions" by @fictionstudent - Fictionstudent has a ton of great posts, both about film analysis and about the art of writing. I especially liked this one because it discusses how important perspective is for descriptions and the importance of filling in the details as a character would rather than just throwing it all at the reader at one time.

"How to avoid White Room Syndrome" by @writerthreads - Fantastic and focused advice on how to ensure you're offering readers just enough setting to help them envision the world.

Characterization

"How NOT to Write a Character" - Wherein I give you some examples of annoying characters we want to punt off a cliff so you can watch yourself.

"Writing Strong Female Characters" - Why you should give your female characters a secret goal, as well as how to avoid common 'strong female' stereotypes.

"Writing Compelling Trauma in Fiction: Dos and Don'ts" - How to avoid melodrama and create intriguing emotional wounds for characters.

"Quality Assurance Checks for Character Development" - Thought exercises that can help you differentiate characters, prune down unnecessary characters, develop true chemistry between LI and MC, and avoid having too many POVs.

"Developing Character Agency (Or; Cutting the Plot Strings)" - A discussion of character agency and how to ensure your characters are not bound by the narrative.

"Writing Notes: Thought Distortions" by @literaryvein-reblogs - Some psychological concepts you can use in your writing to add depth to characters.

"Questions about your character’s perspective on love and relationships" by @luna-azzurra - Excellent questions that can help you delve into your character's attachment style, what baggage they may bring to a current relationship, and how to create conflict through mentality.

"How to Write a Confession of Love," also by luna-azzurra - Perfect discussion of how to create tension, the utility of setting, not making it perfect, and including the other character's response.

Revisions

"Common Writing Issues that Reduce Readability" - Examples of fixes for four common issues: double describing, long sentences, overexplaining, and head hopping.

"Differential Diagnosis When Your Writing Is Getting Worse" by @ariaste - Fantastic explanation by a professional writer about why you might feel like your writing is getting worse and what to do about it.

"How to Make Your Writing Less Stiff Part 3" by @physalian - Physalian's whole blog has some excellent advice, so definitely give it a look!

"How to Improve Your Writing" - Also by literaryvein-reblogs, this offers some excellent exercises to help with sentence-level issues, such as modifiers, parallelism, and details.

Publishing

"How to promote your book online : a discussion about social media (and few tips)" by writer-logbook - Great tips about how to get more interest in your book. I especially enjoyed the emphasis on patience and consistency. Writer-logbook has some excellent info overall about the nitty-gritty of writing, so I definitely recommend poring through their blog in general. (That's why they're included here twice!)

Specific Research Advice

"Assassination Methods Through the Decades: A Writer’s Handbook" by @hayatheauthor - A thorough review of different assassination methods, including a section discussing common assassination methods by region!

"How to Write Someone in a Wheelchair" - A group effort! This is a reblog chain discussing body language in manual wheelchairs, the mechanics of power wheelchairs, wheelchair propulsion methods, and a reminder that just because someone is in a wheelchair doesn't mean they can't walk short distances.

"Writing Research Notes: Caves" - Oh caves how I love them. Caves. Let me tell you about them if you want to write about caves. Blessed.

"Writing Research Notes: Horses" - A beginner's guide to horse mindsets, whether horses like working, approaching horses, how to ride, and tips on training.

"Writing Research Notes: Bipolar Disorder" - Written by me, a writer with bipolar disorder! This shares basic facts about bipolar, offers a list of symptoms you can use, and cautions you against spreading misinformation through poor characterization or myths.

"Stop Doing This in Injury Fics!" by @pygmi-says-hi - Discusses some common errors when writing whump/angst. The fever part was especially helpful for me!

"Writing US Military Characters" by @lookbluesoup - An explanation of the habits and mentality of US military characters. Many of these were quite helpful for my fantasy military characters, so you can get a lot of mileage out of these for soldiers in other militaries too!

Little Funsies

"What Painting Style Is Your Writing?" - A short exploration of different writing styles to help you better understand your own approach.

I'll be adding onto this as I continue to scroll through my old likes and, of course, as I find more resources.

[hayatheauthor]

Hi! Newbie writing who loves writing, I just wanted advice for how to write a character who is emotionally numb and distant and how they can overcome it?

Or who to write numbness in general?

Writing Detached Characters: A Guide to Emotional Numbness

Welcome to the latest instalment in my series on ‘how to write different emotions’. Contrary to the series title, today’s blog will be covering how to write a lack of emotion, or rather, emotional numbness. This is an area many writers covering PTSD, depression, or closed-off characters might be interested in. Thank you anon for the request, and I hope this blog helps you with your writing! 

Understanding the Motive for Emotional Numbness

Emotional numbness can stem from various sources and they all influence a character's behaviour differently. Understanding the root cause of their numbness is crucial to portraying them authentically. 

Trauma-Induced Numbness: Characters closed off due to trauma may appear more disconnected and guarded. Their numbness is a defence mechanism to avoid reliving painful experiences.

Chronic Stress: Prolonged exposure to stress can lead to emotional exhaustion and numbness. These characters might show signs of burnout and a lack of enthusiasm for activities they once enjoyed.

Depression: Characters dealing with depression may exhibit numbness as a symptom. They might struggle with feelings of hopelessness and an inability to experience pleasure.

Each motive ties directly into the character's behaviour, so it’s a good idea to research how numbness varies based on the cause.

How to Showcase Emotional Numbness in Your Writing

When crafting an emotionally numb character, subtlety is key. Here are some ways to show their numbness through various aspects of writing:

Body Language

Closed-off Posture: Crossed arms, avoiding eye contact, slumped shoulders.

Minimal Gestures: Limited use of hand movements, lack of expressive body language.

Tense Muscles: Frequently clenched jaw or fists, indicating suppressed emotions.

Lack of Physical Contact: Avoids hugs, handshakes, or any form of touch.

Facial Expressions

Blank Stare: Eyes that seem to look through people rather than at them.

Neutral Expressions: Rarely smiles or frowns, maintaining a consistently neutral face.

Delayed Reactions: Slow to show any reaction to surprising or emotional events.

Flat Affect: Consistent lack of facial movement or expression regardless of the situation.

Note: remember to not take this too far! This isn’t to say your character doesn’t feel anything at all and will never react to anything but more so that their reactions will be very muted. Yes, they can get happy/surprised, etc. but they won’t have wide grins or loud exclamations of shock. 

Appearance

Plain Wardrobe: Clothes that are simple, unassuming, and devoid of vibrant colours; preferences for baggy/shapeless clothing. 

Neglect of Personal Grooming: Messy hair, unshaven, or generally unkempt appearance.

Monochrome Outfits: Preference for neutral, muted colours like grey, black, and white.

Practical Over Fashionable: Chooses functionality over style, reflecting a lack of interest in appearance.

Dialogue Cues

Monotone Speech: Flat, emotionless tone without inflection.

Brief Responses: Short, to-the-point answers with minimal elaboration.

Avoidance of Personal Topics: Steers conversations away from personal or emotional subjects.

Lack of Expressive Language: Uses simple, direct language without metaphors or descriptive flourishes.

Adjectives and Verbs

Descriptive Words: Detached, apathetic, vacant, stoic, unfeeling, indifferent, withdrawn, impassive, numb, aloof.

Action Words: Avoids, withdraws, dismisses, isolates, ignores, neglects, shuns, evades, suppresses, restrains.

Emotionally Neutral Verbs: Walks, talks, looks, sits (instead of strides, argues, gazes, lounges) listens, observes, reacts, replies, continues.

Subdued Descriptors: Plain, muted, dull, flat, colourless, bland, lifeless, monotonous, reserved, restrained.

Overcoming Emotional Numbness

Since there are several reasons why someone might be emotionally numb, each cause has different ways to overcome it. Here are a few common approaches:

Therapeutic Intervention: Therapy or counselling can help characters address underlying trauma or mental health issues. Techniques like cognitive-behavioral therapy (CBT) are often effective.

Supportive Relationships: Developing a trusting relationship with a friend, family member, or romantic partner can provide the emotional support needed to open up. This would be a better option for a character who has developed numbness due to past relationships and needs to ‘heal’. 

Personal Growth and Self-Discovery: Characters may embark on a journey of self-discovery, engaging in activities or experiences that help them reconnect with their emotions. It would be fun to see a numb character do this with a love interest or close friend. Maybe they’re ‘forced’ to go to an amusement park and the other characters are shocked to see them whoop/yell on one of the rides. 

Resources for Understanding and Overcoming Emotional Numbness

Here are some valuable resources to help you better understand and write about emotional numbness:

Books:

The Body Keeps the Score by Bessel van der Kolk

Waking the Tiger by Peter A. Levine

Research Papers:

Emotional Numbness in PTSD

Emotional Numbness Research Papers Directory

More:

Scholarly Resources on Emotional Numbness 

Looking For More Writing Tips And Tricks? 

Are you an author looking for writing tips and tricks to better your manuscript? Or do you want to learn about how to get a literary agent, get published and properly market your book? Consider checking out the rest of Quillology with Haya Sameer; a blog dedicated to writing and publishing tips for authors! While you’re at it, don’t forget to head over to my TikTok and Instagram profiles @hayatheauthor to learn more about my WIP and writing journey! 

[nanowrimo]

Pro Tips from a NaNo Coach: How to Write a Clean(ish) Fast Draft

NaNoWriMo can seem like a daunting task sometimes, for NaNo newbies and veterans alike. Fortunately, our NaNo Coaches are here to help guide you through November! Today, author Jesse Q. Sutanto is here to share her advice on how to set yourself up for noveling success:

Dear Nano-ers,

My first book took me three years to cobble together. During that time, I joined Absolute Write—a free writers forum which I completely love and recommend to all aspiring writers—and I made a friend who convinced me to try doing NaNoWriMo. I was completely unconvinced, but I am a people-pleaser and I can never say no, so I agreed to try it for my second novel.

My second novel took me less than a month to write. It was a complete mess, but it was also a revelation. Often, I felt myself falling into that writing Holy Grail—the hole which consumes you, makes you forget the rest of the world, and absorbs you completely in the world you are creating on paper. I loved the process deeply, and never looked back since. All of my subsequent books have since been written in a matter of months. 

And you know what? They were all a horrific mess. I did not learn how to do a clean and fast draft until my NINTH book, and I don’t think I would’ve ever learnt without the help of NaNoWriMo. So here are my tips on how to best tackle a sprint-a-thon like NaNo. 

1. Try to come up with a loose outline.

When I first started writing, I was a pure pantser. I had no idea what was going to happen before I sat down to write. This is a completely legit way of writing, but I have since learned that it is massively helpful to have an idea, even a vague one, of what you are trying to say with your book. What was really helpful for me was to sit down for just five minutes before writing each scene and try to envision what I wanted the scene to achieve. Once I had that in mind, the scene became much easier to write. 

2. Break down your writing time.

Ever heard of the Pomodoro technique? In order to hit 50,000 words a month, you need to write around 1,600 words a day. That is a heck of a lot of words to write! Break it down. Set 10 or 15-minute timers and use that to your advantage. Trust me, if you told me to sit down and write 1,600 words, I would be like, “Omg that’s too much!” But if you told me to just write for 15 minutes, that feels a lot more doable. 

3. Give yourself permission to write trash.

Before each writing session, I actually say out loud: “I am going to write trash.” And this gives me permission to write whatever comes to my mind without judgment. You can always edit later, but for now, focus on letting the words out on paper. 

4. Lean on others for support.

I made the mistake of thinking that writing is a lonely vocation. In fact, it is one of the most social things I could do. Social media, while a double-edged sword, has done so much for the writing community. I have found all of my close writer friends through social media, and I chat with them every day and consider them my close, lifelong friends. Don’t be afraid to reach out and make connections within the community. You are not alone. 

