#how and when and where to introduce characters and worldbuilding

[literaryvein-reblogs]

Hey there!

I have something I haven't worked on in almost a year and I hadn't written the chapters in order. As a result, I'm left with plot holes.

Do you have any tips on getting back to work after a long time and how to deal with plot holes?

Love your work, by the way :)

Writing Notes: Plot Holes

Plot Holes - inconsistencies or gaps in the storyline or character development.

They are formed when a narrative stops following its own logic.

Viewers and readers only have the details you’ve provided to immerse themselves in a believable world.

If you present a narrative without thinking through the implications of each plot point, you may create an unsatisfying and incomplete story, which can lose your audience quickly.

Types of Plot Holes

Plot holes betray your audience’s trust and can lower the quality of literature, film, or television shows. Examples of plot holes include:

Factual errors: Factual errors—like incorrect dates or wrong information—can lose your audience (especially in historical fiction). For example, if you’re writing a romance set during the Civil War and your hero escapes in a jet, that would be a factual error that would create a logical plothole for the audience.

Impossible events: Any occurrence that defies laws of physics or science is an impossible event—like a character who becomes a professional dancer overnight to win a big competition, or a person who can hold their breath underwater for 20 minutes to escape a monster. Impossible events remind audiences of real life logic, which can distract and remove them from the story. Of course, as the author, you can build a world where impossible things do occur and seem logical.

Illogical plot developments: Events that upset the flow of logic can create huge plot holes. If you’ve built a world without magic, a character cannot suddenly be capable of magic to get themselves out of a jam. An all-powerful bad guy bent on world destruction won’t suddenly have a change of heart or point of view for no apparent reason. Audiences want the narrative you’re weaving to track with the details you’ve provided. They want to know that they are emotionally investing in a story that is going to make sense and pay off.

Contradictions: Introducing a rule and then breaking it for convenience later on is an example of a contradictory plot problem and produces inconsistencies within your writing. For example, if you establish in the beginning of a book that characters cannot come back from the dead, but then you suddenly have a deceased character return for story purposes, that creates a big plot hole. Contradicting your own rules destabilizes your narrative, depriving audiences of the grounded sense of information that they need to immerse themselves fully.

Unresolved storylines: Even your subplots should have their own story arcs—too many loose ends can make a story feel incomplete. Leaving loose ends can also lower the stakes of your story, since there are no real consequences to anything that happens outside the main plot. For example, a character who is introduced with a storyline that conveniently influences the plot or protagonist but is forgotten about later would be an unresolved storyline.

Tips for Fixing Plot Holes

When you reach the end of the film or book you’re writing and suddenly discover major plot holes, it can take a lot of hard work to write yourself out of a jam. One of the easiest ways to fix plot holes you come across is to identify potential ones early on in your writing process (like during the outline or first draft) and prevent them from occurring in the first place.

However, it can be nearly impossible to anticipate every avenue for your narrative, and sometimes your story needs tweaking. Your job as a writer is to do as much as you can in order to tell the most complete, understandable story for your audience.

Here are some tips for doing just that:

Think things through. Spend time worldbuilding in order to give your story structure and somewhere real to live. Establish the rules and boundaries of your imaginary world and how everything exists within it. Figure out the power dynamics, setting, backstory of your narrative. Think about how you want your story to develop, the cause and effect of each plot point, and where you want your main character arcs to go. Keep track of those details as you write to keep your world consistent.

Research your topic. If you’re writing a book about a hospital, you should be aware of all the common medical terms and how to use them. If you’re writing a movie about airplane pilots, you should know everything you can about being and becoming one. Common advice is to “write what you know,” but you can expand on what you know by doing the proper research. Research from reputable sources is the best way to avoid factual errors and can save you the headache of having to rewrite with new or different information later.

Provide setup. By establishing certain guidelines for your universe, you, in turn, establish them for yourself as a writer. When an easy solution to an impossible problem comes out of nowhere, it’s considered an example of “deus ex machina,” and is generally frowned upon by critics and audiences. Provide proper setup of your world by describing earlier events and characters—enough information to foreshadow an occurrence later (so that it doesn’t seem unwarranted) but not so much you drown your readers or viewers in exposition.

Pay off the information you set up. As the creator, you must find the balance between giving your audience too much information and giving them little enough so they’re intrigued for more. You’re also responsible for making your readers or viewers understand why certain elements of a story are important. This is one of the purposes of the Chekhov’s gun plot device: If you’ve written a scene where a particular element or object is introduced at the beginning, that element or object needs to be used by the end of the story. Otherwise, your readers may feel like they’ve wasted their time or like the writer forgot about their own details. Introduce things and provide enough information so that it pays off in a satisfying way by the end of your story.

Take a break. If you find yourself drowning in illogical plot points, walk away from your writing. Sometimes, an author can be too close to their writing project in order to see it objectively. Revisiting your writing later with fresh eyes may offer you a different perspective or new strategy that could possibly help solve any issues you’ve come across.

How to Get Back Into Writing

When you first return to writing after a long hiatus, you should have a plan for building up your writing practice and getting creative juices flowing the way they once did. Here are some tips to get you back to the craft you love:

Read a lot. Nothing can jumpstart a return to writing quite like some inspiration. It doesn’t matter what you choose to read, but you may find more relatable inspiration in contemporary authors like Stephen King and Dan Brown than in classics from a past era.

Make a schedule to establish writing habits. Any published author will tell you that the secret to becoming a better writer is getting into a routine. In order to establish a writing groove, most authors write at the same time every day. Some aim for a specific word count or page count, while others simply write for a fixed amount of time. If you have a day job to balance, you can schedule your own writing session at any time of day. The key is to keep writing at the same time over a prolonged period.

Assign yourself creative writing exercises. If you want to build up your writing muscle after a long time away, you simply need practice. Creative writing prompts can be a great way to kickstart a writing practice.

Start a journal or digital document for story ideas. Nothing derails a return to writing quite like writer’s block. But you can stave this off by keeping a running list of novel, short story, and even nonfiction book ideas. The process will depend on how you work best. Maybe you prefer to jot down broad ideas, or perhaps you’re the type to sketch out ideas in great detail before you start the actual writing process. Either is fine; the main goal is to not find yourself staring at a blank page and unable to think of an idea.

Get ideas from real life. Your actual life is full of sources for writing projects. Base your main character on a family member or your best friend and use their real-life changes to guide your story’s character development. Use details about your hometown to build the world of your fictional story. Or, if you don’t want to invoke any person or place that’s too connected to you personally, take it upon yourself to do some people watching. Sit in cafes or libraries and see who comes in. You never know who might provide you with that spark of inspiration.

Comb through old writing projects. Revisit the works of your younger self and see if there’s an old work-in-progress that might be worth revisiting. Perhaps fresh eyes will give you a thousand ideas as to how to develop what’s currently on the page, or perhaps you’ll remember why you abandoned the project in the first place and turn your attention to a new book project instead.

Get ideas in unorthodox ways. If you’re still short on ideas, try random idea generation to get yourself going. For instance, pick up a great book you admire and start the first draft of your novel with the same first word. Or start your draft with a totally random word and then write a first line that puts that word in context. Try freewriting without an outline—but perhaps only as an exercise since it’s really hard to freewrite an entire book without meandering. Don’t be too precious about the story you make up. If it’s your first time back in several years, no one is expecting you to write a Pulitzer Prize winner.

Brush up your creative work as a content writer. Content writing tends to fall into two categories: marketing (particularly branding-based writing for the Internet) and technical writing that explains how to do something. Compared to fiction writing, there are a lot more paid jobs for content writers. If you can get one of these jobs, you can brush up on the mechanics of your writing—from grammar to syntax to clear explanations—and later apply that to your creative work. You can also rebuild your writing skills by blogging or just keeping a private diary.

Write for writing’s sake. The sobering reality is that most story ideas will not be published, much less end up on a bestseller list. So rather than invest a lot of time triangulating your writing for commercial appeal, be true to yourself. Write about what excites you, give it a strong point of view, and invest in the art of writing fiction for no other reason than that you love it.

Sources: 1 2 ⚜ More: Notes & References ⚜ Writing Resources PDFs

Plot Holes & Other Structural Issues

Structural Edit ⚜ Book Editing Checklist

Thanks so much for your kind words! Glad to hear you're getting back into writing. Hope these notes and tips help :)

[fictionadventurer]

August: Day 17

Adventures

Recruited into apple-picking. Gathered some good apples, and more bad apples.

Accomplishments

Read The Book of Joyous Children by James Whitcomb Riley

Figured out the sequence of events for the first several scenes of the Arateph Rapunzel. Jotted down a basic outline.

[lord-squiggletits]

Reread/skimmed my oldest Pharma apologism posts (mainly the ones about Pharma not being a functionist) and it just occurred to me that possibly another reason the fandom saddled Pharma with the "functionist bigot" label is because his introduction by First Aid says that everyone hates Decepticons, but Pharma really really hates Decepticons. Mix that with the portion of the fanbase that lionizes and whitewashes the Decepticons, and I can easily see it entering common fanon that "Pharma hates Decepticons -> the Decepticons are freedom fighters wrongly maligned by the Autobots/the franchise -> Pharma must be a bigoted functionist since he hates Decepticons who represent freedom."

