#it's not unique to their characters or the conflict between them. it just feels like they needed a reason to make them fight

[raven-at-the-writing-desk]

Given we have finally gotten news regarding the anime what do you think about it being an adaptation of the manga?

I have some mixed opinions since we'll be seeing the same story for the 4th time at this point (game/manga/novel/anime) but there does appear to be some differences with each especially with each unique Yuu. I do think the OBs and fight choreography is best animated over a slice of life show.

I'm not expecting any major changes from the manga if any at all but I'm happy to see it animated at all. I do hope it is successful so that the other books get animated. I feel like we are in a purgatory of early TWST with how often we go back to the earlier books in different mediums.

[Referencing this news!]

Gonna be honest with you, I’m kinda numb to getting yet another adaptation of the main story (a story that, mind you, we've already heard ad nauseum). At this point, it really does feel like a never-ending purgatory where we are forced to relive Heartslabyul over and over and over 😅 Of course, I'm still looking forward to seeing the anime and watching some of the more complicated scenes play out (fights, flashback sequences, playing magift/spelldrive, etc.). However, I think I would have preferred something new...? For example, vignettes, the event stories, etc.

The anime being an adaptation of the manga is... fine? But that means the anime may also have the same issues that I have with the manga. Those would be:

We will never really be able to fully bond with or know Yuu on a deeper level since Yuu is constantly changing between books/seasons. We won't get to see how the Yuu of Heartslabyul interacts with characters in later books, we won't get to see how the Yuu of Octavinelle handled the Heartslabyul and Savanaclaw conflicts, etc. We won't see any of them grow or change as a result of interacting with the NRC cast. This sucks particularly because if you really love a particular Yuu, you know they won’t be sticking around.

Despite the Yuus being designed as foils for the OB boys of each respective arc, no special meaningful interactions come out of it. The reader/viewer is just left to draw the parallels but there is never a moment where Yuu and the OB boy reconcile about their similarities/differences, which would actually justify the frequent changing of the POV character.

Barely any alterations are made from the game's story, since the manga isn't allowed to deviate in significant ways. No matter how different the Yuu is, they cannot ever make a decision or even have dialogue that would actually change the story in interesting ways.

General time constraints (manga arcs are 20 chapters, seasons have a limited number of episodes).

Limited showing/screen time of some characters. Because the adaptation will be of the main story, some characters that make very bad first impressions (hi, book 2 Leona… hi, Sebek without the vignettes…) will maintain those bad first impressions and won’t have a chance to redeem themselves simply because the bonus content (vignettes, event stories, etc.) aren’t adapted. Other characters won’t get as much focus simply because they aren’t the OB boys. The former would mainly be a concern for anime/manga-only fans.

Most of my disappointment comes not from reliving the same story, but that we are reliving the same story with minimal changes. I would enjoy adaptations more if they actually played around with the source material and explored new avenues! It feels like a missed opportunity, you know??

As I said earlier in this post, this is NOT meant to be overly negative; this is healthy skepticism. I'd describe myself as still excited, but not as excited as I would be if the anime were about something else set in the Twst world. Hope that makes sense 🙏

I would also caution readers to take my concerns with a grain of salt; for all we know, maybe the anime will add new scenes or fix some of the issues I pointed out. We should wait until the anime is out to judge its content and quality for ourselves.

On a positive note though 🤡 M-Maybe we will see. Shirtless L*ona animated… because… y’know… Episode of Savanaclaw technically canonized it… HAHAHAh JK… unless…? 🥺 👉👈

[atissi]

well that sucked

[writers-potion]

Storyediting Questions to Ask

As You Read the First Draft:

Are there place that surprised you as you read your first draft? - Why do you suppose that is? - Is there material there you'd like to expand?

What are the character really doing in this story? - Might they have issues you haven't explored fully yet?

Look to the places that drag. - These might be scenes where you have avoided dealing with something deeper. - What are the characters really thinking in these places? - What are their passions, frustrations, and desires?

Imagine alternative plotlines. - How might your plot be different if ti headed off on another tangent from various points in the story? - You don't have to follow them, but they might suggest other streams that can flow into the main plot.

Think About Structure:

Does you story play out naturally in three acts?

Is there an immediate disturbance to the Lead's world?

Does the first doorway of no return occur before the one-fifth mark?

Are the stakes being raised sufficiently?

Does the second doorway of no return put the Lead on the path to the climax?

Does the rhythm of the sotyr match your intent? If this is an action novel, does the plot move relentlessly forward? If this is a character-driven novel, do the scenes delve deeply enough?

Are there strongly motivated characters?

Have coincidence been established?

Is something happeing immediately at the beginning? Did you establish a person in a setting with a problem, onfronted with change or threat?

Is the timeline logical?

Is the story too predictable in terms of sequence? Should it be rearranged?

About Your Lead Character:

Is the character memorable? Compelling? Enough to carry a reader all the way through the plot?

A lead character has to jump off the page. Does yours?

Does this character avoid cliches? Is he capable of surprising us?

What's unique about the character?

Is the character's objective strong enough?

How does the character grow over the course of the story?

How does the character demonstrate inner strength?

About Your Opposition:

Is your oppositing character interesting?

Is he fully realized, not just a cardboard cutout?

Is he justified (at least in his own mind) in his actions?

Is he believable?

Is he strong as or stronger than the Lead?

About Your Story's Adhesive Nature:

Is the conflcit between the Lead and opposition crucial for both?

Why can't they just walk away? What holds them together?

About Your Scene:

Are the big scenes big enough? Surprising enough? Can you make them more original, unanticipated, and draw them out for all they are worth?

Is there enough conflict in the scenes?

What is the least memorable scene? Cut it!

What else can be cut in order to move the story relentlessly forward?

Does the climactic scene come too fast (through a writer fatigue)? Can you make it more, write it for all it's worth?

Does we need a new minor subplot to build up a saggin midsection?

About Your Minor Characters:

What is their purpose in the plot?

Are they unique and colorful?

Polishing Questions:

Are you hooking the reader from the beginning?

Are suspenseful scenes drawn out for the ultimate tension?

Can any information be delayed? This creates tension in the reader, always a good thing.

Are there enough surprises?

Are character-reaction scenes deep and interesting?

Read chapter ending for read-on prompts

Are there places you can replace describing how a character feels with actions?

Do I use visual, sensory-laden words?

For a Dialogue Read-Through:

Dialogue is almost always strengthened by cutting words within the lines.

In dialogue, be fair to both sides. Don't give one character all the good lines.

Greate dialogue surprises the reader and creates tension. View it like a game, where the players are trying to outfox each other.