Jesse Q. Sutanto is the award-winning, bestselling author of Dial A for Aunties, Vera Wong’s Unsolicited Advice for Murderers, Well, That Was Unexpected, The Obsession, and Theo Tan and the Fox Spirit. The film rights to her women’s fiction, Dial A for Aunties, was bought by Netflix in a competitive bidding war, and the TV rights to Vera Wong was bought by Warner Bros, with Oprah and Mindy Kaling attached to produce. She has a master’s degree in creative writing from Oxford University, though she hasn’t found a way of saying that without sounding obnoxious.

[arimiadev]

How to Make a Visual Novel in a Weekend

(you can read this blog post on my website or down below)

Making a visual novel is already hard, so how do you make one in a game jam where you have a set deadline? Or worse, how do you make an entire visual novel in only a weekend? What about when you have to use certain themes in the game and can’t go fully freeform?

Game jams are such a great way to get started making visual novels—I first got my start with Ludum Dare 10 years ago, as of this August. They force you to downsize a lot, to focus on what matters and most importantly, have a tight deadline hanging over your head that you can’t push back. Some game jams, like my upcoming Otome & Josei Jams, allow users a much longer timeframe of 2 months and don’t restrict on themes. Others like Ludum Dare only give you a weekend (though there are other formats now) and require you to use a user-voted theme that’s only made public when the jam starts.

With the tight deadlines and possibility of restrictions, how do you make a visual novel that quickly? Is that even humanly possible??

First off, if you’re completely beginner to visual novels, check out my newbie guide on how to make visual novels which goes over the basics, terminology, engines, and more.

Earlier this month I entered Velox Formido, a visual novel jam inspired by Ludum Dare with a few tweaks:

Themes are still voted on but you have to incorporate at least 2 of the top 5 themes

The jam only lasts 36 hours from start to submission

Very, very tight! Still, I was able to squeak out a new game- Dahlia, a short story about being trapped with a cute (but possibly hungry) vampire. While you can read about my creative choices in my post-mortem for the game, today I want to talk about how you can recreate my process.

jam requirements

First off, you need to become familiar with the jam you’re entering. If you’re not entering a jam but rather just making a game in a weekend for fun, skip this.

You’ll want to have a clear idea of each of these parts…

rules

What rules does the jam have? Do they stipulate what kind of stories you can enter? For instance, most game jams that require the developers or a panel of judges to rate games (i.e. competitive jams) won’t allow 18+ content in the games.

engines

Similar to the rules, some game jams stipulate what engines you can use. Be sure to know this ahead of time. If a game jam doesn’t say there’s an engine requirement, however, you can usually use whatever you want.

themes

Will you be required to use certain themes or can you make a VN fully up to you? Sometimes themes feel too restrictive, while other times they help guide you to a more solid idea.

jump right in

Once the game jam starts, dive right in! …That is, if you have an idea of what to do.

ideas

Ideas are a dime a dozen—truly, it’s in the execution. Still, you need some kind of idea and you need it fast if you only have a weekend to finish the game.

After taking into consideration the rules and themes for the jam, I then start rapidly brainstorming ideas I would be okay working on. If one of the themes is forbidden romance, then what kind of couple would I want to write? What kind of story beats could I do with flower symbolism?

This stage needs to be quick. It’s okay to scrap ideas, but you need to stick to one and fast. For Velox Formido, I initially started writing one idea but scrapped it a couple hours later to begin the idea I ended up finishing.

Don’t be afraid to change your idea- but make sure the one you stick with is one you’re happy with!

work flow

How do you begin making a new game concept?

For me, I’m an artist, writer, and programmer, so I can make a game by myself. I’m fine with starting on writing or concept art first, it just depends on my mood. For this recent Velox Formido, I started on writing first, just going with the first ideas in my head. Other times, I start with concept art so I have a clearer idea of the characters as I’m writing.

There is no wrong way to start making a visual novel, except to not start at all!

If you feel like starting on an outline for the game, go for it. Want to dive into character art? Do it!

managing time

Having only a weekend to make a visual novel is just- well, it’s a weekend. It goes by so fast so you have to be aware of how long parts will take you. If you’ve never made a visual novel before, it’s even harder to gauge how quickly you can do things.

How long does it take you to draw a character sprite? How many characters will you have? How fast can you write 1k or 3k words? Will you have time to program the art and writing into the engine? What about music, GUI, sound effects?

scope

You need to keep the scope of the game small. Tiny. Even tinier than whatever you’re thinking.

Think of it in terms like this:

how many characters will I have?

will there be any choices?

what ending(s) will it have?

do I need to make a GUI?

speed

I know I can make art pretty quickly when I throw caution to the wind, but I still have to limit how much art I make. For instance, in Dahlia I wanted to draw CGs, but I ended up spending too much time on the writing and only started on the art 12 hours before the deadline. I was able to finish the 2 character sprites in just 2 hours, but then I had to grind to finish the programming.

In order to finish in time, my weekend long games are no more than 3 characters. 2 is the perfect amount, really. You can have a succinct, interesting story with just 2 characters in a room together and it leaves less artwork to worry about.

advice

Now that we’ve talked about different aspects of making a visual novel in just a weekend, I want to zone in on my process with advice.

focus on your idea

Follow the idea you have and really dig into it. Flesh it out as soon as you can so you have a solid idea of what the endpoint you’re headed towards looks like.

do things faster

I don’t outline for weekend jams. I outline for my normal visual novels, but not for weekend jams. There’s just not enough time aside from making a few bullet points and running with it.

Whatever speed you make things at, you have to make them even faster. That means less edits in your writing. Less rendering in your art. Less polish in your programming. There’s just not enough time for it all.

If you’re writing, focus on getting to 1 ending. Don’t worry about extra choices or nameable protagonists or extra side characters. If you’re drawing, you need to use an art style that’s easy to render. Don’t spend so much time on lineart and shading. If you’re programming, set up ways to make your setup faster. Define transforms, positions, and more that you can reuse multiple times and get in the habit of copy+paste.

reuse what you can

Like I said, don’t hesitate to reuse any snippets of programming that you can use multiple times. When I was drawing the character sprites in Dahlia, they both have the same base- this saved me maybe half an hour of redrawing parts that ultimately didn’t matter.

Be sure to check what you can and can’t reuse beforehand. For instance, a lot of jams require you to not start on the game beforehand, meaning you can’t use previously made assets unless they’re publicly available. Don’t slip up on this detail!

cut out even more

You probably think that your scope is doable in the time frame, but it most likely isn’t. Don’t be afraid to cut it down even more to save yourself time and headache. Ideally, you’ll want everything in the game finished before the final hour of the jam so you have time to playtest and ensure the game actually runs from start to finish (yeah, remember bug testing?).

use resources

Have in mind what parts of the game you’re not going to make. I’m not going to make music for a game jam (I’m not musically talented) and I don’t usually recruit others for weekend long jams. Instead, I use premade music that I’m able to put in my games legally.

Know where to find these kind of resources if you need art, music, GUIs, etc. before the jam starts. I have a growing list of visual novel development resources here.

focus on the MVP

Don’t get distracted by the things that don’t matter. Do you really need this extra character? A wardrobe change? An extra ending?

Focus on the core of your game. Why are you making it? What is the feeling you hope to give the player? What is the overall goal of the game?

With Dahlia, I wanted a somewhat whimsical and slightly tense story about a midnight intruder, how unnerving it would be to have a person invade your private space in the middle of the night but looking like a fancy doll.

How will you present your idea with such limited time?

~ * ~ * ~ * ~ * ~ * ~ * ~ * ~ * ~

Wow, April really went fast. Before I knew it was the end of the month- wasn’t it April Fools last week and I was rushing to draw our studio mascot genderbent? And now Otome & Josei Jam start in 24 hours…. There’s never enough time!!

Quick list of what I’ve got going on:

First, we just announced that the Battle Action Fantasy jam will be returning this June! Create a chuuni visual novel inspired by battle action manga you’d see in Shounen Jump. Second, I’ll be entering Otome Jam this year and returning to a directorial spot! More details on that later….

Third, it’s Kickstarter season. If you’re thinking about holding your own Kickstarter or want consultation on marketing for you visual novel studio, I’m still open for freelance.

— Arimia

[uniquexusposts]

Her || Charles

Main characters: Charles Leclerc x OC Genre: fanfiction, fluff  Story type: novel  Part: 22/? Word count: 2114 Co writer: @mistrose23

Story summary: Matilde Jørgensen, the new Scuderia Ferrari team principal, faced the nerve-wracking challenge of reviving the team's fortunes and aiming for a championship. Leading a historic team as a 'newbie' and separating her work and personal opinions posed a significant challenge. The big question: is she capable to do so?

Previous chapter

Chapter 20. Routine

Jens opened the door of the Airbnb Matilde had to stay in for three weeks. It was a cottage just outside of Oxford, in a beautiful surrounding for some quietness and peace, perfect for Matilde to recover and rest. It was Saturday, a day after the surgery and Matilde just got released from the hospital.

"This looks adorable," Matilde said when she stood still in front of the door. She was taking a break from walking from the car to the front door, which was about ten metres.

Jens only smiled. "I hope you can recover here quickly."

"It isn't home, but it will do," she gratefully replied.

Her steps into the house were slow and deliberate, her body still adjusting to the recent surgery. Jens guided her towards the living area. As Matilde eased herself onto the couch, Jens went back to the car to grab all the luggage. He picked up Matilde's stuff from the hotel and her car, which was still parked at the track, this morning.

"I parked your car at the end of the street," Jens said once he got back. "I will bring your stuff upstairs. Do you need anything?"

Matilde squinted her eyes; she had never seen him this caring, if she was honest. She and Jens were never that close, the bond between her and Lars was much better. Perhaps it was because Jens was the oldest and moved out quickly. Jens moved out when he was eighteen years old, Matilde was only twelve years old and Lars was fourteen at that time. From that moment on, Jens showed up whenever he felt like it - mainly because he was part of the army. "Uh..." She carefully got up. "I want to take a shower, get rid of the hospital air. Maybe take my suitcase upstairs, but leave my work bag and purse downstairs."

"Yeah, sure. Let's do it."

"But Jens," she said and looked at her older brother. "If you want to go to the Grand Prix, please go. You took time off to be there, you came all the way to the UK, you have VIP tickets, you brought your friends... I don't want you to be here while you can be there, live your dream."

"Tilly," he smiled, it was a soft and caring smile. "My friends can have the dream experience, but I would rather stay here and look after you. I came here to see you work, to be with you, I came here for you. And yes, it is my dream to be a VIP guest at a race, but I'm sure there will be another opportunity anytime soon," he told her. He knew her well enough to give her a little bit more explanation than necessary. "Let's just relax, rest and recover." He took her in his arms, creating a safe space for her.

Matilde closed her eyes and let out a breath, accepting that she wouldn't be able to live her life like she usually would do for three weeks. She carefully wrapped her arms around Jens' torso. For the first time in years, they shared a meaningful hug, but it was a hug she needed. She missed home, she missed her family and this made her realise how far away her family actually was. Jens rested his head on top of hers and he just held her.

After a moment, they let go of each other. They went upstairs, Jens still supporting his little sister. While Matilde was taking a shower, Jens stayed upstairs in case he had to help her. He unpacked his own bag in the guest bedroom, doubting whether he should unpack Matilde's suitcase as well. After the shower, Matilde and Jens went downstairs again. Jens connected his phone to the TV, putting on his favourite Danish radio station - knowing Matilde would like it as well.

"How was the shower?"

"Quite alright," Matilde said. "But I want to wash my hair, but I can't somehow do it," she said frustratedly. "It's such a simple task and I can't do it. Once you can't do it anymore, you realise what you lost."

"I can wash your hair."

"No, it's okay. I can wait two more days until dad arrives."