The simpler explanation is just that Pharma is an antagonist and therefore gets the "everything about him must be evil and wrong" black-and-white analysis so common in fandoms in general, but given some of the bizarre Decepticon takes I've seen I can also easily see Pharma's Decepticon hatred being taken as a sign of him being bigoted and evil.

Though AGAIN in this case it would still be singling Pharma out as a bigot for crimes/flaws that multiple other Autobots are guilty of like.

Oh, Pharma hates Decepticons? Well a lot of other Autobots hate Decepticons too, First Aid's narration about Pharma even says "we all hate Decepticons"; for that matter, there are a lot of Decepticons who hate Autobots. It's a massive civil war that's lasted for a lifetime causing two groups of people to be stuck in a near-permanent blood feud, you can't assume that every Autobot who hates Decepticons (and vice versa) hates them because they're a bigot. Maybe there's been a war where both sides have been building an ever-increasing mountain of reasons to hate each other, so hating the opposite faction is a social problem caused by war and politics rather than a sign of individual moral failing.

Pharma worked at the New Institute so that means he must be evil/bigoted? Chromedome and Brainstorm also worked at the New Institute, but there's no widespread fandom shunning of them or headcanoning them as bigots.

Hell, even the very premise of assuming Pharma is a functionist bigot for hating Decepticons is ignoring the very premise of Pharma's motives, which are, uh... being blackmailed by the leader of the Decepticon Justice Division, who represents the ultimate form of Decepticon ideals to the point of literally wearing their symbol as his mask? So how were we jumping straight to "oh Pharma hates Decepticons bc he's a posh bigoted functionist" when there was a far more immediate interpretation/headcanon of "Pharma hates Decepticons because he's being tortured and blackmailed by one."

That's not to say that Pharma couldn't have hated Decepticons before Delphi, and I think you could make interesting headcanons/extrapolations based on either idea. But still. It kinda feels like people saw Pharma and just wanted to make him the Token Evil Autobot who's the opposite of our Good Heroic Autobots regardless of whether evidence from canon supported it or not.

Good riddance to bigoted functionist Pharma fanon, I'm so glad that the majority of Pharma fanon these days actually gives him a chance and puts him on equal footing as other Autobots.

[arolesbianism]

Sorry for failing to post more than once every 3 am anyways more stalien icons 👍

[waffliesinyoface]

a fun thing in the naruto universe is how names work

because like, in japan, the polite thing to do is call people by their LAST names, with given names being like. a friends/family thing?

except, in the naruto universe, they had the clan wars, which went on for GENERATIONS before the hidden villages were formed. And clan tensions were so tight that if you introduced yourself by your last name, someone might just try to kill you because your clan is allied with a clan thats allied with another clan who is an enemy of the person you're talking to.

obviously, this was a hassle.

so, there was like, an unspoken rule of only giving your first name, as seen with Hashirama and Madara. Because if you didn't know for a fact that someone was a senju or an uchiha, you could just treat them as another ninja and mutually decide not to kill each other. Things like the sharingan or any notable techniques would be a dead giveaway, but as long as you're not fighting, everyone can just. Politely not ask questions.

but also, because clans are important, they still want to have something which ties the clan together, if last names are omitted from conversation with outsiders.

This is less important in the modern era, but it's still present - everyone in naruto's academy class, even students who aren't friends, exclusively use their classmates first names. Even the teacher isn't immune, he's called Iruka-sensei, not Umino-sensei.

Which is why most clans have first names with common, repeated elements, especially where the main line comes in.

Ino/Shika/Chou is the obvious one, but you also have things like the Hyuuga having a history of the first-born having their name start with Hi (Hizashi, Hiashi, Hinata, Himawari, etc.) or the senju having -rama (Hashirama, Tobirama, Kawarama), the Inuzuka being named after animal body parts (Tsume - claw, Kiba - fang, Hana - nose), all sorts of stuff like that.

It works both in universe (clan loyalties and traditions) and out of universe (group similar characters together)!! its really neat!!!

kishimoto did a lot of dumb things with the Lore and consistently forgot details he'd written about earlier on, but when he DOES have a consistent worldbuilding thing it's super cool to think about.

[wileycap]

So, uh, Netflix Avatar, huh? Yeah. I guess I'll make a really long post about it because ATLA brainrot has is a cornerstone of my personality at this point.

So.

It's okay. B, maybe a C+.

That's it.

Now for the spoilers:

The biggest issue with the Netflix version is the pacing. Scenes come out of nowhere and many of the episodes are disjointed. Example: Aang escaping from Zuko's ship. We see him getting the key and going "aha!", and in the next scene he's in Zuko's room. And then he just runs out, no fun acrobatics or fights, and immediately they go to the Southern Air Temple where he sees Gyatso's corpse, goes into the Avatar state, and then sees Gyatso being really cheesy, comes out of it, and resolves that conflict. Nothing seems to lead into anything. The characters don't get to breathe.

The show's worst mistake (aside from Iroh fucking murdering Zhao) is its' first one: they start in the past. Instead of immediately introducing us to our main characters and dropping us into a world where we have a perfect dynamic where Aang doesn't know the current state of the world and Katara and Sokka don't know about the past, thus allowing for seamless and organic worldbuilding and exposition, they just... tell us. "Hey, this is what happened, ok, time for Aang!" There's no mystery, no intrigue, just a stream of information being shoved down the audience's throats and then onto the next set piece.

The visuals are for the most part great, but like with most Netflix productions, they just don't have great art direction. It feels like a video game cinematic, where everything is meant to be Maximum Cool - and none of the environments get to breathe. It's like they have tight indoor sets (with some great set design) and then they have a bunch of trailer shots. It's oozing with a kind of very superficial love.

Netflix still doesn't know how to do lighting, and with how disjointed the scenes are, the locations end up feeling like a parade of sets rather than actual cities or forests or temples. As for the costumes, Netflix still doesn't know how to do costumes that look like they're meant to be actually worn, so many of the characters seem weirdly uncomfortable, like they're afraid of creasing their pristine costumes.

The acting is decent to good, for the most part. I can't tell if the weaker moments come down to the actors or the direction and editing, but if I had to guess, I'd say the latter. Iroh and Katara are the weakest, Sokka is the most consistent, Zuko hits the mark most of the time, and Aang is okay. I liked Suki (though... she was weirdly horny? Like?) but Yue just fell kind of flat.

The tight fight choreography of the original is replaced with a bunch of spinny moves and Marvel fighting, though there are some moments of good choreography, like the Agni Kai between Ozai and Zuko (there's a million things I could say about how bad it was thematically, but this post is overly long already.) There's an actually hilarious moment in the first episode when Zuko is shooting down Aang, and he does jazz hands to charge up his attack.

Then there's the characters. Everybody feels very static - Zuko especially gets to have very little agency. A great example of that is the scene in which Iroh tells Lieutenant Jee the story of Zuko's scar.

In the original, it's a very intimate affair, and he doesn't lead the crew into any conclusions. Here, Iroh straight up tells the crew "you are the 41st, he saved your lives" and then the crew shows Zuko some love. A nice moment, but it feels unearned, when contrasted with the perfection of The Storm. In The Storm, Zuko's words and actions directly contradict each other, and Iroh's story gives the crew (and the audience) context as to why, which makes Zuko a compelling character. We get to piece it out along with them. Here - Iroh just flat out says it. He just says it, multiple times, to hammer in the point that hey, Zuko is Good Actually.

And then there's Iroh. You remember the kindly but powerful man who you can see gently nudging Zuko to his own conclusions? No, he's a pretty insecure dude who just tells Zuko that his daddy doesn't love him a lot and then he kills Zhao. Yeah. Iroh just plain kills Zhao dead. Why?

Iroh's characterization also makes Zuko come off as dumb - not just clueless and deluded, no, actually stupid. He constantly gets told that Iroh loves him and his dad doesn't, and he doesn't have any good answers for that, so he just... keeps on keeping on, I guess? This version of Zuko isn't conflicted and willfully ignorant like the OG, he's just... kind of stupid. He's not very compelling.

In the original, Zuko is well aware of Azula's status as the golden child. It motivates him - he twists it around to mean that he, through constant struggle, can become even stronger than her, than anyone. Here, Zhao tells him that "no, ur dad likes her better tee hee" and it's presented as some kind of a revelation. And then Iroh kills Zhao. I'm sorry I keep bringing that up, but it's just such an unforgiveable thematic fuckup that I have to. In the original, Zhao falls victim to his hubris, and Zuko gets to demonstrate his underlying compassion and nobility when he offers his hand to Zhao. Then we get some ambiguity in Zhao: does he refuse Zuko's hand because of his pride, or is it his final honorable action to not drag Zuko down with him? A mix of both? It's a great ending to his character. Here, he tries to backstab Zuko and then Iroh, who just sort of stood off to the side for five minutes, goes "oh well, it's murderin' time :)"

They mess with the worldbuilding in ways that didn't really need to be messed with. The Ice Moon "brings the spirit world and the mortal world closer together"? Give me a break. That's something you made up, as opposed to the millenia of cultural relevance that the Solstice has. That's bad, guys. You replaced something real with something you just hastily made up. There's a lot of that. We DID NOT need any backstory for Koh, for one. And Katara and Sokka certainly didn't need to be captured by Koh. I could go on and on, but again, this post is already way too long.

It's, um, very disappointing. A lot of telling and not very much showing, and I feel like all of the characters just... sort of end up in the same place they started out in. I feel like we don't see any of the characters grow: they're just told over and over again how they need to grow and what they need to do.