Can you get more conflict into dialogue, even emong allies?

If you like my blog, buy me a coffee☕ and find me on instagram! 📸

[thebibliosphere]

One of the really fun and interesting things about writing a polyamorous romance as someone who is ambiamorous/polyamorous is finding new ways to make sure the narrative hits the expected genre beats without just sort of... mushing it into a pre-existing monogamous romance mold, which is what I'm afraid happens a lot of the time.

Trust me, it was my job in the publishing house to make them fit that mold. I hated it.

Reading other poly-centric romances, I can always somewhat tell when someone is writing polyamory from a sexual fantasy aspect (zero shade; I'm here for all the group sex) without actually considering how it functions as a relationship dynamic, which can often come off as... well.

It's lacking for me as a romance.

Erotica-wise, it's fine. But it misses the romantic beats for me that I want as a polyamorous-leaning person.

There's so much emphasis on the polycule and never the individual dyads within the larger relationship.

For example, in a triad, there are actually four relationships to handle.

The dyad between A + B. The dyad between A + C. The dyad between B + C. And the overarching relationship between A + B + C.

With monogamous-leaning authors or authors that've been pressed into conforming to the pre-existing genre beats, there's a tendency to treat the relationship as a homogenous mass where everything is fair and equal, and you treat all your partners the exact same way.

And I get it. It's easier to write everything as peachy-keen and to have external conflict be resolved with either acceptance or a brave confrontation.

But it doesn't always land for me as someone who wants to see my style of love represented in the genre.

In healthy polyamory, either closed or open, each relationship is unique in its own way. Taking the example of a triad again, the way A acts with C likely differs from how A acts with B.

And that's a good thing!

Because C might not want the same things as B, so trying to treat them both the exact same is a surefire way to make sure someone isn't getting their needs met, and that will lead to conflict.

Polyamory isn't striving for equality between partners but rather equity.

What are your individual needs, and how do I meet them, as well as meet the needs of my other partner(s)? What do you want from the larger relationship as a whole? How do we accommodate everyone without making someone feel neglected or uncomfortable? How do we show this in the narrative? How do we make sure character A isn't just treating B the same as C in every interaction? Do they ever fall into that pitfall? How do they remedy it?

It seems like common sense when you write it out like that, but it's a major pitfall I see time and time again. The characters never alternate their approach between partners, if there's any focus on the individuals at all.

The other major telltale thing I've noticed is that taking time to be with one partner is seen as a step down from the "goal" of the greater polycule.

The narrative is framed in such a way that they might start out with individual dates, but the end goal of the romance is to eventually be together 100% of the time all the time, and wanting individual time alone with any one partner is somehow "lesser."

Which is the goal of romance in monogamy, but it's not the goal of romance in polyamory.

Granted, you do need to end on a Happy Ever After or Happy For Now for it to fit the genre requirement. And a nice way of tying that up is to have everyone together at the end as a happy polycule all together all at once. I'm not disputing that as a narrative tool. I'm just pointing out that there's a tendency to present those moments as the sum total of the relationship when in actuality, there are multiple relationships that need to end happily ever after.

The joy of polyamorous love is the joy of multitudes. It's the joy of experiencing new things, both as individuals and as a polycule. If you're not taking care of the individual dyads, however, your polycule is going to crash and burn. You cannot avoid that. So why, then, is there such avoidance of it in stories meant to appeal to us?

Is it simply inexperience on behalf of the author? Or is it that they're not actually being written for us? Is it continued pressure to meet certain genre beats in a largely monogamous-centric genre? All of the above?

Either way, I'm having fun playing around with it and doing all the things we were warned against in the publishing house.

I'm having fun with Nathan and Vlad enjoying their own private dynamic that is theirs and theirs alone. I'm having fun with Ursula and Nathan being so careful and vulnerable around each other. I'm absolutely 100% here for the chaos of Vlad and Ursula without a chaperone. And I'm here for the chaos of Vlad and Ursula together and Nathan's fond, loving eye roll as he trails after them, too enamored to tell either of them no because where would the fun in that be...

Anyway. Don't mind me. Just getting my thoughts out while everyone else is in bed.

[secondhandsorrows]

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

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

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

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

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

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

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

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

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

- Bouts of flirting and/or banter:

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

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

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

- Initial conflict or struggle:

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

- Shared vulnerability:

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

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

[novlr]

how to create good characterization naturally? The chemistry in between characters without seeming forced

Great character chemistry can turn a good story into one that readers can’t forget. It’s a spark that makes your characters’ relationships seem real and exciting. Let’s look at how to make your characters interact in a way that feels natural and keeps readers hooked from start to finish.

Behaviour

Have characters unconsciously mirror each other’s actions.

Include small acts of intimacy, like sharing inside jokes or personal anecdotes.

Show characters prioritising each other’s needs or sacrificing their interests for the other.

Develop unique habits that characters only exhibit around each other.

Use consistent, unique actions or quirks that reveal a character’s feelings.

Create scenarios where characters defend each other’s viewpoints or actions to outsiders.

Allow characters to show vulnerability around each other.

Have characters unintentionally adopt each other’s mannerisms or phrases over time.

Have your characters make an effort to engage in activities they don’t typically enjoy, just to be with the other person.

Show characters naturally falling into synchronised rhythms, like walking in step.

Interactions

Lace your dialogue with subtext.

Have characters finish each other’s sentences or speak in unison without planning it.

Include playful banter and light teasing.

Allow for moments of comfortable silence that show a mutual understanding and connection.

Conflicts should be heated, but often end in mutual respect and a stronger bond.

Write intimate conversations where characters share secrets or dreams.

Develop scenes where characters work together seamlessly, anticipating each other’s moves.

Write moments where one character can tell what the other is thinking just by looking at them.

Have interactions where characters seek each other out for advice or comfort.

Create situations where characters celebrate each other’s achievements genuinely and enthusiastically.

Body language

Subtle touches like brushing hands or a gentle push that lingers just a moment too long.

Leaning towards each other while talking, showing attraction or interest.

Describe the way characters mirror each other.

A characters’ eyes lighting up or softening when they look at each other.

Positioning themselves between their partner and a threat.

Unintentional proximity, like standing or sitting closer than necessary.

Nervous gestures that characters show only around each other, like fidgeting or playing with their hair.

Warm, genuine smiles that are reserved for one another.

Instinctively reaching out to comfort each other in times of distress.

Relaxed posture in each other’s company.

Attitude

Show a respect for one another that they don’t show with others.

Are consistently patient with one another’s flaws.

Willingness to compromise or find middle ground.

Giving each other the benefit of the doubt in misunderstandings.

Unconditional support during difficult times.