"I can do it. It's a nice feeling to wash your hair after a hospital visit."

"You don't even know how to do it."

Jens raised his eyebrow. "Why do you think that? I have seen mum and dad wash your hair so many times - and the tantrums you created, drama queen."

She huffed. "Now you are pulling the longbow."

"I said what I said." He leaned against the kitchen counter. The kitchen was next to the living room, well, in the living room. "So?"

"Fine," she gave in. "But how were you planning on doing it?"

"Chair, sit, sink." Jens walked upstairs to get Matilde's hair stuff. When he got back, he set up the setting. He took a chair from the dining room and put it in front of the sink. He placed a towel on the counter, it had to be a cushion. "Sit down, ma'am."

Matilde sat down. "Now you're being scary."

"Why?"

"SInce when are you interested in doing this?"

He grabbed Matilde's brush and detangled her wavy hair, well, expired blow out hair. "I am just taking care of you."

"That's what scares me."

"Shut up." He noticed some small baby curls in her neck. He put a towel over her shoulder and flipped the hair on it. "Okay, lean backwards." Matilde threw her hair over the sink. "Comfortable?"

Matilde looked Jens in the eyes. "Yes, sir. I hope you cleaned the sink."

"Yes." He turned the water on and waited until it was a nice temperature. He wetted her hair and watched how the straight hair slightly bounced back into its natural shape. It was still wet, but her hair turned into a shape again. Jens put some shampoo on his hand palm and emulsified it. During the first wash, he put his attention to the scalp.

"Okay, but for real, since when do you know how to wash hair?" Matilde was perplexed, it didn't make sense. First, he would do everything to avoid talking about hair care, and now he knew what to do. She stared at him.

"Like I said, I watched how mum and dad did it."

"But that's like a million years ago."

"With the tantrums you threw, it isn't easy to forget it."

"Bullshit."

"Don't move."

Jens rinsed the hair and washed her hair again. Then he squeezed all the water out of her hair and put in some conditioner. He instructed Matilde to sit up again, so he could, again, detangle her hair.

"Ouch," Matilde whined after a few minutes.

"Don't fuss," he replied.

"You are hurting me."

"I am not. Just get over it," he responded.

"Be careful."

"Mati."

"It hurts."

"Matilde."

"I can't fucking help that I have curly hair. It is a pain in the arse," she complained. "I am so jealous of all of you. Why do I have curly hair? Why am I the only one in this family? Mum's hair is as straight as a pencil, dad's hair too, Lars' hair too, your hair too. Mine is curly."

Jens had to agree with that; Matilde stood out in the family because of her curly hair. "The mother of grandma Greta had curly hair. Then it passed two generations, for you to have curly hair. Why don't you wear it curly anymore? Why straighten it?"

"I hate genes," she mocked. "I don't like my hair curly, it's ugly."

"It is not."

"It is."

"Why?" He put the comb on the kitchen counter. "Time to let the conditioner sit for a moment." He sat down on the counter of the island, crossed his arms and observed his sister.

Matilde sat up and shrugged. "I just don't like it, I don't think it looks pretty. It makes me feel different from everyone else in the family."

"It is unique."

"And I don't like it."

Jens nodded. "And what about that Leclerc boy?" It was something he needed to talk about.

"What about him?"

"Why did he randomly show up yesterday? After what he did?"

Matilde bit her upper lip and looked outside. She couldn't speak for Charles, she didn't know why he showed up. "I don't know, you should ask him."

"Why did he pretend to be your boyfriend?" Jens continued to ask, it didn't make sense.

She sighed. "It's not like I can look into his head and justify his decisions?" Her face straightened. "I have no idea why he showed up and why he told the nurse he was my boyfriend."

"So..." He squinted his eyes, observing Matilde. "You are on good terms, I see."

Matilde chuckled, her tone holding a hint of irony. "I don't want to say good terms, but we are getting there, I guess. It's still complicated."

He raised an eyebrow, clearly not satisfied with the vague response. "Complicated how?"

"People are complicated, any type of relationship is even more so."

He studied her expression, searching for any signs of discomfort or evasion. She met his gaze with a steady one, her eyes reflecting a mixture of exhaustion and resilience. It was a look he recognised, the same one she wore during challenging moments in her life.

"Til," he began. "You've got enough on your plate as team principal. You don't need more complications, especially not from someone like him."

"Protective big brother mode activated," she mumbled annoyedly.

A chuckle left Jens' mouth, conceding the point. "Maybe I do. But seriously, Tilly, you need people who bring stability, not more chaos."

"I know, Jens. Believe me, I know."

"So, let me get this straight: you start at Ferrari and Leclerc struggles to welcome you. Understandable. Odd, but understandable. Then your team are dickheads by the Miami situation. You cleared the air. Followed by Monaco, where Leclerc is blaming you for his own mistakes, causing more tension between the two of you, portraying you as a bad leader towards the media. And then the moment in Austria, where he fights in front of the media with Max, pulling you down. During the meeting with Max and Christian, he claims that you are only here for Max, fucking him for your position and calling you a bad leader. And when you are hospitalised, he is suddenly emotional, distracted and caring? Showing up without permission, pretending to be your boyfriend, standing next to your bed while pouting? It is almost like he is in love with you but tries to hide his feelings by being a dick." Jens threw his hands up in the air. "Make it make sense, Matilde."

Fact, on fact, on fact. Also a confrontation. Matilde swallowed hard. "He is one of my drivers..." Her lips parted, trying to find some words, which she couldn't find. "I don't want to talk about it now."

"I get it, but do you understand why Lars and I are having doubts? This isn't normal behaviour. And I know you want to protect him because he is your driver, but you need to be careful." He jumped off the counter, turning on the water again, waiting for the right temperature. "Make sure he does not play with you, because his behaviour is affecting you on your mental health."

"Jah," she mumbled annoyedly and laid back to the sink again.

"Just be cautious. It's not just about the racing, it is about your well being."

"Yup."

The short answer said enough to Jens; Matilde didn't want to talk about it. He didn't know if she wanted to avoid the topic or just leave it for now, but she was annoyed by it. Jens rinsed the conditioner out of Matilde's hair and applied the curl cream. "No mousse?"

"Neh, not today."

He nodded. He remembered that his parents had to learn how to control Matilde's hair; they reached out to other people with curly hair because they had no clue how to handle it. Jens also remembered that after applying the mousse, or gel, you had to scrunch it. Even though they skipped that step, he scrunched the cream into the hair, also squeezing out the excess water. He grabbed a T-shirt and dried the hair by scrunching it. "There you go."

Matilde was on the edge to ask to blow dry her hair and straighten it, but she felt uncomfortable and wanted to lay on the couch. She also thought it was adorable how her big brother performed the entire hair care routine by memory on her hair, so she decided to let it go and dry out her hair. "Tak."

"Go lie down on the sofa. I will make you a cup of tea." Jens washed his hands and filled the kettle with water.

"You still scare the crap out of me with how you behave." 

Next chapter

Taglist: @itsjustkhaos@crashingwavesofeuphoria@maryvibess @chocolatefartstrawberry @snzleclerc @ironmaiden1313

[saturnicos]

— 𝐬𝐨𝐦𝐞𝐭𝐡𝐢𝐧𝐠 𝐚𝐛𝐨𝐮𝐭 𝐭𝐡𝐞 𝐬𝐭𝐚𝐫𝐬 | [megumi fushiguro x reader]

1 | 2 | 3 . . .

sinopse: a new year begins at the Jujutsu School. this first year seems to be busier due to the addition of a perhaps powerful novice sorceress and an unexpected vessel of Sukuna.

[t.w]: none

[c.w]: reader's gender not mentioned but implied to be female

[a/n]: the beginning always gives me writer's block, damn. maybe a little ooc at first, I hope to work on a fluid dynamic with the quartet :) also, english isn't my native language and sometimes I need to use a translator for descriptions with more difficult words, so let me know if there are any grammatical/interpretive errors!

You stared at the paper with the address written down in terrible, smudged handwriting on crumpled paper, looking away from the large structure in front of you. The intention of the Jujutsu School was to resemble a religious school on the outside so that it would go unnoticed by non-sorcerers, but something seemed so... Outside, you couldn't help but stare at the facade.

You waited patiently outside just as you were instructed in the admission letter, however, even though you had been here for twenty minutes, no one had appeared at the entrance.

— Good morniiiing...? — you hum audibly, leaning into the doorway, hoping someone passing by could hear you. Unfortunately, that wasn't the case.

You started to get upset until you felt a heavy hand resting on your shoulder. You felt a chill spread down your spine until you saw a head of silver hair lean over your other shoulder.

— What's up, newbie? — he spoke with a high, strident tone that made your eardrum hurt, while he smiled from ear to ear. The said one was Satoru Gojo, a sorcerer of the highest rank, known throughout the jujutsu community, whether this reputation was good or bad, but it exists.

Your eyes widened in genuine surprise, startling and jumping to the side to get away from the contact. The sorcerer, however, stood still with the same smile as he held out his hand, asking for the paper.

He read it quickly and then stuffed the paper haphazardly into his pants pocket, heading inside the institution, signaling with his hand for you to follow him. Confused, you switched hands with the suitcase you were carrying and followed him.

— Aah, introducing the school to the freshmen is so boring... — Gojo uttered audibly in protest, while also containing a humorous intonation.

— Next, newbie! You are free to explore the campus after settling into the dorms, there you will have all the information about classes and stuff, you know? — the sorcerer asked after finishing his monologue, resting his hands on the back of his head with a smile as he approached a large installation made of wood. You just nodded.

The supposed balcony of the facility — which you assumed to be the dormitory — was beautiful, adorned with some plants on some doors while being completely open, allowing in the light salty ocean breeze that bathes Japan. In addition to the beautiful structure, each door contained a silver plaque that spelled out the name of its designated resident.

— Hm, hmm, here. — Gojo promptly stopped, pointing to the sign on one of the last doors in the corridor that corresponded to his name. — This part of the dorm is exclusively for freshmen, people just like you, so don't forget to say hello.

Not so subtly, the sorcerer turned around and headed towards the exit, leaving you standing still, with no further information or guides on where to go. Without a defined direction, you just turned the doorknob and entered the room. It was a simple and slightly clean place.

The floor followed the same pattern as the wooden planks on the porch; there was a window — which at the moment was lightly covered by a beige curtain — facing the door, on the right there was a large wardrobe with a mirror, on the left there was his bed and a chest of drawers, which was adorned with a simple lamp.

It wasn't the most beautiful place in the world, but it was cozy, so you wouldn't complain.

You arranged your room to your liking throughout the morning, moving some furniture around, storing your belongings in the wardrobe and you even had time to decorate the walls of the room with some posters that you had brought in your suitcase.

Proud of your achievement, you finally stopped to see the schedule grid pinned to a bulletin board near your bedroom door.

Today's schedule consisted of combat improvement and general training, made up only of the general subjects taught in traditional schools, nothing related to jujutsu — yet. Looking more closely, the school days were more content, in addition to specialization subjects in sorcery, in common subjects that brought some knowledge in jujutsu practice.

In a few minutes you put on your uniform — made according to your requests to facilitate your mobility in combat and help you quickly use your skills —, threw your backpack over your shoulders and left your room, locking the door and putting the key in your pants pocket.

As soon as you put the key away, you looked at the landscape of the institution's field and remembered a small but extremely crucial detail: you didn't know the campus and, therefore, didn't know where the main building was.

As if some divine being had heard your low whine and despair about being late, the door next to yours opened, a figure with messy black hair coming out of the room also with a backpack.

— Good afternoon, excuse me? — you were ready to call the boy, walking hurriedly towards him while your eyes lit up with the possibility of having a free guide. — I'm a freshman and I don't know exactly where the main building is, could you give me a horizon?