To sum it up: Netflix Avatar is a mile wide, but an inch deep.

[gffa]

Okay, so. The senator's speech. Here's why I'm okay with it: It fundamentally misunderstands the worldbuilding of Star Wars and the Force, in a way that's reasonable for a senator to misunderstand. To say the senator is right, you would have to say that the entire foundations of the Force are wrong, as well as it's pretty laughable to say that you shouldn't control your emotions. "Check yourself before you wreck yourself." is pretty good advice and that's literally just "control your emotions, before they control you". Because that's how the Force works, it's based on the emotions you pour into it--if you don't control your emotions, then you will run wild and out of control. To say that the Jedi seek to control their emotions, which is an impossible thing to do, fundamentally misunderstands that it's entirely possible. This is a speech coming from a member of the Senate, which has historically not always had the purest motivations, that Padme and Bail and Mon are written specifically as a contrast to the vast majority of senators who don't actually care beyond their own desires. We don't know anything about this senator specifically, but that's the weight that comes with having a character like this introduced--especially one who is trying to drag the Jedi into being more politically bogged down. Because that's the solution he's suggesting here, to weigh the Jedi down with outside oversight that doesn't actually understand who they are or what they do, who fundamentally misunderstand who they are (they're not a religion? come on, my guy, they are very clearly a religion, they have specific beliefs, practices, rites, and attitudes, to say they're not a religion is either dumb as shit or malicious bad faith lmao) and is very clearly not interested in the Jedi beyond them being a political enemy of his. He says, "But it's only a matter of time before one of you snaps." as if the Jedi haven't existed for literally 20,000 years at this point in galactic history and been aligned with the Republic since it's inception, something like 900 years ago at this point. His speech acts like a Jedi has never gone bad before or that the Jedi pretend they're above it--they very much don't. The Jedi are constantly making a point about how no one is above the dark side within them (TCW has a whole scene where the High Council say not even Yoda is beyond the dark side, and Yoda straight up agrees immediately), to say that one of them will snap and "who will be powerful enough to stop them?" is deliberately ignoring the worldbuilding. It ignores what the Jedi actually practice (it's a lifelong challenge not to give in to anger, so they're constantly on the path to turn away from it), it ignores that emotions very much are controllable, it ignores that the Jedi Order has been keeping a handle on their shit for thousands of years at this point, and it ignores that there's dark siders out there that were never trained by the Jedi, so if the Jedi aren't around to stop them, the Sith would have been wrecking the Republic's shit for the last 500 years. To be fair, they don't know that (but we the audience do, so we should know a bullshit argument when we hear one), but "who will be strong enough to stop him"? Idk, maybe the rest of the level 100 psychic space wizard monks? Pretty sure there's enough of them to stop someone who "snaps", if that happens. The senator's speech just flat out doesn't work with the established worldbuilding, in a way that really works for me, because that's kind of a huge established point throughout just about every piece of canon with the Jedi in it--people just do not understand them and hate the idea that anyone might actually be truly good because they can't imagine it for themselves. Because, as is a theme in Star Wars: "As much as people loved the Jedi, they also hated them, on some level. It is hard to look at people who have become their best selves. It reminds you that you have not."

The senator cannot fathom the idea that a group of people could become their best selves, he doesn't believe that it's possible, because he has not achieved it, and so seeing it in others unsettles him. And, yeah, that's a whole thing that happens with the Jedi in Star Wars, so this speech made a whole lot of sense to me, especially combined with, "So the answer is more bogging them down in political oversight that does not bother to or even want to understand them?" Like, yeah, I see where you're coming from, sir. And that's not even touching the idea of calling the Buddhist-inspired religion (which the Jedi explicitly are) a "cult", because anyone who unironically says that should not be trusted.

[aangular]

I kinda hate when people act like Aang is this naive kid who doesn’t know what’s going on or what he’s doing, especially at the beginning of the series.

For example, in “The Southern Air Temple, " he shows Sokka and Katara around, acting excited and playing around. Do you think that he doesn’t know what’s going on? Do you think that Aang, someone who grew up in that temple doesn’t know what is supposed to look like?

In his timeline, he had been gone for at most one week. Do you really believe that he would think it is normal that the place that was filled with people a few days ago is now completely empty Do you think that he would find it normal that the entire place is run down and poorly kept?

I’m just confused. Since episode one, the narrative has made it obvious that Aang has avoidant coping mechanisms, where he outright ignores what’s happening around him because he cannot deal with it. It’s an integral aspect of his character (since it’s the reason he ran away after finding out he was the avatar, which quite literally sets off the plot). I get it if people don’t necessarily like that aspect of his personality (wrong opinion, btw), but understanding that it’s there and how it affects how he interacts with the world is important to getting ATLA.

Yes, he did know what the being avatar meant to an extent, and he knew he had to learn the three elements, but the reason he didn’t go to the North Pole straight away was because he didn’t want to. He wanted to put it off for as long as possible, going on adventures and “eventually getting to the NP”.

There was literally a 2 part episode (The Winter Solstice) to tell us that Aang couldn’t just mess around that entire season because it introduced a time limit to defeat the Fire Lord. Ever since then, the gaang pretty much beelined for the NP, plus some detours, but that’s the magic of worldbuilding.

I would talk about his reluctance to learn waterbending from Pakku, but that’s a different post altogether.

Obviously, he didn’t understand what it was like growing up in the middle of a war (because he didn’t). Still, no one understood what losing their entire people and being the last of their kind was. And no one calls other characters naive or stupid for their constant insensitivity throughout the series…

The bottom line is that he knew; he always knew. It was just easier to pretend he didn’t.

[elbiotipo]

also, while we are at it

"my dragon flies because it's magic xdxddxdxd"

fine, acceptable, it's magic. Okay. Even as a biologist I'm willing to give it a pass. God knows that in my space opera project I've went "mumble mumble convergent evolution mumble" for some of my earth-like aliens. The shape is kinda believeable and original, you chose some cool features, it's fine, no need for the whole phylogenetic tree.

Now, why is it magic? what does it mean it is magic?

Were dragons created by a god? are they manifestations of nature? why are dragons, especifically, magic and not say, crocodiles?

Is it a species with physical presence and a life cycle, or are they magical beings? how many dragons are there, how important they are to your world? are they worshipped, feared, venerated, just some kind of weird megafauna but otherwise unremarkable? what do they eat, how much?

If it's a sentient dragon from a physical species, as most modern fiction seems to assume (you'd be surprised that in most medieval works they were mostly mindless beasts or demons, dragons as noble creatures are very much a modern invention in the West) how do they think? How do they act differently from smaller, less powerful, shorter lived species? Do they have their own gods, their own rituals, their own beliefs? Are they lonely beings or are they able, or interested, to form part of society, or even have their own societies?

What's the cultural role of a dragon in the world you're making? What do your characters think when they hear the word 'dragon'? What do they know about dragons, when your hero goes and finds one, what are their conceptions of it? Can they fight it? How? Why?

Notice that most of my questions aren't stupid UNREALISTIC! CINEMASINS DING!, but things that actually affect your characters, setting and plot. Don't like to write a ethnographical paper about dragons? do it anyways or I'll shoot you, don't, but if you're introducing an element to your story, even if you're using stock fantasy elements like dragons, you will benefit A LOT from thinking how they fit into your story.

And even in settings were "it's magic" is acceptable as an answer, or more *surreal* or comedic stories where things happen without too much logic, a dragon is still a symbol. What does your dragon mean in your story? "oh, a magical dragon". Fine. Why is there a dragon on your story? Don't have a whole herpetology paper, because this is just a romance? Okay, can you spare me a couple lines to tell me what does a dragon mean in your world? That too, is yuri worldbuilding.

[tossawary]

I was thinking about Xie Lian being able to snap the Xin Mo sword in half with his bare hands again, and then I thought to myself... "Wait, Xie Lian and Luo Binghe interaction could be really cute, though?"

Like, let's say that Xie Lian, during his time as a wandering trash god, accidentally falls into an interdimensional rift and ends up in the SVSSS world. His luck is bad like that. But while this is weird, sure, it's not that bad! The worlds are pretty similar and he can still make his living! So, Xie Lian wanders along as usual, curiously learning about this new world, picking through trash, occasionally punching demonic beasts to death to rescue awed civilians.

And at some point, Xie Lian runs into a young Luo Binghe while he's living on the streets. Let's say that Xie Lian rolls into town shortly before the death of Binghe's adoptive mother, has a few sweet encounters with this cute and kind child who doesn't have much to spare for a trash collector, and is there to comfort his new young friend when Binghe's adoptive mother passes away. Xie Lian is still there when Binghe gets thrown out onto the streets and he agrees to help the boy travel to Cang Qiong Mountain Sect.

So, Binghe gets to spend a month or two as a trash-collecting god's apprentice! He doesn't know that Xie Lian is a god. He suspects that Xie Lian is just a very powerful rogue cultivator who is living very humbly for some reason. The time isn't entirely pleasant, because life is hard and Binghe is grieving, but Xie Lian understands pain very well and is an excellent companion. He sees Binghe safely to Cang Qiong.