Take pride in each other’s accomplishments, without jealousy.

Consistently have faith in each other’s abilities and decisions.

Openly express admiration for one another’s talents or character traits.

Maintain a positive outlook on the other’s intentions, even when they make mistakes.

Show an understanding between characters that goes beyond words.

Positive story outcomes

Stronger alliances or partnerships.

Romantic subplots that add depth and interest to the main story.

Believable character development as they influence each other positively.

Moments of triumph where their combined strengths overcome obstacles.

Deep, meaningful friendships.

Can easily resolve conflicts that seemed insurmountable.

Celebration is more impactful due to their shared success.

A fortified sense of trust that can be pivotal in critical story moments.

Enhanced reader investment in the characters and their relationships.

Openings for sequels or spin-offs based on popular characters dynamics.

Negatives story outcomes

Conflict arising from misunderstanding or jealousy.

Unresolved tension between characters on the outside.

Can lead to unnecessarily complex emotional entanglements

Creates obstacles due to the characters’ strong connection being exploited by antagonists.

Tragic outcomes when the chemistry between characters causes them to make irrational choices.

Intense confrontations that threaten the relationship.

Betrayals that are more impactful because of the depth of their relationship.

Unforeseen sacrifices that characters make for each other.

Heightened stakes when the wellbeing of one character is tied to the other.

Unexpected changes in the character when relationships are cut short.

Helpful vocabulary

Smitten

Love

Afffection

Desire

Charisma

Intimate

Playful

Magnetic

Affectionate

Devoted

Engrossed

Dynamic

Mesmerizing

Empathy

Kinship

Enthralled

Spark

Trust

Harmony

Synergy

Supportive

Heartfelt

Genuine

Symbiotic

Unbreakable

Deep-seated

Fascinating

Bonded

Authentic

Obsession

[lych33dragoncookie]

Only the masterpieces that survive the fiercest flames earn their place in history.

(Analysis post)

Alright, they absolutely cooked this update. Like, undeniably so. I was admittedly not that huge of a fan of the last 2 beast yeast chapters we got; they had really good ideas, and Mystic Flour is a wonderful character, but... Dark Cacao hasn't really been done enough with for it to feel like it had the amount of weight it could have, and it really doesn't feel like much about him actually changed at all. Combine that with a complete lack of interesting dynamics and you have a lot of very good and genuinely pretty well thought out story concepts with extensive cultural research, executed in a way that feels more like a traditional old-school story that weakens the attachment the audience feels to the components of said story.

Here, though? I have no complaints so far. It was absolutely wild in fact, to the point where I don't think it's gonna happen again (nor am I entirely sure it should ever happen again). This was back to back, non-stop, smack to the face one after the other. The moment the first point of conflict came up, it was just shit happening left and right; even in the mandatory moment of rest where we chill out for a bit, it's revealed that hey, these sandstorms? Yeah the sand is actually ashes. It's the remains of all the people that live here. Whether they died off on their own or were killed by someone else.

And if that wasn't enough, very shortly after;

... It's fucking crack.

So, people die and kill each other here very frequently, and not only are their remains visibly on display, their ashes also become sandstorms that make it near impossible to navigate the land; on top of being something that people snort like cocaine to become more energetic and aggressive.

We started fucking wild, dude. This whole thing is pulling no punches.

Though, I do wanna note; I really, really enjoyed the interactions between Smoked Cheese and Golden Cheese. It shows not only how forgiving she is, but how these two have known each other for an incredibly long time, and know each other well. They're incredibly comfortable around each other, despite it all, and despite how brazen and Very Much Not Strategic the queen here can be. I really, really enjoyed them.

Always fun to see a recovering villain do things for good, but in their own unique way that's still not exactly heroic but definitely effective and, at times, very gratifying.

Though I enjoyed all this, there's one thing I wanna talk about above all else.

The star of the show. Note that every single part was enjoyable, of course, and he wouldn't be half as interesting without Golden Cheese Cookie to serve as a parallel, but they've cooked up something special here.

So far, Burning Spice's extent of onscreen appearance is very, very short, but... I don't think I need to tell you that he's already made an impact and a half.

Christ, that's violent. With the sound effects and everything too, god damn. But, I'd be lying if I said this wasn't a pretty superficial source of judgement for this character. It's very very telling of what kind of person he is now, what he's all about, what he's willing to do, what he likes doing, but...

More than anyone else in recent memory, the devil is in the details. So let's look at those details.

Nothing too much so far, other than how much he absolutely loves destruction, but there's already a trend; namely on "Nothing lasts forever. It's as simple as that", "In the end, everything becomes dust.", and "You, too, shall see that destruction is the only way.". There seems to be an infatuation with the natural process of everything fading away, turning to dust and dying out. An entirely honest one, believing that there is just about nothing else to life. These will be important to keep in mind.

Here, we see a bit of his current relationship with his own immortality. He doesn't seem to mind the idea of losing it, finding something that may eventually take him down, but he still takes great pride in it. These lines, in text, seem somewhat miserable (and trust me, they definitely are), but the voicework in just about every language conveys that they are said in a more neutral, even potentially proudly manner. Again, not much on their own, but...

Here's where we get into the fun part.

This. This is the crux of their character. At the start, him and Golden Cheese cookie were more or less the same. Benevolent royalty, close and personal with their subjects. Beloved, and loving.

And then, they lost it all.

One way or another, their kingdoms were lost, reduced to almost nothing. They were overcome by grief, desperate, unable to cope with their loss. One tried to latch on as hard as possible. Preserve what she could, blindly, replacing the harsh truth of reality with an idealized, constructed world, where no one would ever have to know pain ever again. She shut herself off, and retreated in the safety and peace of a false reality. She would rather have lied to both herself and all her subjects than face reality. And eventually, she had to learn to move on. Let herself and her kingdom heal more naturally, facing reality. The other, meanwhile, was desperate to let go. He detached himself, trying to move past the pain of loss. But, of course, he couldn't force it to happen. No one can. And so with the grief of losing that which he held dear, continuing to be faced with the reality that nothing is forever, over and over, while he endured, the world slowly turning to ash around them again and again... It's no wonder something in there eventually cracked.

What will it take to destroy me. Nothing is forever, and yet, I am.

Nothing is forever. And yet, I am.

With time, misery turned to mania, and in an attempt to overcome their grief, they embraced it, in the worst way possible. A coping mechanism gone horrendously wrong. That destruction, that loss, the inevitability of death... It's not painful, no. It doesn't have to be. It can be thrilling. Exhilarating. A new reason to live. If all you care about turns to dust anyways, if that's really the only logical destination... Why not have some fun with it? Why not embody that inevitable, unstoppable force? Why not become what you fear, so you no longer have to be afraid anymore?