— Just follow me. — he replied in a stoic and monotonous way as he headed towards the exit of the dormitories, without looking back.

You promptly quickened your pace to walk side by side with the boy, a painful silence filling the air as you took a stone path that you were unfamiliar with, the only current sound was that of gravel being trampled and birds chirping.

— I, huh, am Y/N L/N. — you said, trying to force an inviting smile as your gaze wandered from side to side. The boy also didn't escape that same feeling of restlessness and discomfort, but at least he felt relieved that it wasn't an introduction with a handshake.

— Megumi Fushiguro. — he was quick to respond, maintaining the same low and stoic tone of voice, without much emotion present even in his expression or gestures. The weight of the silence felt as heavy as a rain cloud about to collapse, and even Megumi was beginning to feel slightly uncomfortable at how strange the air felt. He might regret it later, but he decided to continue: — I'm also a freshman.

— Ah.. you seem to have been here longer however, since you know the campus. Hey, does this mean maybe we're in the same class? — Your tone of voice increased slightly, but not so loud that it was noticeable.

A first wave of relief came from knowing that perhaps you would have started the year with someone you could call a colleague, since, for you, making friends was not a very simple task.

The second wave of relief came when a relatively large structure was visible in his field of view; Megumi signaled it as the three year class building.

The classes aimed at general training went well, in short. It didn't differ much from the type of classes you took when studying at a non-sorcerers' institution, the only most notable characteristic was the preference for topics that would add fundamentals to sorcery.

The combat improvement class, however, was more complex and focused on the practical part, different from the general training that covered theory. As it was the beginning of the school year, nothing too complicated was covered during practice, just corrections of basic mistakes that most people make when fighting hand to hand. In addition to the fix, there was also an introduction to the use of cursed weapons and the benefit of choosing to fight with them instead of head-on combat.

This is also why Gojo was sitting on the floor, just like a child would be when playing with Legos, while he was selecting a weapon that might be suitable for you.

— I think this one might work. — he said enthusiastically as he stood up and extended a slightly curved katana smaller than the common models to you. It was a simple metal katana with a hilt adorned with shades of black and navy blue, but it exuded cursed energy.

— The weapon isn't always suitable for the sorcerer, several of the weapons we have don't fit the students, like Maki from the second year, for example, so try it out. — Gojo encouraged you as he rested his hands in his pants pockets, watching you from beneath the bandana that covered his eyes.

Apprehensively you held the handle of the katana, breathing deeply as you concentrated your cursed energy on the metal and focused on a target to hit: a tree located in the middle of the courtyard where the training took place, close to you.

In a fraction of a moment, you held the handle of the katana with all the strength you could and slammed the middle of the katana against the trunk vertically, not cutting the tree, but exploding the area hit, leaving the trunk with almost no support to support the weight. from the foliage and branches above. Poor tree, you lamented.

— Wow, good attack, freshman! — Gojo shouted in a vibrant tone, clapping his hands as he approached to see the damage done to the wood. — You need to practice your aim more, but it was good for a first time, it seems like you got lucky the first time with that katana.

After that, you gathered your materials in your backpack, in addition to storing the katana in a leather sheath for safety reasons, ready to return to the dorm since you now knew the right way.

— Y/N — Megumi's voice echoed in the room, making you turn around and see him slowly approaching with the same expression of indifference that, at this point in the championship, seemed to be the standard. You wondered deep down if he had any more visible emotions. — Don't know the way to the cafeteria? It's already dinner time.

— Oh, no, I don't know the way to anything other than the dorm and the exit. — you replied awkwardly as you tried to balance the weight of the backpack and the katana on your waist, finally finding a good way to walk with your things. Despite the dry tone, his voice didn't necessarily contain any type of negative emotion.

— Gojo has a mission prepared for us this early hours, by the way. He said he would specify when we left. — he continued with a brief monologue as he began to slowly walk in the opposite direction of the dormitories, to what you assumed was the path to the general dining hall.

Along the way, something notable was also how he seemed subtly looser. Not in dialogue, but in having taken the initiative to present some small topics of conversation, even if about the grade or comments about the jujutsu school in general. If it differed a little from the vision he initially presented — not that there had been a big enough change worthy of comparison —, you assumed that perhaps it was due to the performance in the combat improvement class; maybe he had a good impression.

Shaking your head to get rid of any thoughts that clouded your mind, you focused on looking at the visually beautiful structure that approached, thinking about what you would have for dinner at the same time that butterflies rose in your stomach at the thought that in not long it would be time for your first official mission.

[a/n]: it's been a while since I wrote long fanfics, so I'm sorry if it seems a little fast

anyway, thanks for reading this far <3

[a-killer-obsession]

Wanna say real quick if you're a fanfic writer and you're looking at my page like "ohhh they hit 500 followers so fast and they have a upload schedule and post twice a week, maybe i have to post twice a week to get followers" - Stop

This turned into a whole guide for newbies so more under the cut

Please do not use me as an example! Im disabled and unemployed which means i have time to write two chapters a week, please do not put that sort of pressure on yourself!!! I only let myself have a upload schedule because i keep a small backlog of chapters, meaning i have some buffer if my health is bad or i get writers block, and as yall saw recently i will take a break if i loose that backlog. If i was forcing myself to write two chapters a week on a strict deadline i would absolutely loose my shit and probably burn out very quickly. And to be entirely honest, I haven't seen much difference in follower growth now that I have a schedule versus when I was just posting whenever I remembered to. I really don't think a schedule makes a huge difference, I just like having one because it gives me some sense of routine now that I'm unemployed.

What im trying to say, especially if you're new to posting fanfics, is please dont stress yourself out by thinking you need a strict schedule for anyone to like your fic or follow you. You shouldn't be writing for followers anyway, write for yourself! Write because YOU want to write. And if you fall out of love with that writing, dont feel like you need to force it just to make others happy! When i get burnt out writing Wavelengths, I keep going because *I* want to get to the ending, I've been excited to write it for months. Its another reason i dont start writing new long forms until i have a generic plan of where im going, which is something i highly recommend. Having a chapter you're excited to write really helps when you're trying to find motivation.

While I have you here, let me lay down some general tips for new fanfic writers, especially for those who post on tumblr:

Write because you want to write. Don't ever feel like you need to cater to someone else, that's a sure fire way to get burn out

If you do get burn out: don't worry about it, either it'll pass or it won't. Maybe you'll drop that idea all together and move to something new. Don't sweat it, write what makes you happy. Forcing yourself will only make it worse and it'll show in your writing. Writing fanfics is a hobby, it should be FUN. Sure someone might come across your fic years from now and be sad that it's not complete but they'll probably only be sad for a few days at most and then they'll forget about it. Its not a big deal. Who knows, maybe you'll find inspiration years down the line and make someone's day by randomly updating after years of hiatus. It happens 🤷

Dont worry about how much engagement your fic gets. I know absolutely incredible fics that get barely any engagement, and some frankly hard reads that have a ridiculous amount. Its all just dumb luck really. Again - write because you want to

Don't sweat typos too bad. I recommend finishing your chapter/one shot, giving it a day or so, and THEN come back to proof read. I find doing this gives me fresh eyes and I often find a lot of ways to improve the chapter while I'm fixing typos. If you accidentally leave typos in there, don't worry too much. As long as it makes enough sense for people to understand what you meant, people will still read it. Just look at the first few chapters of Wavelengths for example, they're riddled with typos from swapping from 3rd to 1st person, but people still read them (I'LL FIX THEM SOON I PROMISE LMAO)

Don't worry about being cringe. Cringe is dead, make your characters as self inserty and over powered as you want. CRINGE IS DEAD. If you think its fun to write powers and tropes that you're worried will be cringe, fuck it, write it anyway. As long as YOU have fun writing it. Do you know how many "whoops accidental pregnancy" trope fics I've written? Every single one of my long forms has either had it, or planned to, because I like that trope! I don't care if its cringe, I will continue to get my characters knocked up

Some quick accessibility things:

Please left align your fic! I've seen people posting center and right aligned because it "looks cool". These alignments should be used sparingly! As well as things like italics and different fonts/font sizes/colours! They should be used to highlight small sections only! Otherwise they can make it very difficult for people with reading difficulties to read!

If you're posting on tumblr:

Make sure the majority of your fic uses the default black font. Some people set the whole thing to a different font or the "small" font or a different colour and I literally can't read them, and it makes me so sad! I'm sure I'm not the only one with this issue! Its okay to use other fonts for things like headers and descriptions, but for the bulk of your fic use the default! Theres a graphic designer out there somewhere who spent a long time picking the best font for the body text on this website for a reason!

If your fic is longer than a few paragraphs, use the READ MORE function!!! Either cut under a description or the first few paragraphs so people get a preview of your fic. You may think it's silly to hide most of your fic, but if someone, especially on mobile, comes across your fic automatically trimmed on the fyp, and likes your stuff, and they go to your account to see more and have to scroll for a million years just to get past your newest post, they're quickly going to give up trying to read your other stuff. Using the read more function makes it easy for people to browse your blog and check out more of your works!! It also makes it more likely people will reblog for the same reason.

Along the same lines: have a masterlist. This can be as simple as a pinned post where you add a link every time you post something new. This makes it super easy for people to check out more of your work!

If you have a long form/multi chapter I also recommend going to the previous chapter and adding a "next chapter" link when you post the next one. Not 100% needed though, if you have a masterlist that can be enough on its own, people just appreciate having that next chapter link for binge reading. PUT IT AT THE BOTTOM PLEASE FOR THE LOVE OF EVERYTHING. I hate when I finish a chapter and have to scroll for a million years to get to the top for the link

Feel absolutely free to use the way I format my fics and masterlist as example, but like I said, it can literally be just as simple as a list of links. I recommend listing the links at bare minimum as the title of the fic, and the pairing people can expect (including if its nsfw is a good idea too)

Speaking of NSFW: if your work isn't suitable for minors please make that clear! Even just a 'minors DNI' at the start of the post is good! If you wanna get fancy there are lots of creators who make lovely 18+/minors dni banners you can use for free, just google it and plenty will come up. If you're not adding a cut before the NSFW content then make sure you mark the post as for mature audiences (idk how you do it on the computer because I'm mostly a mobile user but on mobile you can find it bottom right, the icon with the two people). Not appropriately censoring your posts can result in tumblr restricting and possibly banning your account.

Finally, and this one is oddly specific to people who use google docs, but you can use a copy of this google doc to automatically add all the html to your writing so you can just copy and paste it into tumblr or AO3, instead of having to manually fix all the formatting. Do not just copy and paste AO3 html into tumblr, for some reason it has major issues with italics and will cause you a major headache. Just use the linked doc, its a super time saver, I've been using it for ages now

Okay thanks for reading bye

[wings-of-ink]

I also want to start and IF, im already a writer on wattpad and I want to expand my horizons but I have absolutely no clue about coding and stuff

Is it difficult to code?

That is awesome and wonderful! I highly encourage you to take the plunge and try it out. I would not say coding is difficult, but it's not exactly easy either. You're literally learning a new language depending on how deep into it you go. For me, the way I did it was to learn, say, basic phrases ("Where is your bathroom," or "I'd like a glass of water") and grammar for this language. I'm not fluent, but I'm getting by. You don't have to have it mastered before you start.

For a long-winded breakdown, see below!

I knew absolutely zero code when I started this out. I just knew I wanted to do it so badly. There are good resources online to help you as well, especially questions on forums because we are not the only newbies in this with questions. I find the Twine cookbook thing to be a bit of a nightmare to understand, lol. I am more a type of person that needs to see something in action or do something to truly get it. I cannot just read something and understand it at all.

Two things I did that helped me a lot was to start a Twine project and enter all the code I learned into it and I also started a story to test it all out. I made notes to myself in these to remind me of what they do and how they work as well. I still have those and use them when I learn new things or if I find a new macro that I want to use.