At which point, clingy Binghe does not want to separate from this extremely nice person, but Xie Lian insists on it. He wants Binghe to have a better life. He's worried that his bad luck will somehow spread to this poor boy who reminds him of so many other people he's loved and lost. Xie Lian supervises the confusing entrance exam, while the adult Cang Qiong cultivators desperately try to figure out who this strange person is (Airplane Bro is going "???!!!"), and then leaves wistfully. Binghe will later look back on this particular period of his life very fondly.

Xie Lian can then go in and out of the SVSSS plot as a person pleases! I think it would be very funny if Liu Qingge ended up with an unwilling crush on Xie Lian as well, when they have a spar for some reason and Xie Lian handily SLAMS him into the ground. Xie Lian would probably end up running into Tianlang-Jun and Zhuzhi-Lang somehow, both of whom I think would end up being a little obsessed with him.

I think that the best place to bring Xie Lian and Binghe back together is maybe after Binghe escapes the Endless Abyss. So that Binghe can have a nice cry session on Xie Lian's shoulder. Xie Lian can possibly then introduce Binghe to Tianlang-Jun and Zhuzhi-Lang. Or else generally fumble his way through facilitating Bingqiu actually communicating and being less of a painful mess. Shen Qingqiu (Shen Yuan) is very confused by this character?! Where did he come from??? Who is he??? He's very nice, though, and Shen Qingqiu is feeling maybe a liiiiittle jealous over Binghe.

(I don't know how to handle the System in this AU, but I do like the idea of the System just... not being able to handle Xie Lian. Xie Lian is a god from a different worldbuild. He kind of just breaks everything.)

(If you want to get a little angsty and ghostly, you could have a plotline in which Xie Lian helps the ghost of Shen Jiu somehow. Qijiu resolution?)

Binghe would probably be open to the idea of getting together with Xie Lian as well as Shen Qingqiu. He has a type! He is full of love! But Xie Lian is definitely not interested and is very good at wiggling away from come-ons, so Binghe respectfully doesn't pursue that passing thought / childhood crush, no matter what Tianlang-Jun is saying about threesomes again.

Binghe ends up using the (tamed? broken?) Xin Mo sword to send Xie Lian (his "gege") back to Xie Lian's own world. (Or Mobei-Jun could maybe do it?) Xie Lian has been gone for years and wants to see how his world is doing. Binghe tearfully promises to visit him regularly and to come get him WHENEVER HE WANTS. Xie Lian pats his head and agrees to stay in touch.

So, then Xie Lian tumbles out back into his own world and into the start of the plot of TGCF. And at any point in the plot of TGCF, he's now able to summon a heavenly demon from another dimension (with a super powerful sword that can move mountains?) who would absolutely be willing to fight all of heaven for him.

Xie Lian generally isn't going to do this, because he doesn't want to involve Binghe in his problems, even though Binghe is CHEWING THE WALLS with the desire to help him in return. However, Xie Lian does really like to go out with Binghe and Shen Qingqiu (and sometimes people like Airplane Bro and Mobei-Jun and Liu Qingge as well) to nice restaurants every other week or so. "So, what's new?" "Oh, I've ascended to heaven again and it's a little troublesome, ha ha. How are you?"

Hua Cheng is... nonplussed. On one hand, he's a little jealous. On the other hand, FINALLY, people can recognize that Xie Lian is the best person in the world. Luo Binghe has GOOD TASTE and is just some well-meaning kid whom Xie Lian likes a lot and who rightly thinks heaven sucks. Hua Cheng is determinedly shaking Luo Binghe's hand and giving him advice from a Ghost King to a future Demon Emperor.

(Tianlang-Jun CANNOT be allowed into Ghost City. He will NOT leave. I think that Hua Cheng is strong enough to throw him out if necessary, but Tianlang-Jun and Zhuzhi-Lang would just keep slipping back in somehow. Permanently banned from the gambling tables no matter what he offers, but Tianlang-Jun is still allowed to hang out at the Ghost City playhouse because he quickly becomes the favorite audience member of all of the ghost actors. He has AWFUL taste. Yin Yu hates this guy.)

(Also, I do think that Xie Lian would not really like the Xin Mo sword at all. E'ming is a beautiful baby boy made from and by Hua Cheng, who is Xie Lian's favorite person in the world who has never done anything wrong ever. Xin Mo is some random blade that destroys Luo Binghe's mental health and turns him into the worst version of himself! Xie Lian could and possibly should snap that possession sword like a twig.)

[thesiltverses]

Hey Jon! Looking for a bit of writing advice since you seem to be pretty good at this- How do you write metaphors without being too on the nose? It’s something I’m struggling with at the moment. Thanks!

I'm probably not the right person to ask this question because I have very strong and specific opinions.

When we talk about metaphors being too on-the-nose, I think we're really saying one of three things.

It's too obvious in the sense that it's been done before (e.g. an oppressed fantasy race being used as a catch-all metaphor for real-life marginalised peoples)

It's too obvious in the sense that it's offputtingly reductive and over-simple, either in terms of making the story and characters feel real, or as a tasteless misrepresentation of the issue it aims to address (e.g. an oppressed fantasy race being used as a catch-all metaphor for real-life marginalised peoples).

A century's worth of establishment critical analysis attempting to make sense of modernism and post-modernism has made us all hopeless idiots who believe an allegory is invariably no good unless it's buried deep in complex referentiality and can only be retrieved with months of study. (e.g. a very timely example - J.B. Priestley's An Inspector Calls, where the author uses the format of the detective mystery to address the role of the super-wealthy in social murder and make the case that it is every bit as real as lawless murder, is extremely on the nose! It's taught in schools because the message is very clearly spelled out! But that's exactly what it needs to be and it would not be better if it was subtler! Being on the nose means you've landed the punch!)

So for me there is no broad-brush answer, it depends very much on the position and role of your metaphor in the story (and so this answer is probably useless, again, without knowing the specifics). I'd begin by asking yourself the same question on two fronts: where does the metaphor take me next?

As the writer, does the metaphor give me more to play with, or is it entrapping me into an over-familiar structure or tropes? A much-discussed 'bad metaphor' right now is horror movies where the monster is Trauma...which then blocks the narrative into a predictable corner where the hero inevitably has to cathartically overcome the Trauma or it'll send the wrong message.

Correspondingly, as an audience member, once I grasp the metaphor, what am I going to feel other than 'oh, I get it?' Children of Men is too direct and on-the-nose to even be considered an allegory. Its extremely unsubtle and one-note depiction of a monstrous near-future Britain that's forcibly rounding up refugees fills me nonetheless with powerful emotion - with terror, with unease, with anger, with a faint hope in the kindness of strangers. But that's in the immense strength of its characters, its careful observation, and its tense action to make me care. By comparison, when a fantasy story has human bigots locking up impoverished nomadic elves or what-have-you, I usually feel absolutely nothing, not because it's too fantastical, but because the writer doesn't have any genuine insights or depth of empathy for the issue or the (in)humanity involved, and is instead just using the metaphor as a piece of worldbuilding shorthand to signal to the audience who is good and who is bad. (Some writers will then attempt to gussy up the metaphor by introducing moral complexity - oh, no, the elves have stabbed a random innocent human! - but this doesn't actually improve anything, it only makes the parallel ever more tasteless.)

[literaryvein-reblogs]

Writing Notes: White Room Syndrome

White Room Syndrome - a significant lack of description in prose—often a lack of setting description.

A lack of description isn’t a major issue, but sometimes it can hold a story back.

If a reader can’t imagine where characters are, you’re missing out on a ton of opportunities to subtly show how they exist and interact in a setting.

Arguments take on a different tone if the speakers are seated in a church, floating around space, or on the phone at a street race.

Being conscious of the characters involved and showing how they’re interacting with the setting can really elevate what’s happening in the plot.

Here are a few quick things you can do to tackle the issue of white room syndrome:

Create a mood board to help you picture things. Moodboards are a collection of images, quotes, etc. that help evoke an image and feeling for whatever project you’re working on. For writing, they can help you picture what a place or character looks like at a glance. For reference, you may study artworks or photographs.

Remember your five senses: Consider not just what a character is seeing, but also what they hear, feel, smell, or taste. Just, don’t do all of that all the time. Focus on what matters to the scene at hand. For example, if a character just walked into a kitchen, they’re more likely to remark on the smell of food being cooked, not the sound of a dog barking in the yard—unless that matters to the scene.

Reinforce themes or moods with the setting. The Great Gatsby did this magnificently with weather—as tensions rose it became hotter and hotter. Everything comes to a climax on the hottest day of the year.

Embrace worldbuilding. If you don't know what the character looks like, you could exhaustively detail their cultures’ looks and fashion until you have a solid base to build off of. Do that for every character in the narrative and you're golden.

Momentum is also important. Struggling to imagine what a newly introduced character looks like slows anyone down. Consider adding a description edit phase to your writing process. When a new person or place shows up in your rough draft, you may write [Describe] in brackets and move on.

Finally, you may just need to accept it. Not every story needs paragraphs of prose lovingly describing characters that will only be around for three chapters. Excessive descriptions can also turn some readers off, so if you work best with leaner visuals, embrace it.

Source ⚜ Writing Notes & References ⚜ 100 Sensory Words

[nyxshadowhawk]

A Retrospective on Harry Potter

Why did I like it in the first place? What about it worked? Where do I go from here?

I have decided to give up Harry Potter.