... You know, at least that's what I think is going on here. The next chapter could contradict this reading, but... From what all we have right now, it seems like Golden Cheese and Burning Spice are two completely different paths for the exact same type of pain. They are, in a way, the same, but diverge in almost complete opposite ways where it counts.

Spice is genuinely equal parts absolutely terrifying and absolutely miserable; a balance that is incredibly hard to strike in writing, but always absolutely fascinating and wonderful to observe when it happens. I have to say, the more I found out about them, the more I couldn't keep my eyes off everything they have going on.

I'm loving every little bit of this update. Mad props to the devs for cooking something up here that I am genuinely incredibly invested in, almost to the same degree as White Lily and Dark Enchantress. Banger update. Absolute S tier material.

TL;DR: Burning Spice is terrifying, miserable, and ridiculously cool. Everything about this update was an absolute merciless flurry of consecutive gut-punches. And I loved every second of it.

... Now we sit and wait for Shadow Milk's release next year.

[eponymous-rose]

A little thing I'm also really appreciating in this rewatch of TNG is something that seems to have all but disappeared in the age of tightly plotted, entirely serialized eight-episode miniseries TV: little slice-of-life moments that don't serve any driving plot purpose except to flesh out the world a little bit.

The scene with Picard's hairdresser earnestly telling him how he should better have handled diplomatic relations with the Romulans doesn't serve a deep narrative purpose in the sense of echoing the themes of the episode or foreshadowing some important moment with that hairdresser. It's there to share a little picture of the world - yes, there are still hairdressers in the future, yes, there's still awkward small-talk with said hairdressers. There's also the nice little reminder in all these domestic scenes that normal life is happening aboard the Enterprise, families and all, which adds to the sense of danger when the ship's in peril and paints the moments of war and conflict as uncomfortable juxtapositions. It's not there to serve the plot, it's there to build the world. And the characters! Picard's mostly-polite demurs, the reveal that Riker has been 100% humoring this guy like "oh man, we should've thought of that, you're so right". There's no reason to include it beyond reveling in the world.

I really miss that about a lot of modern TV - we get these needle-sharp hard dives through a world, coherent and concise and often quite lovely, but trying to take in the scope of the world around that plot is like watching out the window of a fast-moving train: you're getting nothing more than vague impressions at a remove. It's the difference between a guided tour of a museum and a self-guided tour: sometimes, at some museums, you just want to meander around a bit at your own pace and let it wash over you.

Given the choice, I'll almost always fall deeper in love with a show that's criticized for "filler" or "monster of the week" because I know it'll give its characters and its universe time to grow. That's what drew me to TV in the first place - I adore movies, but there's only so much you can do with character and world in 2-3 hours. Lately a lot of TV seems to be seen as a rather long movie with the odd break where you get up to make popcorn midway through. I think there's something unique about the format of television that's being lost in this attempt to emulate the structure of a movie, in the same way that some novels feel like they might as well just have been novellas or short stories. It's not just a longer version of the same thing. It has the potential to be something entirely different.

Give me the bloated 20-odd-episode seasons of the 90s and 00s, where characters grew and changed slowly, by inches, and we had the time to change along with them. I love the new stuff, don't get me wrong, but I sure miss that specific brand of mess.

[nocreativityfornames]

THE BROTHERS AND THE CELESTIAL REALM (SPOILERS: ALL SEASONS)

Alright, let's talk about it. It's been a long time since the game started flirting with the idea of the brothers forgiving Father/God and changing their views of the Celestial Realm as a whole and it's very odd, to say the least.

The first big red flag was this moment with Lucifer back in Season 3 of NB, that was the most concerning one considering that this was recently fallen Lucifer, when the war had ended only a year ago and they had just lost Lilith, and when he and the brothers had just escaped eternal punishment being trapped at Cocytus forever for betraying Father.

The contrast of recently fallen Lucifer speaking this positively of God when even the present one (who's had who knows how many centuries to process everything that happened) has shown to despise the idea of coming back to the Celestial Realm, mostly remember his time there in a bad light, and outright fear Father is JARRING.

And these moments keep coming, and the brothers keep showing more and more positive feelings towards the Celestial Realm. Forget everything we learned about the CR and what they went through, or the feelings the characters expressed towards the Celestial Realm before Nightbringer.

You're telling me that God wanted to wipe their sister from all existence and half of the realm, angels who they thought they could trust, opposed to them when they dared to protect her, went to war with them, and had her killed (probably along other angels who sided with the brothers to save her because the whole realm was divided) and now the brothers are just going to forget all of that and be all "the Celestial Realm wasn't that bad, actually. We always loved it there and wouldn't mind going back"? Really...?

I mean, even beyond all the Lilith stuff the Celestial Realm had always been a bad place for the brothers. Remember what Lucifer said: most of his memories from that time aren't good. The brothers already didn't like the Celestial Realm before Lilith; they already felt out of place there, and they already had their doubts. Hell, the reason they grew to have such a strong bond as angels to begin with was because they were outcasts, the ones who didn't fit in and were looked down on.

Mammon was close to being cast out and no one knew how to deal with him, Lilith was too chaotic and far away from being the ideal angel, Beel couldn't control his strength and destroyed everything around him, Belphie had no interest in following tasks, had a unique fascination for humans and preferred spending time in the Human World than the Celestial Realm, etc. And Lucifer was the one who took them in and accepted them as they were because even though he was far from an outcast and looked like the perfect angel on the outside, he still had his internal conflicts and struggled under pressure just as much in secret.

All of them suffered living there. Even Simeon opened up to MC about how he thought that angels weren't allowed to have dreams and that he probably wouldn't have found out otherwise had he stayed in the Celestial Realm. And that was on Nightbringer, not an old card from the OG but a recent one, so what's going on here?

It could be Solmare's way of setting things up for Raphael & Michael to become recurring characters since they don't want them to be seen as the bad guys (shout out to @cnl0400 for being the first to talk about this), but they don't need to flip the script and change the brothers' established feelings towards the Celestial Realm and God for this to happen. Raphael and Michael are also victims of the way angels are conditioned to live and are likely just as traumatized and have as many issues as the brothers, which developed from the strict rules they have to follow to be considered "good angels", the War, etc.

And we already had moments in SWD that showed that the brothers still care for Raphael & Michael and vice versa, despite everything that happened between them (though the same can't be said about the CR and God). So why not explore that, instead of having their view of the realm as a whole change so drastically with no explanation?