If the Twine documents don't work for you, do a simple internet search for what you need. I started to learn the Harlowe code first, and I honestly found that more difficult than Sugarcube. As a side note, when I started this, I didn't even know that there were multiple languages that Twine could use! When you find a guide or a forum post that is useful, save it! Copy/Paste it or bookmark it. Put the code in Twine and test it right away. You'll find that it all starts making more sense to see it in action.

I can't tell you how many times I've Googled "Twine Sugarcube *insert code issue or desired outcome.*"

I also recommend finding a free coding class just to familiarize yourself with the basic function of html. I did one on codeacademy.com. There's also youtube videos out there from people who really know what they're doing.

It's not all sunshine and rainbows, so go into it knowing you are going to have really aggravating moments. I had times where I was trying so hard to understand this stuff that ended in a few tears of frustration. I'm a person who believes they can learn to do anything, but it takes pushing through those frustrating moments to get there. Our brains sometimes literally try to get us to quit stuff when it gets hard - we are wired to take the easy way out and when it's not easy, the brain is like - THIS IS PAIN. But I feel that if you push against that anyway, you'll get over that wall and things will start falling into place.

Sorry for rambling and I hope this helps you in some way, Anon! ^_^

I could go on, but for your sake, I'll stop there lol. If you have any other questions, please feel free to drop them in!

[night-market-if]

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！﹒dear author, i really admire the way you do your storytelling. i’m going to be honest, at first i really didn’t like your take on interactive fiction. i finished book 01 and i was super frustrated by the ending, especially since i was a milo-mancer! i was used to reading IFs where the author’s tend to write the story to “satisfy a select group of player’s wants”, so playing the night market was completely different from the games i usually play. it wasn’t until i did a new play through with the previous perspective from the first play through in mind that i absolutely fell in LOVE with the story. it’s genuinely such a complex work. i really like how the MC is technically “the main character” (quite literally…) but you still make sure to focus on the CAST, too! thank you for responding (if you do) i hope you have an amazing day!

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i’m a newbie writer and i hope this isn’t invasive, but i would really like to know what process you went through to create “the night market” ! especially the characters and world building. how did you craft them? did it take a long time? since it’s interactive fiction, do you use a writing outline or method to help guide you through writing all the different paths?

those are all the questions i really have. you can respond with anything related to writing that you’re comfortable with sharing. i would just like to know about your writing planning in general, since i find it hard for me to really get started.

That is a really good way to put it. There are for sure stories that cater to a players wants. And I have always said that it is a valid form of storytelling and gaming. I just don't enjoy them as much so I won't enjoy writing it. Thank you so much for giving me another chance. I really appreciate it.

As for my process? I can give you my process and then firmly state that you should not use that process. LOL

I don't plan anything. I don't use any of the wonderful writing tools that are out there to keep chapters, lore, characters, world building, etc. I don't even know how things are going to end or what I'm going to write for each chapter. I am one of those writers that goes in blind and firmly believe that my characters tell the story. The only thing I can say that I do that probably helps me is write these characters a lot outside of the Night Market. I RP with them. I talk them out loud. I get to know them so well that they come to life when I'm writing and then I just let them wander.

Now that has of course bitten me in the ass before. Because I have had moments where I'll introduce something and then forget about it. Or realize much later that something should have gone in two chapters back. But, I learned a long time ago that if I storyboard anything out, I won't write it. The last two years is the most consistent writing I've ever done and I've been trying to write full blown stories for the last fifteen years of my adult life.

I don't recommend this process to people. I really really don't. But if you are someone that needs to have the story unfold for you as well, then maybe just try getting to know your characters enough. Because then you can put them in any situation and know exactly how they would respond.

[writingquestionsanswered]

Hello! I'm a complete newbie wanting to write. I haven't really written anything before other than school assignments and stuff. I'm feeling stuck on getting started? My biggest issue is I'm not all that a creative person so my ideas kinda suck. I can come up with one or two, but I don't feel the motivation to go for it because it's just a base idea with no point, no message or real "reason" in the story. I don't know why but I just can't seem to do the "just write" thing (I tried). Help? <3

Newbie Writer Struggling with Ideas and Writing

The biggest misconception newbie writers have is that you're supposed to be able to sit down for the first time, or fifth time, or tenth time, and just write this incredible story. That's just not how it works. For anyone.

Before we go there, though, I want to address something else you said: "I'm not all that a creative person..."

Writing is a creative art. Writers are usually creative people by nature. If you wouldn't consider yourself to be all that creative a person right now, you are well and truly starting at the beginning. Which is okay--it's not an insurmountable obstacle, but it is an obstacle that must be overcome. The first thing you need to do is hone your creativity. You need to become a creative person so that you have the creative well to draw from when you try to write. Luckily, I have a guide that tells you how to do this: Guide: Filling Your Creative Well

Once you've spent some time honing your creative skill, it's time to start building and honing your craft as a writer. The first thing I would recommend is putting your new creative skills to work by doing some writing prompts. Writing prompts can be found in books (try the library or a bookstore) and online (try Google and Tumblr.) Writing prompts are a great way to hone your writing skills because the seed of an idea is given to you, but you still have a lot of room to be creative. Another option is to do some daily journaling, talking about your thoughts, memories, or your day. A third option is writing fan-fiction, which many writers find to be a fun and motivating way to hone their writing skills. Just remember that the first stories you write... the first many stories you write... aren't going to be good. Just like when you try to bake a cake for the very first time, it's probably not going to be the greatest cake ever baked. But bad writing is a crucial part of becoming a good writer. We all go through it.

Once you've spent some time writing shorter fiction in the way of writing prompt stories, journaling, or fan-fiction--all while continuing to fill your creative well--you will start to find that the ideas you come up with are more solid and numerous. You'll have an easier time implementing those ideas and turning them into cohesive stories. Then you can worry about writing stories with purpose and, if you choose, some kind of underlying message. :)

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I’ve been writing seriously for over 30 years and love to share what I’ve learned. Have a writing question? My inbox is always open!

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[darling-i-read-it]

A Good Story

Harry Gardner x fem!reader

Word Count: 3.1k 

Warnings: slow burn affair, general creepy vibes ig? Lol, mentions of grief, harry being kinda shity but that’s what you’re here for <3 

Author’s Note: I felt like I should've maybe written more for this but I thought the ominous ending was kinda cool!! Lemme know what you think and I hope you enjoy <3

Requested by anon, Hello again, dear. Hope I'm not being a bother. I was the Anon with the Harry request from earlier and I can't thank you enough for taking the time to reply, that means the world to me 💗 The idea I had is for Harry x fem Reader who's an aspiring but struggling director. Their platonic relationship quickly derails into a full-blown affair. Feel free to take complete liberty of the plot and write it I'm any way you'd like. Andsty, fluffy, nsfw etc, anything you feel like, I know I'll love it regardless. Thank you for your kindness and for gracing us Finn lovers with your wonderful works ❤ 

I don’t own these characters. They belong to author/director/creator

(not my gif)

You had heard about Provincetown. You saw the guide books, the summer town that was only alive when the clouds moved aside to allow for the sun to touch the ground. Any beach town could be interesting in that sense, that it’s beautiful and secluded and inspiring. But that wasn’t what compelled you to come. It was the whispers that bled out from the town. There’s a certain charm in small town secrets that only rotate within the city lines. There’s something else entirely to be said about the small town secrets that reach through the online forums, the cities surrounding them. 

You heard about it through a bar you frequented. Frequented might be a strong word. A bar you went to on occasion when writers block hit you hard and you couldn't’ look at another camera. There were secrets about the people there, those who came when it wasn’t sunny any longer, those who stayed and silently sucked up the resources around them. 

You arrived in Provincetown a week after Harry Gardner and his family. You moved in right next to him, down the street in a smaller house. You were keenly aware you had gotten it for a killer deal. Something was wrong with this town and it might just be the inspiration you needed to really push past being an ‘aspiring’ director and being a ‘successful’ one. 

“Lots of newbies,” Austin Sommers announced. He leaned back in his chair at the Muse, a local bar. You were trying to get your feet on the ground still by searching for a place to work while you figured things out. You figured trying the bar first would be helpful. 

You heard Austin speak but didn’t know the words were directed at you. You gazed at the menu, reading off the special board. The lack of routine in your days was throwing you off. Even if there was no job here, you needed a drink. 

“I said,'' Austin tried again, “lots of newbies.” He walked up to the bar stool and sat down beside where you were standing. You turned to him, realizing that he had been speaking to you.

“What do you mean?”

“Well you’re new. I’ve never seen you here before. Just a week ago a new family moved in. This is gonna become a real stellar town if we keep bringing in the riff raff.” His voice was surprisingly not judgemental. You pursed your lips, deciding to ignore him. You looked to the bartender who gave you a gentle smile. 

“Hi! Are you guys hiring?” 

“Oh not another bartender,” Austin murmured. “You’re not here to write?” The bartender gave Austin a narrow look. 

“Not right now. But I know there’s a place down the road that is. I can give you the address if you want?” He was cleaning glasses, waning past the long nights when little people came in. 

“That would be great actually.” 

“It’s a little bookstore. It’s not very busy but the owner's wife just passed away or something and they need someone to clean the shop when he can’t.” 

“That’s awful.”

“Well his loss is your gain,” the bartender murmured. He turned around to grab a piece of paper. Austin leaned against the counter. 

“Pretty brutal huh?” You finally turned to look at him. The haircut didn’t suit him but you liked his striped shirt and long necklace. 

“Can I help you with something?” 

“I’m just giving you a warning sweetheart. From one person to another, this is not the town you wanna stay in.” You narrowed your eyes at him, trying to read if he was joking or not. 

“The brochures say it really lightens up in the summer.” 

“It’s not the summer isn’t it?” 

He unnerved you with his ominous warnings so you turned back to the bartender. He handed you a piece of paper. 

“Where are you staying?” the man asked. Austin leaned in intently but you didn’t feel comfortable giving your address and street to either men. 

“Around,” you promised. 

“You should meet up with the family that just moved in. Maybe you could help each other.”

“Are you by yourself?” Austin pursued. You gave him a narrow look. 

“Who’s the family?”

“Gardner’s. On the water, in the south part of town.” You nodded. You had no intention of seeking them out but wanted to leave this conversation. 

“Thank you for the place.” The bartender nodded. Austin looked disappointed but you didn’t feel too bad. You backed away and then walked out, sad you hadn’t gotten your drink.

-

You ended up going to the bookshop and the man didn’t even require a resume. He mumbled something about opiate addicts taking away all of the good workers in this town and he needed new blood anyway. You guessed he was still mourning his wife but he didn’t mention her. 

And that is where you met Harry Gardner for the first time. 

You were busy rearranging some shelves that had been well used when he came in. The bartender wasn’t lying when he said the place wasn’t busy. You were lucky to have twenty customers your entire shift. But it paid the bills while you worked up some inspiration. 

You heard the bell ring and the door swing open with a gust of wind. You stood up, putting on a smile to greet whoever it was. You peeked around a shelf and saw his curious gaze. You walked around it, carrying a stack of books in your arms. 

“Good morning!” you said with a smile. “How can I help you?”

He met your eyes softly. He was unmistakably handsome with hair falling over his face in strands.

“Hi! I was just coming to browse,” he said. You nodded. 

“Well I’ll be around if you need anything.”

He turned into a small section. You turned back to your shelf and started to put the books back. You had gentle music playing on the speaker by the counter. You returned to it in case he needed anything. He came out from between some stacks, already holding something. 

“Do you like it here?” he questioned. “The job, I mean.” It was sudden but you shrugged. 

“I just moved here last week,” you admitted. “But so far so good.” His eyes lit up. He had been looking at the books before but now you had his full attention. 