J.K. Rowling’s reputation now stinks to high heaven. At this point, she is quite indefensible. And even if that weren’t the case, she is not someone that I would want to associate with anyway. Meanwhile, the internet has not only turned against her, but against Harry Potter itself. An innocent question on Reddit, about which Hogwarts Houses the ATLA characters would be in, got downvoted to oblivion. Innumerable Tumblr threads insist that fantasy fans should get into literally anything else (suggestions include Discworld, Earthsea, The Wheel of Time, and Percy Jackson). And now that Harry Potter is no longer a sacred cow, there has been a recent slew of video essays that rip it to shreds, attacking it for its poor worldbuilding, unoriginality, and the problematic ideas baked into the original books (like the whole SPEW thing), etc. Those criticisms always existed, but now they’re getting thrown into the limelight.

It pains me to see such an ignoble downfall of Harry Potter’s reputation. If Rowling had just kept her damn mouth shut, Harry Potter would have aged gracefully, becoming a beloved children’s classic. I'd still plan to introduce it to my own kids one day (after Rowling dies and the dust settles). It’s not surprising that not all aspects of it have aged well, since it’s been more than twenty years since its original publishing date, and everything starts to show its age after that long. I acknowledge that most of the criticisms of the series that I’ve seen lately are valid, and I’ve read plenty of better books. And yet, when I return to the books themselves, even with the knowledge of who JKR really is inside my head, I still really enjoy reading them! There’s still a lot about them that I think works!

None of the other things I’ve read have had as collossal of an impact upon my identity, my values, and my own writing as Harry Potter. It’s hard to move on from it, not just because it’s something I enjoy, but because I have to literally extract my identity from it. I don’t know who I’d be without Harry Potter. I don’t know what my work would look like without Harry Potter. I don’t know how to carry it with me as just another piece of media that I like, as opposed to a filter for who I am as a person. So, with all that in mind, I have to ask myself why I liked Harry Potter so much in the first place. If I’m going to move on from it, then I have to be able to define and isolate the things about it that I want to keep with me. Something about it obviously worked, on a massive scale. So what was it?

It’s not the worldbuilding. The worldbuilding is objectively quite terrible, especially in comparison to that of other fantasy writers who knew what they were doing. At best, it’s inconsistent and poorly thought-out, and at worst it’s insensitive or even racist. Is it the characters? The characters are, in my opinion, one of the stronger parts of the story. But I felt very called-out by one of the many online commentators, who said that anyone who identifies with Harry is too cowardly to write self-insert fic. (I do not remember who said it or even which site it was on, but I distinctly remember the phrase, “Reject Harry Potter, embrace Y/N.”) The reason why people get so invested in Harry Potter’s characters is because they’re easy to project upon, and it’s possible that my love of Harry comes more from over a decade’s worth of projection than anything else. The incessant arguments over characters like Snape, Dumbledore, and James Potter ultimately stem from the fact that these characters do not always come across the way Rowling wanted them to. As for the writing itself, it’s decent, but not spectacular. Harry Potter is something of a sandbox world, with less substance than it appears to have and a crapton of missed opportunities, making it ripe for fanfic. For more than ten years, I’ve been doing precisely that — using Harry Potter as a jumping-off point to fill in the gaps and develop my own ideas, some of which became my original projects.

So what does Harry Potter actually have that sets it apart? Why are people so desperate to be part of Harry Potter’s world if the worldbuilding is bad? What, specifically, is so compelling about it? I think that there’s one answer, one thing that is at the center of Potter-mania, and that has been the underlying drive of my love of it for the past decade and a half: the vibe.

Harry Potter’s vibe is immaculate.

You know what I mean, right? It’s not actually a product of any specific trope, but rather a series of aesthetic elements: The wizarding school in a grand castle, with its pointed windows and torches and suits of armor, ghosts and talking portraits and moving staircases, its Great Hall with floating candles and a ceiling that looks like the night sky, its hundreds of magically-concealed secret doorways. Dumbledore’s Office, behind the gryphon statue, with armillary spheres in every single shot. Deliberate archaisms that evoke the Middle Ages without going as far as a Ren Faire: characters wearing heavy robes, writing with quills and ink on parchment instead of paper, drinking from goblets, decorating with tapestries. Owls, cats, toads. Cauldrons simmering in a dungeon laboratory. Shelves piled with dusty tomes, scrolls, glass vials, crystal balls, hourglasses. Magical candy shaped like insects and amphibians. A library with a restricted section. A forbidden forest full of unicorns and werewolves. That is the Vibe.

There are five armillary spheres just in this shot. They are unequivocally the most Wizard of tabletop decor.

There’s more to it than just the aesthetic, though. The vibe is present in something that writers call soft worldbuilding.

There’s a phrase that writers use to describe magic systems, coined by Brandon Sanderson: hard magic and soft magic. Sanderson’s first law of magic is, “An author’s ability to solve problems with magic is directly proportional to how well the reader understands said magic.” A hard magic system has clearly-defined rules — you know where magic comes from, how it works and under which conditions, how the characters can use it, and what its limitations are. Examples of really good hard magic systems include Avatar: The Last Airbender and Fullmetal Alchemist. If the audience doesn’t understand the conditions under which magic can work, then using magic to get out of any kind of scrape risks feeling like the writer pulled something out of their ass. It begs the question, “Well, if they could do that, then why didn’t they do that before?”

You may come away from that thinking that having clearly-defined rules is always better worldbuilding than not having them, but this isn’t the case. Soft magic isn’t fully explained to the audience, but that doesn’t matter, because it isn’t trying to solve problems — its purpose is to be evocative. Soft magic enhances the atmosphere of a world by creating a sense of wonder. If your everyman protagonist is constantly running into cool magical shit that they don’t understand, then the world feels like it teems with magic, magic that is greater and more powerful than they know, leaving lots of secrets to uncover. Harry Potter, at least in the early books, excels at this. The soft magic in Harry Potter is what got me hooked, and I think it’s what a lot of other people liked about it, too.

The essence of soft magic is best summed up by this scene in the fourth film, in which Harry enters the Weasleys’ tiny tent at the Quidditch World Cup, only to find that it’s much bigger on the inside. His reaction is to smile and say, “I love magic.”

That’s it. That’s the essence of it. You don’t need to know the exact spell that makes the tent bigger on the inside. You don’t need to know how Dumbledore can make the food appear on the table with a flick of a wand, or how he can make a bunch of poofy sleeping bags appear with another flick. You don’t need to know how and why the portraits or wizard cards move. You don’t need to know how wizards can appear and disappear on a whim, or what the Deluminator is, or where the Sword of Gryffindor came from. You don’t need to know how the Room of Requirement works. Knowing these things defeats the purpose. It kills the vibe, that vibe being that there is a large and wondrous magical world around you that will always have more to discover.

One of the best “soft magic” moments in the books comes early in Philosopher’s Stone, when Harry is trying to navigate Hogwarts for the first time:

There were a hundred and forty-two staircases at Hogwarts: wide, sweeping ones; narrow, rickety ones; some that led somewhere different on a Friday; some with a vanishing step halfway up that you had to remember to jump. Then there were doors that wouldn't open unless you asked politely, or tickled them in exactly the right place, and doors that weren't really doors at all, but solid walls just pretending. It was also very hard to remember where anything was, because it all seemed to move around a lot. The people in the portraits kept going to visit each other, and Harry was sure the coats of armor could walk. —Philosopher’s Stone, Chapter 8

Many of these details don’t come back later in the series, which is a shame, because this one paragraph is super evocative! It establishes Hogwarts as an inherently magical place, in which the very architecture doesn’t conform to normal rules. Hogwarts seems like it would be exciting to explore (assuming you weren’t late for class), and it gets even better when you learn about all the secret rooms and passages. The games capitalized on this by building all the secret rooms behind bookcases, mirrors, illusory walls, etc. into the game world, and rewarding you for finding them. The utter fascination that produces is hard to overstate.

Another one of the most evocative moments in the first book is when Harry sees Diagon Alley for the first time, after passing through the magically sealed brick wall (the mechanics of which, again, are never explained). This is your first proper glimpse at the wizarding world and what it has to offer:

Harry wished he had about eight more eyes. He turned his head in every direction as they walked up the street, trying to look at everything at once: the shops, the things outside them, the people doing their shopping. A plump woman outside an Apothecary was shaking her head as they passed, saying, “Dragon liver, seventeen Sickles an ounce, they're mad....” A low, soft hooting came from a dark shop with a sign saying Eeylops Owl Emporium — Tawny, Screech, Barn, Brown, and Snowy. Several boys of about Harry's age had their noses pressed against a window with broomsticks in it. "Look," Harry heard one of them say, "the new Nimbus Two Thousand — fastest ever —" There were shops selling robes, shops selling telescopes and strange silver instruments Harry had never seen before, windows stacked with barrels of bat spleens and eels' eyes, tottering piles of spell books, quills, and rolls of parchment, potion bottles, globes of the moon.... —Philosopher’s Stone, Chapter 5

What works so well here is the magical weirdness of wizardishness juxtaposed against normalcy. Eeylops Owl Emporium is just a pet shop to wizards. A woman makes a very mundane complaint about the price of goods, but the goods happen to be dragon liver. Broomsticks are treated like cars. All of these small moments contribute to the feeling of the wizarding world being alive, inhabited, and also magical. It gets you to ask the question of what your life would be like if you were a wizard. What do wizards wear? What do they eat? What do they haggle over and complain about? What do they do for fun?