The brothers not only look at the Celestial Realm fondly now but would happily visit. The place where their worst memories took place and where so many of their loved ones died, the main source of their traumas and the traumas of everyone who survived the war. I mean, just before NB Simeon was harshly punished for saving MC's life and cursed with mortality, just another reason for them resent the CR and their strict rules. And don't even get me started on Father.

Assuming that their goal is to write a redemption arc for the angels who didn't take the brothers' side during the war and paint the CR in a better light so players won't hold a grudge against Michael & Raphael, this isn't a good way to go about it. Burying everything under the rug and acting as if the brothers just came to change their minds over time is insane because we didn't see anything that could've led to that development. Yes, we were gone for months but it lasted so long in the timeline we were taken from that no one even noticed our absence. So what major event could've happened while we were gone that led to this?

Unless this is all part of an overarching plot where we find out that these aren't the brothers we know or our original timeline, the "we're cool with God and the Celestial Realm" ordeal is just frustrating and makes no sense for the characters as we know them.

[ventique18]

Malleus book recommendations (⚠️ Warning: Adult novels)

Are you a MalleYuu simp? Are you tired of their endless pining that never goes anywhere? Are you frustrated and just want the Yuu♀️ to bed the Malleus? Well you're in luck because I've sacrificed my sanity to comb through heaps of trash just to feed my brethren's delusions!

If your fave is his temper tantrum: Rurik - The WitchSlayer. This is only one book, but very cute and satisfying. Not very heavy on the plot; more on a fantasy slice of life between a dragon shifter and a sweet part-dragon witch.

If your favorite is the playful in Malleus: Rhysand - A Court of Thorns and Roses Series. Note: Do not stop reading until you get to Book 2, at least. It's the actual start of the series.

If you like both Malleus and Silver and want to merge them into one person: Creon - Fae Isles Series. IMO the best out of all of them.

If you like Evil Malleus: Valroy - Maze of Shadows Series. From the most well-written book out of all of them, but requires the most open mind. This is a dark novel with an evil hero. When I say evil, he is EVIL.

Some rankings below:

Note that all of these are personal preferences.

Ranking the best boys:

1. CREON (Fae Isles). He's THE best hero out of all romance books I've read so far. He's complex. He's devilish. He's thoughtful. He has a unique feature about him that no one else possesses. You'll understand.

2. Rurik (The WitchSlayer). He's annoying, has a bad temper, grumpy most of the time, but he's very cute. He's a literal dragon. He's also smart and actually thinks things through to actively resolve misunderstandings because he understands that feelings can muddle the truth.

3. Rhysand (A Court of Thorns and Roses). He's perfect. That's all. Sometimes a bit too perfect, but he's much better than many fictional male leads.

4. Valroy (Maze of Shadows). This does not mean he stinks. He's literally just extremely evil, which in itself makes him very interesting and better than most cookie cutter heroes.

All of them are great characters. They're the main reasons why you would read these novels.

Ranking the stories:

1. Fae Isles. Its magic system is unique. A lot of it is unique. Just excellent all around and definitely my favorite.

2. Maze of Shadows. DARK romance. Toxic. But very interesting and a refreshing read for those who have the strength to stomach it and remind themselves that this is only fiction.

3. The WitchSlayer. Just a one-shot so you can't expect much, but its pacing is unique in that the conflict resolves fairly early, leaving enough room to tackle what happens after the big bad evil has been defeated. It also has a cute epilogue! Definitely read this if you only have time for one of these. You won't regret the sweet dragon moments, both in his tiny form and his giant form.

4. A Court of Thorns and Roses. I generally just enjoyed it for Rhysand tbh.

Do you know other stories with Malleus clones? Let me know because I need it 👀

[essenceeater]

Erron black trying to court s/o headcanons? 🫡

Erron Black Courting HC's

I LITERALLY LOVE YOU FINALLY SOMEONE REQUESTS ERRON! I love him so much, cowboys are just AUGHHHH 😫😫😫 This is probably the fastest request I've written!

Character: Erron Black.

Triggers: Mentions of guns, lmk if I missed anything.

Requested: Yes

🔓 Requests are open at the moment🔓

Link to rules

🐎 Erron Black would maintain his mysterious aura but gradually reveal his softer side to his S/O. He might leave little gifts or hidden notes around to pique his S/O's curiosity. He leaves small, enigmatic notes with cryptic messages, encouraging the reader to solve them, leading to secret meetups.

🐎 Occasionally, he sends them rare desert flowers or unique trinkets as tokens of his affection.

🐎 Erron challenges you occasionally to a shooting competition in a secluded area, setting up targets in creative and challenging ways.

🐎 He'd provide shooting lessons, standing closely behind the reader to guide their aim, creating a romantic tension. He just wants to impress you with his sharp shooting skills

"Let me show you how it's done," Erron stands behind, guiding his S/O's arm, both focusing their vision on the target in front of them. "Now, squeeze the trigger gently."

🐎 An adventure might involve a surprise horseback ride to a hidden oasis, complete with a picnic he prepared. I know this is Erron we are talking about but he's gonna try his damn best to make you happy.

🐎In perilous situations, Erron would shield the reader, using his skills to ensure their safety. He'd be damned if something happened to you. He'd go to great lengths to ensure his S/O's safety, showing his commitment and care.

"I can't stand to see anyone threaten you. I'll always keep you safe, no matter what."

🐎 Erron's morally ambiguous nature might lead to inner conflicts, as he tries to balance his loyalty to Outworld with his feelings for his lover. He doesn't want to scare you away or think he'd hurt you, but he's not going to give up his outlaw life, just keep you away from the dangers.

🐎 During quiet nights by a campfire, he definitely would tell you stories, some goofy, some intense. He might gradually open up to you about his past and the reasons for his outlaw lifestyle, creating a bond of trust and intimacy.

🐎 YOU CAN'T TELL ME HE WOULDN'T TRY TO CHARM HIS S/O WHILE COURTING THEMMMMM!! HE SO WOULDDDD.

🐎 Expect lots of playful banter and teasing from Erron as he tries to charm you. His wit and humor would be part of his courtship strategy. HOWEVER THEY ARE ALL SUPER CHEESY AND FUNNY. I love him but I feel like he'd be saying some of the most goofy shit possible with someone he genuinely likes.

🐎He would tease the reader with witty one-liners, creating a playful yet flirtatious dynamic.

🐎 Banter between them would be a recurring theme, adding humor to their interactions.

"You might want to be careful, sweetheart. I've been known to steal hearts." Erron said as he wrapped an arm around you, pulling you closer to him as the two of you watched the stars.

"Oh really?" S/O chuckles as they rest their head against his shoulder. Rolling their eyes at his cheesy attempt to charm.