“Me too. Well, two weeks ago,” he said. You raised an eyebrow. 

“You wouldn't’ happen to be a Gardner would you?” He eyed you suspiciously. 

“How do you know that?” “Word travels fast. Some guy at the Muse mentioned your family.” He nodded slowly. 

“That tracks.” You shrugged. He approached the counter. He set down an old used copy of a book you had never heard of. “My names Harry.” 

“Y/N,” you offered. “How are you liking the surprisingly dreary town of Province?” He smiled slyly. 

“So far not great. Have you run into any of the addicts yet?” 

“I’ve not ran into any, no.” 

“I recommend not.” He looked tired. “My wife and daughter ran into one when they were on a walk the first day we were here.” 

“Not good?” “No, no it wasn’t.” You nodded, shivering. Drug addiction was no joke. It was a disease but it was dangerous. It was hard not to be scared sometimes. “What are you doing out here?”

“I am a director. Aspiring. I was hoping for some inspiration. So far I’ve found a lot of cold beaches and weird people.” He chuckled knowingly. 

“I’m actually a writer myself. I’m trying to get out the pilot episode of a script, that's why we came out here.” You raised an eyebrow. 

“Intrigue. What kind of things do you write about Harry Gardner?” 

“All kinds of things,” he promised. “Whatever I feel like.”

“A true writer.” You smiled gently. He met it with the same generosity. He wasn’t sure if it was because of certain circumstances but he liked you regardless. “What are you reading?” 

“I don’t know yet. Cover looked nice and I need to read something.”

“You didn’t bring any books?”

“My wife doesn’t really like clutter,” he admitted. Your eyes went wide. 

“Brave of her.” You rung up the book. “$9.55 for you today.” He handed you his card. He tried not to think of what Doris would say to him, spending money on something they didn’t really need, especially with money being tight. He’d like to think he’s worked hard enough for a small treat and a nice conversation. “Want your receipt?” 

“No, that's okay.” 

“Well it was nice to meet you Harry.” He grabbed his book. 

“It was nice to meet you too.” 

He was smiling as he left. You were left wondering how much he liked his wife. 

-

There was not enough to do in Provincetown. You could go to the bar filled with weirdos. You could take a walk and run into someone who looked like they were from Nosferatu. Or you could daydream about the guy who you saw walking down the street sometimes and wonder how he was doing. 

Harry came back only once after that and it was a normal interaction. You were fine with it being just that. Normal. You would admire him and his family from afar, wondering what it looked like inside of his house. You had no actual intentions of ‘seducing him’ or whatever the shitty mom dramas were doing. You let yourself feel feelings but also didn’t actively seek them out. 

That was until he came back a third time and asked you to get lunch. He explained that he wanted to pick your brain about the ideas you had and you were all too happy to take your break. He took you to a small diner nearby on the small strip of businesses. 

You sat by the window, watching as a couple of cars drove by. 

“So you came from New York?” you questioned. He nodded. “What’s that like?” 

“About as you expect,” he admitted. 

“Broadway every Sunday? Seeing the Statue of Liberty from your window? Eating hot dogs for breakfast?” 

“Okay maybe not that,” he said, laughing. You laughed with him. 

“Alright then give me something Harry. I only have such a long break.” 

“I’ve never been to Broadway,” he started. “There are so many people. It’s kind of shocking walking around here and being alone.”

“It’s eerie.” 

“It is.” He shrugged. He was leaning forward, his hands wrapped around his cup. “This whole town is eerie.” You nodded. You glanced out the window. It was a cloudy day. You were getting used to them. 

“It feels so…hidden. Like it’s gonna eat itself whole.” You shook your head. “How’s your family adjusting?” He glanced down and then back up again. 

“Not great.” 

“No?” 

“Doris…Doris doesn’t like it here,” he admitted. “But it’s helping my writing so much.” 

“What does Doris do?”

“Interior design.”

“Is she good at it?” He gave you a dumb look. 

“She’s my wife.”

“That’s not what I asked.” He didn’t answer, which was an answer. You nodded slowly, thinking about all the interior design places she could do here. There weren't a lot that came to mind. “How’s the kid?”

“Alma is…she’s a lot.” He shook his head. “You should probably be getting back.” You nodded. You should probably get back.”

“I haven’t finished my fries,” you complained. “Couple more minutes. Sorry I brought them up.” He shook his head. 

“It’s okay. It just kind of feels like another life.” 

You hummed in agreement as you ate a fry. 

“You need to get out more Harry Garnder.” He chuckled. 

“Alright alright.” You leaned back in your chair. “Do you write?” 

“Sometimes but mostly I just visualize,” you admitted. “But I need to start somewhere.” He nodded. 

“I guess I do the opposite.” 

“Don’t you visualize to write?” 

“I guess so. I guess you’re right.” He smiled. 

“You got anything I could read?” 

“I don’t think you’d like them,” he admitted. You raised an eyebrow. 

“How do you know what I’d like?” you accused. His smile remained but there was a sly tug at his lips. 

“I don’t. You’re right.”

“Lesson number one. I’m always right.” 

-

You and Harry frequented the small diner a couple of times in the following weeks. The meet ups became less courtesy and more nefarious in nature. You already had the vibe from him that he had ill intentions and you had never turned him down. It was just nice to talk to him. He never did anything. He showed no physical inclination of anything, never crossing the imaginary boundaries. But the topics got deeper and more nuanced. Conversations about life, writing, themes. Questions about things he hadn't talked about in years. Things that you promised yourself you would keep close to your chest. 

Until that one winter night. You usually get lunch during your breaks but slowly the times had gotten later. It was nothing said out loud. It was all habit at that point, never questioning the ordeal until it was over. What were you to him? What was he to you? 

It was cold, as it often was. He was wearing a thick black jacket, his cheeks a rosy red. You were also bundled up in your typical choice of coverings. You sat across from him, the air in the diner fluid with the weather outside. 

It was dinner time. He should be with his family, you thought and then disregarded it. 

“Where does Doris think you are?” you asked after ordering. You were both still wearing copious amounts of layers to combat the freezing temperatures. 

“The bar,” he explained. “I’ll probably go there afterwards,” he admitted. You pursed your lips. 

“Frequent the Muse?” 

“I try not to, unless it makes an alibi.” 

“That sounds like you’re planning my murder Harry,” you joked. He smiled slyly. He had a cup of coffee in his hands he wasn’t drinking. You wondered if it was more of a hand warmer. 

“Trust me, you’re the only thing keeping me sane right now.”

Admissions like that confused you. His actions never seemed to follow through with his words. 

“What, you haven’t made more friends here yet?”

“I don’t have time.” 

“You could always cancel one of our lunches.”

“No,” he said, far too quickly. 

“I won’t be offended Har.” He shook his head. His eyes were stagnant down at the steaming cup. 

“I like seeing you.” He said that like it was an illicit affair. You shook your head. 

“I like seeing you too. You need to branch out.”

“You’re not my mother,” he quipped but it felt more defeated. “I’m sorry.” He shivered as the door opened. The bell rang, indicating a customer, and in with them came the cold. “It’s freezing. You aren’t wearing enough layers.” 

‘You’re wearing just one,” you told him. 

“Alright, the usuals…” Your waitress interrupted the train of thought and put down your food. The warmth of it was nice. It was odd to you that you had a usual. You were a small town girl now, even if you didn’t believe it yourself. 

“Thank you so much.”

“Thank you.”

You and Harry’s voices overlapped in gratitude as you looked down at your plate. The sun was setting. 

“She doesn’t mind you don’t stay for dinner?” you asked because you didn’t know what else to do but push. 

“No,” he admitted. He didn’t talk about her much. He talked about his sixth grade trauma but never the wife and child. Was it guilt? Disinterested? Or just general indifference? “Can you sit over here? Maybe we could share some warmth.” You didn’t make a face or anything. You got up and sat on his side. 

You brought your plate over and took a bite, like everything was normal. The sides of your bodies were flush. You had touched him before but not so much at once. He glanced at you. 

“Thank you,” he breathed.

“Anytime,” you promised. You swallowed your bite and looked up at him. Your eyes were so close. You could practically see his train of thought. The small diner, the married man, the same booth. 

“This is quite cliche isn’t it?” he questioned. He leaned against the wall but he was still touching you. 

“Yes, yes it is.” You moved your food around. “But I think cliches are used for a reason. They’re such a generalized feeling but have lost their meaning. Isn’t that sad?” 

“It is.” 

Kiss me, you thought. There would never be another time like this one. He wanted to do it and he couldn’t hold back much longer, you knew it. You looked at him through your lashes, begging him silently. 

When he did kiss you, you wondered if he had read your mind. That’s how well he seemed to know you. The kiss was gentle and unassuming. No one would guess the emotions lying within. You grabbed his hand, holding it. This didn’t even feel like public. This felt like your own personal world, like the one you could have had before everything was so different. Before things were so wrong. 

When he pulled away he had no sense of regret over his eyes. You accepted it, the guilt, to come quickly. It was like he had temporary amnesia for the whole life he led. To the reason he was here. 

“This would make a good story,” he whispered, laughing gently. You rolled your eyes at the break of the moment. 

“Yes. It would.”

[topazadine]

"How Do I Start Writing?" (Or; A Psychoanalysis of Newbie Writer Questions)

This is for my aspiring writers here, who have never done much more than write essays for school.

If you go onto the r/writing subreddit and type in this exact question, you will get pages and pages of posts going back years, most of which have about 15ish comments. And most of those comments will be something like:

Or, this super bitchy response:

And yes, "just write!" is helpful in some way, I guess. But it doesn't actually get to the root of the matter. It doesn't acknowledge why someone would ask this question in the first place.

It's also kind of insulting, because the people asking for advice about writing already know they need to write. They know that writing actually involves doing the writing.

So why do newbie writers keep asking this?

This Question Probably Isn’t About Concrete Advice

Stay with me here. Stay! Good.

These fine individuals are on the internet. They have likely used Google at least once, perhaps to look up a recipe for an apple crumble or to spoil a book they didn’t feel like finishing.

Or, like me, they’re searching things like “does my dog love me” while their dog is literally curled up in their lap. (I just want a second opinion, you know.)

My obsessive Googling to psychoanalyze my dog’s every move is exactly what is happening with said posters, too. They want external validation that they can write. That they have permission to write. That they are capable of writing.

This may not be true of everyone that posts this question, but I like to believe that the majority have the wherewithal to seek information on their own. After all, it takes more effort to make a Reddit post and type out a short message about your backstory than it does to put a single keyword into a search engine. They probably know there are thousands of good writing guides out there.

So it’s not laziness, or absolute befuddlement about the concept of writing; said inquisitors clearly do know how to read and write, or we’d never know of their plight.

No, this is about validation: “See me! Hear me! Tell me it’s okay! Assure me I won’t fail!”

And that is fine. It is fine to need those things. We all need comfort sometimes, and I’d never shame someone for wanting some support.

They want someone to tell them, personally, how to write. And to tell them that they can.

But why ask for support that way, then? Because it’s less vulnerable and painful to simply say “how do I write” than to admit what you might really feel deep down:

“I’m scared that I’m going to mess up. I’m so overwhelmed, and I’m thinking of all the times that I got dinged for not including something in an essay, and it’s stifling my desire to write. I have all these good ideas in my head; I imagine how fascinating they’d be to explore. But I get to that GDoc, and I panic, and my brain goes as blank as the screen.”

And the reason, I believe (though I may of course be wrong), is that you want a list of rules like you’ve always gotten before.

Asking “How to Write” Reveals a Need for Structure

You are desperately hoping someone will give you a prompt, a list of things to check off, because that’s what you have been taught that you need when you write.

If you have never really written for fun, you might be intimidated by that blank page that only you get to choose what to do with. There’s no fill-in outline, no list of resources … there’s nothing but limitless white space that belongs only to you.