In Book 3, Harry enjoys Diagon Alley for a few weeks when he suddenly has free time, and we get to experience the wizarding world in a state of “normalcy,” when he isn’t trying to save the world. He gets free ice creams from Florean Fortescue, gazes longingly at the Firebolt, and engages with delightfully weird people. He’s a wizard, living a (briefly) normal wizard life among other wizards in wizard-land. And that is fun. It’s so fun, that people want that experience for themselves, enough for there to be several theme parks and other immersive experiences dedicated to recreating the world of Harry Potter.

One of the greatest things about Universal was its phenomenal attention to detail. You can hear Moaning Myrtle’s voice in the women’s bathroom, and only the women’s bathroom. The walls of the Three Broomsticks have shadows of a broom sweeping by itself and an owl flying projected against the wall, so convincingly that you’ll do a double take when you see it. Knockturn Alley is down a little secret tunnel off of the main street, and that’s where you have to go to buy Dark Arts-themed stuff. It’s really well done.

Another thing that contributes to the vibe, in my opinion, is that the wizarding world is slightly macabre. They eat candy shaped like frogs, flies, mice, and so forth, and they have gross-tasting jellybeans. In the film’s version of the Diagon Alley sequence above, there’s a random shot of a pet bat available for purchase. In the third film, when Harry is practicing the Patronus Charm with Lupin, the candles are shaped like human spines. In the first book, this is Petunia’s description of Lily’s behavior after she became a witch:

Oh, she got a letter just like that and disappeared off to that-that school, and came home every holiday with her pockets full of frog spawn, turning teacups into rats. I was the only one who saw her for what she was — a freak! —Philosopher’s Stone, Chapter 4

I remember reading this for the first time, and it just kind of made intuitive sense to me. I suppose it fits into the “eye of newt and toe of frog” association between magical people and gross things, but somehow it works. Unfortunately, this is retconned later with the knowledge that wizards can’t use magic outside school, but before that limitation gets imposed, the idea of Lily amusing herself by turning teacups into rats seems like an inherently witchy thing to do.

That association between magic and the macabre shows up elsewhere, as well. In The Owl House, Luz’s interest in gross things is one of the things that marks her as a “weirdo” in the real world. When she goes to the magical world of the Boiling Isles, weird and gross stuff is absolutely everywhere. That world’s vibe leans more towards the macabre than the whimsical, but it works because you sort of expect the gross stuff to exist alongside the concept of witches, and that they would be an intrinsic part of the world they inhabit. You don’t question it, because it’s part of the vibe.

(The Owl House is one of the few things I’ve encountered that has a similar vibe to Harry Potter, but it’s still not the same vibe. In fact, The Owl House outright mocks the expectation that magical worlds be whimsical, and directly mocks Harry Potter more than once. The overall vibe is much closer to Gravity Falls.)

The Harry Potter films utilize a lot of similar soft worldbuilding with the background details, especially in the early films that were still brightly-colored and whimsical. For example, the scene in Flourish and Blotts in the second film has impossibly-stacked piles of books and old-timey looking signs describing their subjects, which include things like “Celestial Studies” and “Unicorns.” When Harry arrives in the Burrow in the same film, one of the first things he sees is dishes washing themselves and knitting needles working by themselves, taking completely mundane things and instantly establishing them as magical. In that Patronus scene with Harry and Lupin, the spine-candles and a bunch of random orbs (and the obligatory giant armillary sphere) float around in the background. One small detail that I personally appreciate is the designs on the walls above the teacher’s table in the Great Hall, which are from an alchemical manuscript called the Ripley Scroll:

It’s all these little things that add up to produce The Vibe.

Obviously, much of the vibe is expressed very well in John Williams’ score for the first three Harry Potter films. The mystical minor key of the main theme, the tinkly glockenspiel, the strings, the rising and falling notes that mimic the fluttering of an owl, the flight of a broomstick, or the waving of a wand. That initial shot of the castle across the lake as the orchestra swells, as the children arrive at their wizarding school:

If you grew up with Harry Potter, just looking at this image gives you The Vibe. The nostalgia hit is definitely part of it, but The Vibe was already there, back when you were a child and you didn’t have nostalgia yet.

In my opinion, only Williams’ score captures this vibe — the later films, though their scores are very good, do not. But the soundtrack of the first two video games, by Jeremy Soule (the same person who did Skyrim) absolutely nails it. This, right here, is Harry Potter’s vibe, condensed and distilled:

This is why I feel invalidated by the common advice “just read another book.” I have read other books. I’ve read plenty of other books, many of which are wonderfully written and have left an impact on me. But there’s still only one Harry Potter. To date, there’s only other book that has filled me with a similarly intense longing for a fictional place, and that is The Night Circus by Erin Morgenstern. That book deliberately prioritized atmosphere over everything else in the story, and actually lampshades this in-universe. The Night Circus has a plot and it has characters, but it’s not about its plot or characters. It’s about the setting and its atmosphere. It swallows you up and transports you to a fictional place that is so evocative and so magical that you just have to be part of it or you’ll die. And even then, The Night Circus has a different kind of vibe from Harry Potter. In this particular capacity, there’s nothing else like Harry Potter.

The thing is, I don’t think Rowling was being as deliberate as Erin Morgenstern. (In fact, given many of Rowling’s recent statements, I question how many of her creative choices were deliberated at all.) She was throwing random magical stuff into the background without thinking too hard about it, which works when you’re writing a kids’ story, but stops working when you try to age it up. Actually, scratch that — soft worldbuilding is definitely not just for kids! The Lord of the Rings has a soft magic system, for crying out loud, and Tolkien is the original archmage of worldbuilding. Don’t listen to anyone who tells you that prioritizing atmosphere over meticulousness is bad worldbuilding. That is a valid way to worldbuild! Not everything needs to be clearly explained, not everything needs to make sense. The problem is that Harry Potter doesn’t balance it well. Certain things do have to be explained in order for the magic to play an active role in the story (and the setting of a magic school lends itself to that kind of explanation), but no rules are ever established for the kinds of magic that need rules. When you begin thinking about the rules, you’re no longer just enjoying the magic for what it is. At worst, you begin running up against the Willing Suspension of Disbelief.

It wasn’t actually the “aging up” of the story that did it in, per se, but rather, the introduction of realism. The early books were heavily stylized, and the later books were less so. A heavily stylized story can more easily maintain the Willing Suspension of Disbelief. That’s why, for example, you don’t ask why the characters are singing in a musical — you just sort of accept the story’s outlandish internal logic, and the inherent melodrama of it doesn’t take you out of the story. Stylized stories are more concerned with being emotionally consistent over being logically consistent. The later Harry Potter books changed their emotional tone, but without changing the worldbuilding style to compensate.

In addition to the more mature themes and darker tone, Harry Potter introduced more realism as it went, but Rowling did not have the worldbuilding chops to pull this off. There’s the basic magic system stuff: When you begin thinking about it too hard, something like a Time-Turner stops being a fun magical device, and starts threatening to break the entire story. Then there’s the characters: Dumbledore leaving Harry on the Dursleys’ doorstep in the first book is an age-old fairy tale trope that goes unquestioned, but with the introduction of realism in the later books, it suddenly becomes abandonment of a child to an abusive family. The exaggerated stereotypes of characters like the Dursleys become tone-deaf. The fun school rivalry of the House system is suddenly lacking in nuance. And then there’s the shift in tone: The wizarding world that we were introduced to as a marvellous place is revealed to be dystopian. You start thinking about how impractical things like owl messengers are, you start wondering if Slytherin is being unjustly punished, the bad history appears glaringly obvious, the quaint archaisms become dangerously regressive. Oh, and the grand feasts are made through slave labor! The wizarding world suddenly feels small and backward instead of grand and marvellous. J.K. Rowling’s bigotry throws it all into an even harsher light.

This is why I’ve always preferred the early books and films to the later ones. There’s a lot of things I like about the later ones, but they’re not as stylized — they don’t have The Vibe. Thinking about things too hard is just a necessary condition of adulthood, but it’s still possible to tell a dark, mature story that is highly stylized. I really think JKR could have better pulled off that shift if she was a more competent worldbuilder. But it is painfully obvious that she did not think things through, and probably didn’t understand why she had to. In her defense, she did not know that her story would end up being one of the most scrutinized of all time. As it stands, her strength in worldbuilding was in the softer, smaller, deliberately unexplained moments of magic that were there just to provide atmosphere. And there were less and less of those as the books went along.

Pretty much all the Harry Potter-related content released since the last film — including Cursed Child, Fantastic Beasts, Hogwarts Mystery, Hogwarts Legacy, Magic Awakened, and that short-lived Pokemon Go thing — have been unsuccessful attempts at recreating The Vibe. In fact, the only piece of supplemental Potter content that I think had that Vibe down pat was the original Pottermore, back when it was more of an interactive game. And of course that got axed. That was right around the time things started going downhill.

Some of the art from Pottermore’s original Sorting quiz.

So what now? Well, that’s the question.

I think I can safely say that The Vibe was the reason I liked Harry Potter. It’s the thing I still like the most about it. I’ve spent years chasing it, like an elusive Patronus through a dark wood. If I can capture and distill that Vibe, and use drops of it in my own work, then perhaps I won’t need Harry Potter anymore.

I'm gonna write the story that I wish Harry Potter was, and when I'm a famous author, I won't become a bigot. I'll see you on the other side.

[goddessofroyalty]

Something i really enjoy in your Zaun Family Au is the concept of physical touch. Let me explain.