🐎This man is an outlaw, he's unpredictable.

🐎 What does this lead to?

🐎He might surprise the reader with unexpected acts of kindness or show up when they least expect it, keeping them on their toes. All of a sudden he's appearing at their doorstep with a homemade dinner and flowers in hand.

🐎 Unexpected visits during storms, when the reader least expects it, would be Erron's way of expressing his affection.

"I brought dinner. Hope you like it."

"You can cook?"

"A little something I picked up over the years. Just for you."

🐎 Erron Black would likely be a fan of slow burn, gradually building a connection and chemistry with his S/O, making the eventual romance more rewarding from his courting.

"I reckon I want to savor every moment with you, darlin'. No rush."

Essenceeater © 2023 ┃ do not copy, modify, steal, repost ANY of my content.

[writingquestionsanswered]

Struggling with Setting and Plot

[Ask edited for length]

enzoid23 asked: I can easily make characters/relationships but the setting and plot are difficult for me. I like stories where characters are stuck together in a new place and have to learn to accept it or find a way to escape, which is a basic concept, but I can't figure out how to do it. I'm trying my to avoid copying other stories but I'm not sure where to draw the line between that and inspiration either. There's too many gaps, such as the how and the where and how many characters. I keep throwing in as much stuff as i can whether it fits or not, like a Mary Sue, but it's plot instead of a character.

First, since you asked about copying vs inspiration, start by reading these posts:

Taking Inspiration from Another Story’s Premise Similarities vs Plagiarism Plagiarism vs Reference vs Inspiration Hopefully that will help you get comfortable with borrowing ideas from other sources but making them into something new and unique to you.

Next, being able to come up with characters is great, but unless those characters are rooted in a particular setting or situation, it doesn't help much with world building and plot. And while some writers can find a plot within a setting, I think for most writers its easier to start with the plot, and once you have the beginnings of a premise, it's not too hard to expand a plot from there. As luck would have it, you already have the beginnings of a premise:

People get stuck together in a new place and have to learn to accept it or find a way to escape.

Now we can look at that and start asking questions. Perhaps the easiest question to start with is "do they learn to accept it, or do they find a way to escape?" Which one? Because those are two very different goals. Choosing one and eliminating the other tightens up your premise:

People get stuck together in a new place and have to learn to accept it.

All right... I think the next logical question is who gets stuck together in a place? Is it two people? Three people? Five people? Twenty-six people? One-hundred people? You don't even have to figure out the exact number right now, but just knowing whether this story is about two people, a few people, a small group of people, a bigger group of people, or a huge group of people is going to really narrow things down.

A small group of people get stuck together in a new place and have to learn to accept it.

Okay... where do they get stuck and how? Let's brainstorm... are these modern day boaters, or a misfit bunch of 18th century buccaneers, who become castaways on a remote island? Are they a group of students whose project gets them sucked into another dimension? Are they far-future astronauts who get stranded on an isolated planet? Keep going...

A small group of students get sucked into another dimension and stranded when their science project goes wrong.

Ahoy, there! A PREMISE!!!

Now you can start brainstorming the specific details... who are these students? Middle school/equivalent? High school/equivalent? University? Graduate school? Where and when is their school located? 1926 Chicago? 1980s London? 2077 Kinshasa? 1926 Shanghai?

A small group of middle school students in 1980's London get sucked into another dimension and stranded when their science project goes wrong.

Time to start world building and brainstorming this alternate dimension. Is it going to be an alternate version of our dimension? Will it be a dimension that's similar to a past time/place on Earth? Will this dimension be like a futuristic city? Will it be something fantastical like a place that feels like an alien city, or like Blade Runner meets Ready Player One? Are there other people in this dimension? Or is this group completely on their own?

Now you can start to think about a conflict... what is the problem that must be resolved by the end of the story? Is it simply a matter of figuring out how to survive in this new place? Are they immediately captured by some faction or army or group, and they must escape, or convince someone that they're not dangerous, or win their freedom somehow? What is the specific goal they work toward in order to reach this resolution? What steps must they achieve? Who or what places obstacles in their path, and what obstacles?

Once you know all of this, you can figure out the nitty-gritty details like how many characters, who each one is specifically, and what their role in the story will be. You can look at various structure templates (like Save the Cat! Writes a Novel, Larry Brooks Story Structure, Dramatica, etc.) for guidance... just don't feel like you have to stick to it exactly. You can also read through posts on my Plot & Story Structure master list for more help with plotting.

I hope this post gets you over the hump, though! ♥

•••••••••••••••••••••••••••••••••

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

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[bonebabbles]

Ivypool's Heart: Finished

Just completed reading the new super edition! I'm pleasantly surprised by this one. Overall, this was a very good book, MUCH better than the past 3 which were some of the most boring and unnecessary entries to the entire franchise.

If you were on the fence about this one, I'd recommend it. Just take this warning; it does the Warrior Cats thing where it harps pretty strong on parenthood and nuclear families being a borderline essential part of life, including a ton of bashing on how uniquely horrible this makes the Sisters.

If you can get past that, it's a pretty solid story about grief that makes some really fun additions to the WC lore, including the wildcats, StormClan, and a broad expansion to the afterlife system.

Meandering thoughts below the cut;

One of IPH's biggest flaws is pacing, but it's not nearly as bad as the past 3 SEs.

Not to mention, this is a pretty small SE. If you're ever bored, it won't last long.

Before the book introduces the Wildcats, it REALLY meanders. It'll pick up, but you will have to wade through relatively uninteresting scenes of the cats traveling and talking about their feelings unprompted.

A lot of "quicktime events" happen out of nowhere to fill pages with cats running away from random bullshit.

There's a horse carriage, an apple picker, dogs, weasels, foxes, a storm, traffic, humans, boats, sandwhiches. It's endless. My eyes glazed over during most of these scenes.

I know a lot of people were dreading Ivypool being nasty and unreasonable during this book, but honestly? I was hoping for it and didn't really receive it.

I find her most compelling when she's holding a grudge, acting on her anger, and generally working through messy issues. But aside from her just thinking about being annoyed or angry, she's really not snappy at all.

I feel like there could have been a lot more interesting and organic conflict between Icewing, Dovewing, and Ivypool's personalities instead of boring Quicktime Events. In fact, I felt like Icewing and Dovewing were kind of underutilized.

The conversations often feel quite stiff, especially in the first half. Everyone is very understanding of each other, respect boundaries and knows not to push too far, resolve their personal issues very easily, etc. It's kinda... unnatural.

Personally, I found that disappointing because I WANTED to see the cats actually process their grief over the course of the book. Watch them act out, maybe get in an fight or two and resolve it for the sake of the mission, have them come to a greater understanding of each other, etc.