Depending on how you look at it, such a concept is either the most exciting thing you can imagine or the most horrible thing in the world.

But, dear writer, we can’t do that for you. We can’t give you an outline for your book, and we can’t just promise you that if you do X, Y, and Z, everything will be okay.

We can give advice based on what works for us, whether that is hyper-specific things like our plotting format or the ways we develop characters, but there’s no guarantee that it will work for you personally. Maybe we can direct you to good writing guides, but those may not always be super helpful anyway.

Creative writing is far more individualized than academic writing, which is “include X amount of resources, answer Y question, and provide it in Z fashion.”

Or, we could snark at you and go "just write!" as if that helps you. Which it does not.

No, here's what you need to realize, internalize, and chew on before you start writing.

You’re the Boss Now

Most of the people I see who ask this question are younger, either in high school or college. At that stage of life, you have never really been in control; you may have responsibilities and stresses, but someone else has always given you a pathway to success.

You are told when to get up, when to arrive somewhere, what to bring, what to complete and at what time. At least one person is always there to check in with you, to grade your work, to give you specific guidance on what to do next, and to give very clear pass/fail feedback telling you whether you did well or horribly.

With creative writing, you take that role instead. You check in with yourself. You assess your own work. You find the guidance and identify the problems.

And you, of course, decide whether you’re happy with it or not.

This is not to say that other writers can’t be of help: certainly having a mentor or two is invaluable, because they can see the issues you might not see yourself and help you troubleshoot ways that will work for your story (that you are the boss of).

People can give you advice on specific issues you have, but they cannot give you a list of things to follow. If they do, you might as well be ChatGPT, and that’s no fun.

There is no secret recipe to success in writing, because every piece of creative writing is its own beast.

There Are Just Two Firm Rules of Writing

Just two. I am genuinely serious here. Anyone else who says there are dozens and dozens of rules is bullshitting you.

So, get out your notebook. Prepare your highlighters. Preemptively put your hand up to ask questions. Listen carefully. Here are the rules.

Writing consists of words placed in a logical order that is meant to communicate something to someone (maybe you, maybe many others).

This is what makes writing a book different from writing a shopping list.

Generally, "logical order" means that you will have a capital letter at the beginning of the sentence, and then there will be more words until you come to a period, question mark, or exclamation point. You will then continue doing this same process for a whole paragraph, and then another, until you no longer have any words left to put anywhere.

After that, you’ll probably have to remove a few. Or maybe add them. Shuffle them around a little. Shuffle whole sentences and paragraphs, even.

There are subrules to this one that consist of things like grammar, punctuation, syntax, and so on, but they all fall under the heading of “communicating in a way that other people will understand.”

That’s all grammatical rules are, anyway: the literary social contract. We get mad at people for breaking them because it makes the rest of us look bad.

... And You Have to Keep Doing It if You Want to Be a "Writer"

I remember meeting someone once who proudly proclaimed herself an “authoress,” but she had never published anything, and she admitted, without an ounce of shame, that she had not written anything in seven years. This was when I was like 21ish and she was the about the same age, so … being generous, she had not written anything since age 14.

Seven years is a long time. Her last writing creation would be in first grade, eating snacks and falling off the monkey bars.

Yeah, I would not consider that an “authoress.” That would be someone who wrote something once and then just basked in the glory of it without doing any of the work.

Think about it like this. Most people in licensed professions need to get their licensed renewed every two years-ish, right? And they have to take continuing education courses during that time.

If a nurse lets their license lapse, they either get in big trouble for operating without a license, or they become a former nurse. They cannot just skate through life being a nurse without continuing to sharpen their skills and proving they are still capable of doing the job.

Writing is the same way. I’m not saying you have to write every single day or you’re not a writer. Even the most skilled professionals need some time off.

But, like a nurse, you need to continue working at it. You need to keep learning, and you need to practice.

It can be as simple as a ten-minute freewrite before work, or committing to 500 words in the evening. Maybe you take one day a week to review your work and outline. If your life is very hectic, perhaps you schedule one hour three days a week to just do something with your writing.

And, as you will see everywhere, reading is a part of writing too. All kinds of reading, whether that is:

The news

Nonfiction books

Blog posts about writing

Beta reading someone else’s work

Literary novels (preferred option of course)

So, with a mix of actually doing the writing and reading about the writing, you can consider yourself a writer.

But you have to do it regularly. Consistently. Incessantly. Until you die.

Doesn’t that sound wonderful? It sure does to me. Not the dying part, but the rest of it.

And, Dear Writer, You Will Fail.

All writers fail. We fail hard and we fail often. We write awful stories, we get ripped apart. Someone tells us that we might as well pack it in and be a rodeo clown instead.

But that is part of the process. That is what makes you a writer: failing a lot, then failing a little less, until you’re mostly not failing (only sometimes).

You need to accept that you will suck at first.

Everyone does whenever they’re learning something. This is especially true if they are taking a skill they already knew (putting words in front of each other) and doing it differently.

Transitioning from plain-jane Five Paragraph Format writing for schoolwork feels uncomfortable because you’ve had certain rules jammed into you, berated at every turn if you don’t execute them perfectly.

All those papers bleeding red ink because you didn’t start with a topic sentence make you internally flinch when you think of not doing exactly what is asked of you.

This, I believe, is part of the reason that many new writers get so much comfort from the rigid prescriptivism of things like “show don’t tell” – because that’s familiar.

It’s daunting to realize how limitless fiction writing is: how you could give five writers the same prompt and they would turn out something totally different until you can barely tell that they began at the same starting point. So new writers retreat into their rule barricade and grow snappish if anyone points out that those are training wheel tools, not meant to be clutched at forever.

Because they’re scared of failing. They think that if they stick to the rules, then it’ll all be okay. Maybe that’s true, but something else is more true (is that possible?).

Failure is not a bad thing. Giving up is.

If you’re not making mistakes, you’re not learning anything because you sprung from the godhead as the lovechild of Shakespeare and Sappho. It’s great to fail as a writer! Welcome it! Because every time you fail, it means you tried at all, and it means you have an opportunity to do better.

The only thing you cannot do is give up. If you do that, you have not just failed on one story or one submission or one whatever, you are a failed writer.

Believe In Yourself

Even if no one else believes in you, you need to believe in you.

Believe you can do it. Know it will pay off.

Make it a habit to reread your old work and compare it to your current work. You’ll see an amazing amount of growth after a while, and it will only make you more excited to keep going.

And you know what? Even if you don’t believe in yourself yet, that’s ok. Because I know you can do this. I believe in you already.

Now that you're revved up and ready to go, maybe you'll consider purchasing my book, 9 Years Yearning?

9 Years Yearning follows two young men (those guys up there actually) as they study at the War Academy, future protectors of a country perpetually besieged by their neighbors. In between Codes of Valor and Military Tactics classes, Uileac finds himself growing intrigued by Orrinir, a boy who is rough around the edges but deeply sweet inside. They fight, they support one another, they ... act like total fucking idiots who can't bear to share their feelings. And there are horses, too.

If you do decide to purchase my book, don't forget to leave a review!

They are crucial for visibility on Amazon, which uses all reviews (good and bad) to determine whether a book is worth anyone's time.

Also, I've been told that if you leave nice reviews on indie books, you'll never drop your PB&J sandwich jam side down ever again. Isn't that wonderful? Give it a shot.

[nanowrimo]

How to Write Through Second Book Syndrome

Second Book Syndrome is a unique experience that can affect any writer. Today, author Uju Asika talks about what she learned while tackling Second Book Syndrome and gives advice on navigating it.  There’s something immensely powerful about completing your first book. For a brief moment, you feel invincible. After all, pretty much everyone you meet thinks they have a book in them, but not many people actually sit down to write it.

I wrote my first book, Bringing Up Race, in the midst of a global pandemic. Writing my next book, a picture book for younger readers, was a much less stressful experience. So it was actually with my third book, aimed at grownups again, that Second Book Syndrome kicked in.

You’ve probably heard of sophomore album syndrome (see Lauryn Hill, The Stone Roses) aka the sophomore slump that, apparently, can happen to anyone from athletes to second year college students.

Second Book Syndrome isn’t talked about as much and yet it affects almost every author on some level. Whether you’re a million-copy seller, a mid-list author or a relative newbie, you grapple with the same insecurities and nightmare scenarios. How do I write something as good as or better than my last book? If my first book did well, was it just a fluke? If my first book sold poorly, is this book my last shot? Will it meet my readers’ expectations or am I going to get troll-bombed on Goodreads? Am I establishing an author brand or have I niched myself into a corner? Can I experiment with voice or will I get laughed at by critics? Do I even have it in me to write a WHOLE OTHER BOOK?

Now that you’ve finished at least one book, you might feel like you’ve got this shit nailed. But the tricky thing about writing is that every time you open a blank page, you are starting from scratch. And every time you face a blank page, you are forced to meet yourself there, again and again. No matter whether you’re writing fiction or nonfiction. There’s no escaping yourself and that’s what makes it so hard, so vulnerable and potentially, so transformative.

My latest book, Raising Boys Who Do Better: A Hopeful Guide for a New Generation, came out last month. Foolishly, I had it in the back of my mind that writing this book would be a relative breeze. In some ways, it was harder. I had so much Resistance — the negative force that pushes back when you try to do something that matters, as Steve Pressfield talks about in The War of Art.

I also had to deal with the impostor syndrome (a close cousin of Second Book Syndrome) that whispered in my ear that I didn’t have another book in me. That I had used up all my smart ideas and pretty words. That I should stick to short form content and leave the real writing to the professionals.

So how did I get over this? What can you do when you’re in the throes of Second Book Syndrome and feeling like you’ll never write another sentence again? Here are a few things that helped me:

Make a Plan

If you identify as a ‘pantser’ rather than a ‘plotter’, you’re probably shaking your head at this. But it doesn’t have to be a full proposal or outline. Your plan can be as simple as a journal entry, a short mission statement, a sentence describing your premise, or a note to self about what you’d like your reader to learn, feel and experience. Making a plan and reviewing it from time to time can help keep your project alive when you’re suffering from self-doubt, comparisonitis and other symptoms of Second Book Syndrome.

Give Yourself Permission

The only way to release yourself from the pressure of writing your next book is to liberate yourself. Give yourself permission to write badly. I mean, really really badly. Permission to write something that sounds nothing like what you wrote before. Permission to play, to dream, to procrastinate. Permission to research until your head is bursting. For every project, I always keep a notebook so I can write by hand and make a mess and scribble pages of absolute drivel. I can spend hours writing around the edges of what I’m actually trying to explore. I encourage you to start every new project by writing yourself a permission slip. When you give yourself permission, the words might stick and splutter for a while but eventually, they flow. After that, the magic is in the edit.

Drown Out the Noise

We’re surrounded by noise all day, from social media traffic to our own mental chatter to those Amazon reviews (gulp). It’s hugely distracting and can be a drain on your creativity and confidence. Look for ways to drown this out, whether that’s through meditation, writing retreats, long nature walks or journalling. My simplest trick is to put on some noise-cancelling headphones and turn the music up. This might sound counterintuitive but listening to music puts me in a headspace for writing without any filters. Also, as a mother who writes around her family life (the kitchen table is my office), I’ve used headphones for years to signal that I’m at work and to keep the cacophony of my kids at bay.

Get Drunk

When you have another book to write, it’s easy to feel lost at the beginning. What to write and how to say it? When this happens, I immerse myself in storytelling. The poet Charles Baudelaire famously said one should ‘Always Be Drunk’ and it’s a quote that I live by. I don’t mean Hemingway-style binges, I mean being drunk on stories. I consume books, podcasts, films, TV shows, songs, art shows, conversations, eavesdropping, everyday life. I feed my habit and my habit feeds my writing.