I dont know if you did it on propous or not but it sounds like in Zaun touching, hugging, holding or just any other of physical touch is far more common and acceptable. Meanwhile in Piltover you have to be more protocolar. It reminds me of the historical romance novels i have read where you cannot just hug or touch your friend because its "impolite"

The idea:

Since Jayce is from a lower house he is more used to hug and touch people to show them his care. But since he started his studies he just cannot do it anymore. He feels like shit but is ashamed of saying it outloud.

Enter Viktor.

They touch, they hug, they are physical affectionate in a platonic way.

As he goes more and more to Zaun and befriends his family he feels better. He missed this.

A punch in the arm from Vi, Jinx climbing over him to show him something or maybe sitying in his lap while they check some equations, Vander patting his back. He loves this small moments.

The only time Silco patted his arm to congratulate him he almost cry.

This feels like family.

Bonus: Caitlyn is taken aback because she never experimented this level of physical contact before. Yes, she has Jayce but he is like a sibling. She just sagging in Vi's embrace, trembling and feeling so warm.

Zaun having a more touch-friendly culture is an accepted headcanon for me so while I'm not consciously thinking about including details reflecting it when writing the fact it it is just a part of worldbuilding means that it will be reflected in how I write characters.

But yeah I very much believe Zaun has a culture where casual touch is much more accepted than Piltover which has a lot more strict social rules generally.

The fun thing with Jayce and Viktor is that Viktor lived in Piltover for long enough that he's learned their social rules and so is pretty touch-adverse at least when he is in Piltover. Especially because he's Heimerdinger's assistant so is interacting a lot with the very Upper Class of Piltover. And yeah Jayce also learned the rules after starting at the Academy (and gaining the Kirramans as his sponsor) but he clearly struggles more with it (possiblly because he didn't expect to have to change his behaviour compared to Viktor who knew that he would have to adapt to fit in with Piltover).

Basically though Jayce starts the physical affection with Viktor. Cautiously and probably more in the socially-justifiable 'patting a bro on the arm' kind of way that he can easily pass off as a nothing-thing if Viktor reacts like he's uncomfortable like so many other people Jayce has interacted with since joining the Academy did. Except Viktor doesn't react negatively and starts touching Jayce in return, also similarly in the small gestures that can be easily excused if it gets a bad reaction. And then slowly slowly they get more and more bold in their touch, testing out to see if there's a line where the other will push away that never comes. Until they are just very physically affectiate with each other casually.

Viktor's siblings haven't had that much exposure to Piltover when Jayce is introduced to them (only starting to be brought up there by their parents after the explosion and start of the Hextech partnership) so there isn't even that testing period with them. There's also a lot less 'secret rules' when it comes to ineracting with them (or at least different ones to in Piltover) - they are very straight about what they think of Jayce both the good and the bad as well as being very comfortable with physical touch. And it's a breathe of fresh air to Jayce who is more and more dealing with people in Piltover who stand a meter away from him and pretend they like him even when they don't. Honestly how happily he responds to them even when they are being kind of mean to him is part of what endears him to Viktor's younger siblings so quickly. He's not stiff and stuckup like the other Piltites, will let Powder literally hang herself off him, and is a good sport about their teasing. There's still definitively moments where Vander nearly knocks him over because he did not expect how hard that man can hit even when he's just patting Jayce on the back but that's fine, he'd much rather that then them treating him like they'll catch something if they touch him. There's a reason he kind of seeks them out when there's big social events where the Zaun Representative brings his family with him - it's a momentary break from the Piltover Social Rules.

Caitlyn does not know what to do with Vi's family far more so than Jayce. She grew up entirely in the culture where touch is reserved for very limited situations. Even though she's so very touch-starved she doesn't know what to do when they do just sling an arm around her or bump into her in a silent request for her to move over so probably just goes very still at it. With Vi's it's a bit different because she and Vi are dating (or at least romantically interested in each other) and so yeah physical affection with her is easier even if she is amazed at how warm Vi's hugs are. It takes a bit for her to get used to the others though.

[genericpuff]

Familiarity in the Unknown - The Book Written by Tiny Paws

So there's this story you may or may not be aware of. It's about a rat who, despite being a rat, expresses a deep love for creating and cooking, often through unorthodox means and yet - throughout the unorthodox - compels us to think about the virtue of art and our own place in the world.

I know, completely absurd concept, why would a rat be cooking? It's ridiculous - but absolutely beautiful in its execution and simplicity. Our main character exists within a world that is treacherous, endlessly massive, occupied by strange creatures that could hurt him - even kill him - where good food and joy is hard to come by and living for oneself is against the tenets of his society's herd-mentality - but he is able to persevere and break through the difficulties of this world through his joy for food, for cooking, for the fire and smells, for satisfying his curiosity of the unknown, for expressing himself through the creation of art and, subsequently, for the love of the community and friendship that only grows in response to his sincerity.

Who am I kidding though, you know who I'm talking about, I don't need to keep patronizing you with wordplay and flowery descriptions. I'm obviously talking about The Book Written by Tiny Paws-

The Book Written by Tiny Paws isn't really a comic that I found so much as it found me in my daily scroll through my feed of notifications, featured in a user-submitted post to the /r/webtoons subreddit, discussing their newest update. There are a lot of comics that get promo'd in these communities and for the most part, none of them really ever compel me to read them, usually due to elements outside of the creator's control - they aren't a genre I'm interested in, the art style isn't gripping me, I'm just not in the mood to pick up anything new, etc.

But every now and then, something breaks through my own mentally enclosed barrier and reaches the innermost parts of my brain. And strangely enough, this time around, it was this little guy:

I did not know his name. I did not know what species he was supposed to be. I mean, he looks like a rat at first glance, but he also has little webbed feet like a platypus. I didn't even really pay much attention to what he was saying at first - all I could look at was his sincere little face. And once I snapped out of the cuteness hypnosis and read his dialogue, I suddenly found myself already hooked even before I read a single page. I wasn't sure what to expect, just so long as I could see more of this cute little guy.

By the end of the 9 episodes it had available at the time, not only was I more in love with this tiny creature than I was when I started, but I had the realization that this was going to be one of those rare, magical occasions when a piece of work would grab me and refuse to let go.

The Book Written by Tiny Paws is, to put it simply, a story about a creature known as "Firemaker" trying to find his way back to his herd after being separated from them during a flood so devastating that it drowns the earth beneath its waters. We are shown immediately the nature of this world - barren, bleak, cruel - but Firemaker describes it with the curiosity and wonder of a child experiencing all of it for the first time.

We're also immediately introduced to another core character - a stranger named "Vagabond" who does not seem to belong to a herd.

From its first two pages alone, The Book Written by Tiny Paws exceeds in what many comics struggle to do - it not only introduces us to its main character through his personality alone, but presents us the creator's approach to storytelling and worldbuilding: familiarity in the unknown.

Throughout each episode, alongside Firemaker, Vagabond, and the others who come and go throughout the world, we learn about how this world operates, and how they have been surviving in it. We learn that the flooding is actually a regular enough occurrence that creatures like Firemaker count their ages by how many rains they've survived. We learn that there are other creatures described only by their physical traits, and are left only with our own assumptions based on their word choice and imagination as to what they're referring to. There isn't any sign of human life, but human-like intelligence is present as creatures like Firemaker and Vagabond are able to communicate, count, multiply, use tools, and, as we see above with Firemaker, make logical connections between cause and effect (even if they're initially wrong).

Many of these concepts are familiar to us, if not absolutely mundane and outdated, but through the eyes of Firemaker and Vagabond, we get to see those same concepts re-contextualized in a world that is unlike our own. In this way, The Book Written by Tiny Paws asks us to re-explore the mundane through the eyes of creatures that rely on our privileges for their survival.

And when it's not re-contextualizing, it's introducing us to new concepts entirely that make this story and its world feel wholly unique. One such unique concept is the way in which they count - a system of multiplication through simple geometry.

It should be mentioned, before I get in any further - the creator of this work, Nolinno, proclaims themselves as "more of a physicist than an artist", and while I do believe they're not giving themselves enough credit for the art (which I will get into soon), their passion for physics shows immensely, showcasing not only their love for learning, but their affinity for teaching as well. It takes someone who really knows their stuff to be able to explain it as simply as possible for the layman such as myself to understand - and even then, not everyone who is well-trained in their field of study can necessarily teach it well - and yet Nolinno has done an extraordinary job so far of explaining their story's concepts in ways that are both simple to grasp and rewarding to master. Specifically, they reward the readers' ability to retain information and engage with it through their own conclusions, largely by creating opportunities in the text for that information to become relevant.

One of the earliest examples of this is when Vagabond initially reveals his age to be what first-time readers will assume is the number '11', and from there we can assume that '11 rains' must be significant as Firemaker seems astounded by this.

But then, we immediately find out that Firemaker himself hasn't learned to count that high, prompting Vagabond to teach him how to count higher than 3, which is when we get to learn the actual details of that aforementioned counting system built on multiplication and geometry.

It's through this explanation that we learn that Vagabond isn't 11, but the text doesn't explicitly tell us - it asks us as readers to instead follow along with Vagabond's teachings and come to our own answer.