Because Icewing and Dovewing are both so motherly and gentle and we're in Ivypool's POV, we don't really get to see them process their grief because of that.

They're not TOTALLY neglected though! I just... wanted more from this group.

However. I wanted LESS Rootspring.

I understand he's there to process the loss of Bristlefrost with Ivypool but god, every time he was on screen I wanted to push him aside and talk to Icewing lmao.

Stop trying to sell me "cool, mellowed from grief" Rootspring. He's a silly little hyperactive man and you will never be able to convince me otherwise.

As a silly little hyperactive semi-manthing myself, it would have been a lot more cathartic to see a clown like me going through grief. Not to mention just generally make for better chemistry with the group.

Between Ice and Dove who are already quite chill as characters, Whistle could have used someone more goofy to bounce off of.

I REALLY didn't like the whole implication that Rootspring is going to move on from Bristlefrost and "find a mother" for the kittens he wants so badly, though.

Erins PLEASE remember that adoption exists. He does not need a wife to be a dad. I'm beaming myself directly into your brains and telepathy-ing directions to the nearest cat adoption agency

aaaaaand on that note.... yeah. I did not like the way that this book leaned so hard on the whole "nuclear family" dynamic. Ivypool has had like two major interactions with her husband and one JUST happened in this book.

It especially bugged me that they leaned into Ivypool having been a very active mother, when we saw very little of that in the ACTUAL book. It wasn't even mentioned that Fernsong was allegedly the primary parent of the kittens when they were young.

But... I was able to look past it and just accept the book in a vacuum. There's a lot of good here.

Like the wildcats.

While I'm still wary of these being Scottish Wildcats and reserve my misgivings about the misuse of species that are very unlike domestic cats... I LOOOOVEEE the culture they've set up for them

I LOVEE the way that individual spirits reach out to the kits, guiding them through life

I LOVE the connection to StormClan

I LOVE their idea of the elements and general spirituality

And I LOVED the fact that a big part of Ivypool coming to terms with her grief was the expansion of her worldview. The way that she realized the religion she was raised with is quite small, and that there is an immense beauty in coming to understand other cultures, accept their advice, and see the world as they do.

I just wish the book had been able to tie that to a flaw that Ivypool has expressed since her very introduction back in OotS-- that she's smallminded.

It would have been a FANTASTIC way to really tackle and address that flaw, and pay off literal decades of set up. I really wish she had been messier in this book because of that!

But, digressing.

I'm over the moon that the team's actually playing with the series' spirituality! After such a long time of them outright avoiding some of the weirder elements in the series, like Rock and Midnight, it's exciting that they're finding some freedom in making new magic lore for themselves.

Hopefully, in the next few super editions, we'll be able to get some more insight to StormClan and the Wildcats.

The book really hits its stride in the second half because of this, and the ending chapters are actually fantastic. Some of the best stuff that's come out of the series (on purpose) in a loooong time.

[writingdirectory]

Notes from a 5-day creative writing course:

Motivation

Make it a habit. That way, each time that familiar voice of self-doubt makes its appearance, it’ll be easier to ignore it, because writing will become something that you do-your thing-and you’ll gain confidence in it.

Visit your novel every single day. It doesn’t necessarily mean that you have to write something every day. You could outline the plot, or write character portraits, or draw a special part of your world. Your subconscious will work on your story even when you don’t. So, each time you visit the story consciously, you’ll find that things have developed in the story.

Manage the time of writing in a way that it is manageable for you. (It can be that one hour between classes or your lunch break or the morning before you go to work or at night before you sleep - Schedule it in a way that suits you and then, be serious about it.

Set a goal. For example, 100 or 500 words a day.

Character Development, Word Choice & Description

At first, characters incarnate ideas. A poor man who wins the lottery, a young boy who travels to a magical land. As we develop the story, they become people - real people with backgrounds and unique choices.

Ways we perceive character: through actions, thoughts (conflict), dialogue, interactions with others.

Bring intentionality to the representation of a character.  Don't give arbitrary information.

How a character reacts is a question of how you want to represent them through all those multiplicities that are dialogue, actions, interactions, etc.

Characters always want something. They are never static. With wants come obstacles and transformation.

Create tension between what a characters thinks, feels and says. For example, set external confidence and internal fear and then change that as the story develops. Characters can also be comfortable or scared depending on the situation.

Explore complexity. How a character talks to their lover is different from how they talk to their friends and family.

Give secondary characters a characteristic beyond their function to make them more prominent.

Make a hierarchy out of characters.

Exercise: Write the portrait of a character, how you would introduce them in the story and a description of them from a character that a) likes them and b) dislikes them.

Word Choice. When it starts sounding like writing, cut it out - Kill your darlings. Example: The car was spotted with rust - shows the car. As opposed to: The car was acned with rust - shows the writing. Sometimes a more refined word works against the object/image.

Description: Don’t just put in details. The details need to be significant for the image you want the reader to see.

Don’t use metaphors and lyricism in the expense of clarity. Be precise. Metaphors and similes should fit the narrative and not distract the reader. For example, saying “He barked like a dog” sounds fine, but if there are no dogs in your world, it is out of place and breaks the narrative. Be specific. Name things. Don’t be vague. Precision grounds your fiction.

Determine if you need static or lively description. Lively description is when you describe things through actions. Like “She passed her fingers through her blond hair”, instead of “Her hair was blond”.

Sense of authenticity. When you describe a place precisely, you gain your reader’s trust. A column is different from a golden column. That kind of attention gives a sense of authority and makes the narrative convincing.

Parts of description: smell, sound, sight, taste, touch, temperature, pressure.

Dialogue & POVs

Dialogue a) informs the character, b) moves the story forward, c) develops relationships between characters.

Dialogue isn’t just about how people talk.

What’s said can suggest what isn’t being said.

Use dialogue interspersed with description and visuals.

Choose the POV that suits your story.

(From David Lodge, ‘The Art of Fiction’.) A fictional story is unlikely to engage our interest unless we know whose story it is. Even with an “omniscient” narrative method, the writer should privilege one or two “points of view”. An objective approach may be a worthy aim in journalism, but not in fiction.

Pros and cons of 1st person POV. Pros: personal and direct, immediacy, intimacy, immediate credibility, easier to build character. Cons: limited, biased, unreliable, writing can become simplistic. When writing in 1st person, keep in mind that characters change, hence their perception changes. That has to be obvious in the narrative.

Pros and cons of 3rd person limited POV. Pros: thoughts can still be on the page, flexibility, wider view of the world, more complex language can be used (usually we think in simple words, so complex writing might sound pretentious and out of place in 1st person POV). Cons: distance (he/she).