Focus on What You Can Control

Creativity is mostly trial and error. Art is subjective and you can’t control how your work will be received by an audience or by critics. Often, success hinges on an indefinable mix of luck, talent, hard work, timing, money, network, reputation and… did I mention luck? Through all this, the only thing you can control is how you show up. I do my best to show up for my readers in a way that’s engaging, impactful and entertaining — both on the page and in real life. Other than that, the rest is not up to me. All I can do is keep showing up.

Track Changes

When you’re editing a piece of work, it can be helpful to track changes on a document. But this isn’t what I’m talking about here. What I mean is keeping track of the changes that happen because you had the courage to put your work into the world. I screenshot comments from readers on social media who tell me my books have changed the way they think about race and identity. I save a file of testimonials from parents who say I’ve shaped how they talk to their children about these tricky topics. I also keep notes on what I’ve learned and how I’ve grown while writing a book. All this is a reminder that so much of writing (and reading) isn’t just about the product or the story but about who we are becoming through the process.

Lean On Your People

Probably the most useful thing you can do as a writer is to find your people and lean on them. Obviously your closest friend/partner/family member who enjoys your writing or offers great advice can be invaluable. But as a writer, your people are other writers and it’s essential that you seek them out. Follow #writercommunity hashtags on social media, join a writers’ group or membership, befriend other newbie authors when your book comes out. You need to be in community with other writers who get it. Especially when Third Book Syndrome comes knocking…

NaNoWriMo Writers Board member Uju Asika is a multi-award nominated blogger, former journalist and TV screenwriter. She is the author of Bringing Up Race: How to Raise a Kind Child in a Prejudiced World and the picture book A World for Me and You (Where Everyone Is Welcome). Her new book Raising Boys Who Do Better: A Hopeful Guide for a New Generation came out on June 1. You can order the book for free worldwide delivery on Wordery: https://wordery.com/raising-boys-who-do-better-uju-asika-9780241608418

Uju is launching a creative writing service for developing and aspiring writers, learn more here!

[gorbalsvampire]

So, i'm making a list out of all the stuff people recommended for V:TM but also i'm interested to see what fans say. I guess this is your "please info dump to a newbie if you have time" card. Like anything at all you wanna share about V:TM I'm 100% open to reading! I'm particularly interested in the Salubri clan for some silly reason so especially if you have anything related to them I'd love to hear it!

I don't do so great with "anything at all" as a prompt, my brain ain't wired that way, but you gave me SALUBRI and that I can do something with.

Salubri fascinate me as a writer/developer/storyteller kind of person because they're one of those concepts that is... fascinating as a game function, and a metaplot element, but kinda hard to break down into an actual character? To the point that, when V5 first reintroduced them, it basically said: concept doesn't matter. The fact that they are Salubri is going to be enough to bend the chronicle around them. They are vanishingly rare, hunted to extinction because they taste good and have been subjected to centuries of propaganda, and Who They Were is massively less important than What They Are.

This flies in the face of everything Vampire: the Masquerade tells you a player character should be, especially V5. When the Companion came out, Justin Achilli all but sat you down, put a fatherly hand on your shoulder and said "you're not supposed to play these, but this layout is how we communicate information." Because that worked so well before. Everyone who has ever Posted about wanting to play a Baali or a Blood Brother or a Harbinger of Skulls, raise your hands.

And in the past, I too have tripped and fallen over this root in the ground. The Salubri PC in my very first Dark Ages game was a big part of that game's failure. I was in my late teens and had absolutely no idea how to manage a PC with a secret that must be kept but was also tied to core operations of their characters and the high octane introduction blew the whole secret sky high and that game was, in short, a wet fart.

But I have seen Salubri played. My friend and illustrator @sluggybunny had a genuinely monstrous Salubri OC who was driven by the same compulsion to help as the rest of his clan, but did it in the stupidest possible way. He was one of the Seven - the Salubri Embraced by elders whomst they then diablerise, coming into vampirism as a member of the eighth generation and far more powerful than the average fledgling - and he took that as a template. Eating souls made him stronger. It would make you stronger. Diablerie was the answer to all of your problems. He was everything the Tremere propaganda said the Salubri were, and he was also a stupid sexy white trash twentysomething who looked great in a mesh top, fucked like a jackhammer, and mostly communicated in emo lyrics. Total villain protagonist.

And I think that's the key to playing a Salubri. Their circumstances demand that they hide - their Blood and its powers literally compel them to help. The Player's Guide has both their rules and four good hooks for hanging a character off. The Seeker after Truth would fit right in with my Dark Ages coterie, the Reluctant Healer is not a million miles away from one of my friends (you know who you are), the Monster Against Monsters is the classic "paladin in a party of murderhobos" odd man out and the Spy For Hire is the mercenary flip on that, asking what kind of skills a Salubri would accumulate to survive and what else they might do with them.

You will need to do something quite crucial, though. Salubri, as a clan, are tied to the concept of Golconda. The concept of Golconda is very badly defined in the game, for reasons that I've written about before, and you are going to have to do the work on figuring out what Golconda is for you (and, hypothetically, if you actually want to play one, for your Storyteller and the people at your table, because that's something that needs to be consistent for everyone).

I hope this is good. I don't tend to Consume Content about Vampire or recommend that as an approach - you'll learn more from closely reading the rulebook and thinking about your favourite vampire stories and why they work and then reading good historical fiction and scholarship. It may also help to watch/read the stuff that's atomic to Vampire, or emblematic of it because of parallel evolution. Here's some movie recs to get you started.

If you'd like a Salubri character sheet knocked up, I could do that! That's a thing I do sometimes. Let me know.

[frameacloud]

Hello! I was wondering if you or your followers have any recommendations of draconic resources? I’m mainly looking for writings / websites on what it’s like to be a dragon or guides to help questioning dragonkin, but anything would help tremendously, thank you.

Hi, Vergil (@falconiforme),

Thanks for the ask. Here are some writings and other information that I recommend for dragon otherkin. I hope to see other readers add more.

As you read these, keep in mind that dragons are very different from one to the next. We don't need to all have the same beliefs, opinions, and experiences as one another to be dragons. Dragons come from all walks of life, and are members of different religions. Some of them believe in magic or supernatural phenomena, some don't. I chose writings here that reflect some of that diversity in the history of our community, rather than pushing a particular view. These do tend to be older articles, because they are the ones I've gotten to know the best.

First, what are dragons? Or what are dragons to you? Rene's essay from 2005 "What is your definition of a dragon?" in the Draconity Resource Project site talks about how dragons are diverse to the point of being undefinable.

Another article on that site, Avatara Raki's "An Introduction to Draconity" from 2006, talks more about the experiences of dragons living as humans.

Some call themselves dragon otherkin. There have always been some dragons in the otherkin community. The otherkin community proper started in 1990 in an online mailing list for elves and others. (The Internet made it easier for unusual kinds of people to find one another, but that's not the only place where we are. We know that there were people like otherkin for decades before the 1990s, at the least. Community historians such as myself and @liongoatsnake have researched those.) Realizing that you're otherkin is called Awakening in that community. Guides for questioning or Awakening otherkin of all kinds should be useful for dragons. I recommend these:

Sprite Rêvenchate's "Identifying your Otherkin Species," from 2004. This covers a variety of methods and ideas to think about.

Tiernan's "From the Heart Out," from 2002.

Miniar's "The Scientific Approach," from about 2012.

Tirl's "The Shadow of Myth," from 2001. This says that when you're questioning and choosing a label, it's important to get to know the actual myths that your kintype (dragon) is based on.

Some call themselves dragon therianthropes. There have always been some dragons in the therianthrope community, too. The therianthrope community started in about 1994 in an Internet fan group for werewolves in movies and folklore. Apparently it sprang up independently of the otherkin community, not as an offshoot from it, so they have different words and ideas about similar experiences. An article about therianthropy written by Jakkal in 2001-- who is one of the most influential writers of the therianthrope community in the 1990s-- talks about dragons and other mythical creatures as not so different from real-world animal therianthropes. That community used to call realizing that you're a therianthrope "awereness," which is a pun on "werewolf." Guides for questioning therianthropes of all kinds can also be useful for dragons. Such as:

Katmandu's "InstaWeres," from 2001. This is about how only you can know who and what you are.

Jakkal's "Introduction to the Newbies' Guide," from 2001. About common mistakes to watch out for.

Quil's "Know thyself, know thy animal," from 2006. About how to discover yourself through doing things, not just sitting and thinking.

Mokele's "Spirituality and data sets," from about 2002. About how to apply the scientific method to questioning your therianthropy.

Dragons also have their own subculture, which started in the 1990s in an Internet fan group for dragons in fantasy and folklore. In 1998, Baxil the dragon wrote "The Draconity FAQ" as a guide for such dragons in alt.fan.dragons. Some of this article is just about the culture in that group at that time, so it's a bit dated, but it is about what it's like to be a dragon.

A dragon called KaniS has been continuously running the Draconic.com forum for dragons since 1998. That site's FAQ talks about not only the site itself, but what it's like to be a dragon, and some of KaniS's personal views about that.

Otherkin and therianthropy are not religions. I've known of dragons whose religious/spiritual paths are Pagan, Christian, Hindu, practitioners of Santería, irreligious/atheist, and others. DrakeLightBearer's article "Am I a dragon?" offers advice specifically for Christians who are questioning whether they might be dragons in spirit. The otherkin community started in connection with Paganism, so a lot of its early writings assume you have that background. At the moment I'm not finding any handy articles that say they're specifically for questioning dragons or other 'kin who are Pagan or of other religious/spiritual paths.

I hope this helps. I'm interested in any other resources that readers might add.

[nerdyjournals]

hi!🤍 saw you’re open for q&a, and i was wanting to know your best advice for avoiding feeling overwhelmed while working on something? i’m currently working on my first ever series (mermen!hyunlix), and i’m so excited to bring it to life, but wow it is so much work and energy finding the right words, and i have so much story to tell! i’m just worried about getting burned out before i even really get going. any advice or tips, especially for a newbie writer?

First of all, congrats on your story! Now buckle in cause this is gonna be a bit.

There are a few things that I usually do.

Plotting - Chapter by chapter or by using the plot map of exposition, rising action, climax, falling action, conclusion // Building characters

1.1 -I usually do a brief summary of what happens per chapter, just like the key things that need to happen. 1 to 4 sentences max.

Ex. (From the original plan of Escape to District 9)

This keeps me from feeling overwhelmed as it is just a general road map for the story and not a step by step instruction guide. Your story will bend and twist and adjust as you write, so having a general idea of where things go helps. You can always add, remove, or combine chapters later.

1.2 - Character Sheets - breaking down the character to their basic elements

In breaking down the character to their basic wants, goals, flaws, strengths, weaknesses, you can have an idea of how they will act throughout your story.

You can always refer to these sheets while writing to make notes about their actions and other things. My character sheets also function as vision boards. So Pinterest will become one of your best friends.

Practice

2.1 - Write for yourself

At the end of the day, you're writing this thing because YOU want to read it. Don't pay attention to the numbers or the likes or anything really.

If you think the words don't sound good or don't sound professional enough, don't panic. Every writer has their own way of "speaking."

2.2 - Writing one-shots and drabbles are great ways of practicing and developing your own writing style. Finding your own flair will be what makes the readers keep coming back to read more.

In the end:

The most important thing is to listen to your body. If it has no energy, take a break.

If you have the inspiration, write it. Keep a journal for those ideas and type them when you can. If you need inspiration, do the thing that brings it back.

Write your scenes out of order. Write your ending first. Do whatever you need to get through without overworking yourself.

Creativity isn't linear. Burn out will happen. Writer's block WILL happen.

Write the story YOU want to read.

I hoped this helped a little bit! Good luck with everything! 🩵🩵