And so, I'm not going to tell you the answer here either! There's a top comment on this particular episode that's gotten it right (as confirmed by the creator like a very proud elementary school teacher, awww), but consider that more of an answer key if you want to know if you got the correct answer. And if you feel like Vagabond's explanation here is too limited or you want more examples, nothing to fear - Nolinno has given us a study guide!

What I adore about this is that as much as I'm intimidated by mathematical concepts like this, I genuinely appreciate when a creator puts in the effort to establish ground rules like this, and in such a natural, sincere way. It challenges you just enough to compel you to try, but not so much that it's completely alienating or overwhelming.

And thanks to Firemaker's characterization, we don't feel so alone in learning these concepts, either. Firemaker's own inexperience on account of being only "three times three" years old (he's 9!) he makes a perfect surrogate for the audience to learn about the world through him. This isn't an uncommon storytelling trick, but can often come at the expense of the character's own personality - after all, if a character is constantly having to be a surrogate for the audience, it can lead to them becoming more of a blank slate without any voice - but Nolinno has accomplished that balance perfectly through Firemaker's curiosity and vulnerability. Firemaker being 9 years old and still inexperienced doesn't rob him of his own skills - more so, it's clear that he's fulfilled a specific role for his pack, and now that he's been separated from them, he's now having to learn the skills that were likely reserved for other members of his pack.

This also makes him a perfect foil to Vagabond, a creature whose past is still shrouded in mystery but is clearly experienced and can act as the parental figure or "older brother" to Firemaker - but we're always left wondering why Firemaker has left his pack, and whether or not those survival tactics were taught to him through his pack or learned the hard way after leaving. It ultimately leaves us wondering what Vagabond's true motives are, and whether or not he can be trusted as a role model to Firemaker. Fortunately, nothing so far has made me or even Firemaker doubt his capabilities or motives, even earning himself a new name-

-but in a world so unpredictable, who's to say that Vagabond's own motives are entirely pure?

After all, as we soon learn, not all creatures are kind in this world.

Again, in case it needs reminding - Firemaker is nine. Though 9 years old for a rat-platypus creature may not be equivalent to 9 years old for a human, it is still very much communicated to us through the narrative that he is a child and, as such, is going to have his safety threatened in this world the same way a child often would in our own - through the cruel actions of untrustworthy adults.

But, as I mentioned already, Firemaker is never made to be the constant ball and chain of the pair. Though he may just now be learning how to count and multiply higher than 3, he's earned his name through his own particular skills that can be used to not only save himself from starvation, but save others from ambush through the use of smoke signals.

Of course, as much as I can gush about the narrative, I also wouldn't forgive myself if I neglected to mention its art style which, despite being created by one person who claims to not be much of an artist, wonderfully complements its theme and tone. I would go so far as to argue that this is one of those stories that just simply wouldn't work as effectively as it does if it had a full color art style. The contrast of black and white between the environment and its characters, as well as the simplicity of the character designs against the more detailed designs of the architecture and props, makes for a brilliant visual presentation that - like the worldbuilding - expresses itself clearly without overcomplicating anything. Through its art - just like through its writing - it asks us to try and find familiarity in the unknown.

And best of all, when things do get complicated-

-it harshly reminds us how quickly a simple and beautiful thing can turn ugly and cruel.

Even though it was initially Firemaker's cutesy little face that suckered me in, the worldbuilding that Nolinno has expertly crafted through their own knowledge and affinity for teaching others has stolen the show. And that's a quality that I find is quite rare in fantasy works nowadays, but just like the culinary arts of that other rat who's far more well-known, it came from a completely unexpected place.

Nolinno has accomplished what I find a lot of budding fantasy writers struggle with - they have successfully created a world that is full of its own unique qualities, and communicated it clearly to their audience in a way that is both engaging and rewarding. Unlike others who often put the lore before the story - usually by dumping every bit of exposition, conlang definition, map and political chart on their readers before they've had a chance to even read the first page or know the main character's name, often out of fear that all their prep work will have been "wasted" if they don't reveal all of it immediately - Nolinno simply shows us their world and its inhabitants as they are, without the need to justify itself, and invites you to join along at your own pace, with helpful little bits of knowledge communicated through the narrative to help you find your way. It's okay if you're not entirely certain of how this world works, because you're not travelling alone - so too are Firemaker and Knower finding their way.

As someone who was raised on the works of Jeff Smith (BONE) and Bill Watterson (Calvin and Hobbes), and even found their own passion for fantasy writing through both comics and video games like The Legend of Zelda, I have a lot of appreciation for stories like this that can be appreciated by all age demographics, and I've found myself almost disillusioned by the current landscape of conveyer-belt media today that often fails to live up to even a fraction of what we remember existing 20 years ago, existing only to pad a rich executive's bottom line. This has only been further exacerbated by the advent of generative AI that's now threatening the integrity and livelihood of artists both within the industry and outside of it.

Suffice to say, just like the world that Firemaker inhabits in The Book Written by Tiny Paws, our world is very bleak right now. Even still, its characters still find their moments for joy, for rest, and for play, and the comic in and of itself reminds me through its existence that there are still wonderful works being made that are capable of making me feel as curious and excited as I did when I was reading BONE cover-to-cover at the age of 12.

Those moments and those stories feel harder to come by than ever, but I'm happy to say that The Book Written by Tiny Paws is one of them, new memories that I'm happy to have made and am eager to continue to make - familiarity in the unknown.

[nu-carniviva]

A censored version of Nu: Carnival is coming to the app store... Which is not good

When this was first brought to my attention, I honestly didn't believe it at first. I mean, why would I? Nu: Carnival has advertised itself as an adult-only game since it's release. I rarely go on Twitter since it's a total shithole, but that's how I found out that the rumors were true. Nu: Carnival - Bliss, they're calling it. The overall plot, events, and gameplay will be the same. But many crucial changes will be done to the dialogue, CG, and audio. Long post ahead, but I'll be ranting about it below

Why is this a bad move?

There are multiple reasons as to why making a censored, teen friendly version of Nu: Carnival is a horrible decision. I might not get them all, but here are a few I can think of off the top of my head:

It is literally impossible to separate the nsfw from the source. Whether the devs like it or not, they made an nsfw game. After the first half of the prologue, the game opens with porn. You are introduced to two characters at the time — Aster and Morvay. That right there is already an issue. Morvay is an incubus. He is a sex demon who wears leather lingerie. While there is certainly more to his personality, his is very existence is sex. Sex is what keeps him alive and fed. Morvay is very open about his sexual desires and the topic of sex as a whole. He doesn't find it shameful or taboo. So... What are they going to do with Morvay? He can't be removed since he's bonded with Aster. Censoring him will have him take a MAJOR hit. Now that leads me to the second part of this bullet point: sex is a crucial part of the plot. Essence is what keeps Klein stable. Eiden and his clan's job is to use their essence to fix the gem altars so said altars can keep the essence regulated throughout the continent. While there are several ways to replenish one's essence, the most effective way is through sex. Sex also plays a crucial role in expanding on the plot and the characters. Sex scenes aren't just there for entertainment, there is genuine lore within the dialogue. Through sex, Eiden bonds with his clan members in the most intimate and personal ways. He sees his clan members at their most vulnerable moments, and through that they share a deep connection. You can see when sex scenes go from Eiden and whoever the clan member is having sex just to have it to having sex because they genuinely care for each other and want to physically bond. I could delve deeper into this topic, but I'm sure you all understand by now what I'm trying to say. Sex is not just an accessory or perk. It's part of the worldbuilding

Minors will not be able to escape nsfw within the fandom. Since the game's release, the fan base has been entirely made up of adults. Since we are all adults, we freely talk and post about the nsfw parts of the game. You go on any social media platform where Nu: Carnival is discussed, and you will see nsfw. It's a very casual topic in the fandom, and in a way it's something that bonds us together… As weird as that may sound. My point is, making a censored version of the game is pointless, because the source itself in inherently nsfw and the fan base is full of adults making nsfw content which is usually uncensored since the artists expect for anyone in the fandom to only be adults

Minors in fandoms often bring drama... Hear me out on this one. Not to sound like one of those "grr minors dni I hate minors" people, but kids in fandoms often bring drama and discourse. As aggravating at it is, I have to admit that it isn't entirely their fault. When you're in your early teens, you're starting to discover yourself. You become very opinionated and defensive over your beliefs because you're trying to figure out who you are and where you stand in life. You're trying to gain independence and autonomy. It's normal... But it's very draining. Since Nu: Carnival has an all-adult fandom, there isn't a lot of drama at all. Sure, you're going to have stupid people saying stupid shit to start drama, that happens everywhere, but those people are typically ignored because it isn't too common. With kids coming into the fandom and starting unnecessary drama, it'll be so much harder to avoid. Not only that, but kids don't have as much media literacy as adults do. It's not an insult, but simply a fact. Nu: Carnival delves in a LOT of heavy themes in the game. Some of which are stated outright while others require you to read in between the lines to pick up on them. Since the fandom is all adults, it's easier for us to handle these topics and discuss them maturely

Why are the devs doing this?

My guess? Money. The devs are part of a company after all. At the end of the day, all companies want to make money. By making a game they can put on app stores, the game becomes more visible to a broader audience. People who have never heard of Nu: Carnival before will see what appears to be an innocent anime game when it's far from that. All it will take is a simple google search for people to see the the game is very much nsfw and not something minors should indulge themselves in. It's dangerous for both parties involved, both the minors and the adults

But hey, whatever's bringing in the money, right? Sigh...