GOD MODE. Or, commonly, 3rd person omniscient. You can jump in and out of characters’ minds, but there’s a danger when writing with such freedom. Be aware of structural harmony. Don’t write 10 pages in Sally’s POV and then jump into omniscient.

Use free indirect speech (1st person thoughts in italicized form, eg. No!) to eliminate the distance in 3rd person POVs.

Change POV with reason. Don’t suddenly jump to another POV just because it is interesting. Plan it. Make the change of the POV deliberate and make the reason clear.

Give equal weight to all POVs.  

Setting

The setting of a story is mediated through a character’s experience. It amplifies the theme. It shouldn’t be an arbitrary decision. The setting can make achievements more difficult for characters.

For children, places have magical properties, they are places of significance. The place of someone’s childhood can transform later in the novel, because the character has transformed. There’s a fluidity of meaning attached to places. But keep in mind that, places don’t change. Characters do.

How a character views a place is stated through the language we use.

When writing about a place that exists, have fidelity at the facts.

Editing

Be open to ideas changing.

If it’s not working after 3-4 rewrites, cut it out!

Make sentences active. Things don’t happen to characters. They do things.

Pay attention to rhythm.

Every sentence needs to have a reason to be there.

Usually, we overwrite in dialogue. Use context. Dialogue should be suggestive, rather than explicit.

Edit backwards, because perfectionism kicks in at the beginning.

Isolate. Edit single parts of the story. A chapter, a scene.

Read aloud. It will help find long sentences, pretentious words and unreadable language.

When words become over-familiar, put it down, give it to someone else to read.  

What to look out for: a) Character confusion. Make sure minor characters are introduced properly and find subtle ways to remind your readers who they are. b) Too much exposition. c) Plot holes, inconsistencies - there must rational reasons for coincidences, you must be able to provide logical and credible reasons behind the actions of a character. d) Over-written description.

What to do when editing: cut things out, put new things in, change sentence order and structure, look for repeated words, strengthen verbs (or prune), expand, trim, look for continuity errors, change order of events, introduce a delay in the reveals, rewrite using another POV or tense, determine if each sentence is pulling its weight.

Techniques: a) Prune. Delete text you don’t need. b) Isolate repetitions and delete or substitute with synonyms (look out for pretentious words). c) Cut and paste paragraphs to change order and rearrange. d) write a whole new draft, only looking to the previous one for factual material. e) Use a reader.

Bibliography

Hills Like White Elephants, by Ernest Hemingway (suggestive dialogue)

Concrete Island., by J.J. Ballot (how setting makes goals harder to achieve)

Driving Through Sawmill Towns, by Les Murray (lyricism, setting)

The Art of Fiction, by David Lodge (POV)

The Great Gatsby, by F. Scott Fitzgerald

On Writing, by Stephen King

[deception-united]

hi!! just found your blog :))

so i've been wondering if you have any tips on writing characters in general. i feel like everytime i write, they're all the same (their internal dialogue are hardly different from each other) and rather boring and bland. do you have any advice for this issue? thanks <33

Hi, thanks for asking! It's a common challenge for writers, myself included, to create characters who feel vivid and distinct on the page—especially when there's a particular type of character that I enjoy writing more. This induces reluctance to explore and can make characters too similar in their mannerisms, quirks, and speech. Here are some tips to help you develop more dynamic characters:

Create detailed character profiles: Before you start writing, take some time to flesh out your characters. Think about their backgrounds, personalities, motivations, fears, desires, and quirks. The more you know about your characters, the easier it will be to make them unique.

Give each character a distinct voice: Pay attention to the way each character speaks and thinks. Consider their education, background, and personality when crafting their dialogue and internal monologue. Each character should have their own vocabulary, speech patterns, and mannerisms (see my post on character voices for more!).

Focus on contradictions: People are complex, and characters should be too. Think about the contradictions within each character. Maybe they're confident in public but insecure in private, or they're fiercely independent but secretly crave companionship. These contradictions add depth and realism to your characters.

Use character flaws: Flaws are incredibly important. They make characters more relatable and multidimensional, causing internal conflict and affecting their decisions, actions, and relationships. Give your characters weaknesses, insecurities, and vices that they struggle with throughout the story. These flaws can drive the plot and create opportunities for growth and development.

Explore character relationships: Characters are shaped by their interactions with others. Pay attention to the dynamics between your characters and how they influence each other. Conflict, friendship, love, and rivalry can all reveal different facets of your characters' personalities.

Give your characters goals: What does each character want, and what are they willing to do to achieve it? Their goals can drive the plot forward and provide insight into their motivations and priorities.

Consider the environment: Characters are influenced by their surroundings. Think about how factors like culture, society, family, and upbringing shape your characters' identities and behavior.

Allow for character growth: Characters should change and evolve over the course of the story. Give them opportunities to learn from their experiences, overcome challenges, and develop as individuals.

Read widely and observe people: Pay attention to how people behave in real life and in literature. Study how different authors create memorable characters, and consider what techniques you can apply to your own writing.

Check out this ask game for inspiration!

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[novafire-is-thinking]

I’ve been scrutinizing the badges and medical symbols (or lack thereof) of the medics of IDW, and speculating about what these might say about each of them.

Out of all the medics, Flatline’s badge(less) arrangement stood out to me, so it’s time to make this way deeper than the writers and artists intended.

To wear a badge, or not to wear a badge…

Thanks to Alex Milne, the Autobots got their own medical cross:

This is worn by Pharma and First Aid, and by Ratchet before the war and during the earliest days of the conflict. He later removes the cross, but switches between a couple of different symbols and no symbol throughout the course of the war—his time spent on Earth having a lot to do with that, I suspect. Even so, after the war, he chooses not to wear any indication of his status as a medic—only an Autobot badge.

Meanwhile, the Decepticons have no universally recognized symbol for their medics. Instead, they each have their own unique symbol, or none at all. Glit has a vaguely medical-looking cross that differs from the Autobot medical cross, and Flatline has a symbol resembling the pulse of a spark:

…which I can only assume is meant to be the Cybertronian version of the following, but with a circle for the spark instead of a heart:

Meanwhile, Spinister and Nickel have nothing. Just their Decepticon badges.

Now, to combine these with faction badges:

Badge + medical symbol: Pharma, First Aid

Badge + no medical symbol: Ratchet, Fixit, Velocity, Spinister, Nickel

No badge + medical symbol: Flatline, Glit

No badge + no medical symbol: Ambulon

There are three medics who don’t wear badges; all of them are or were Decepticons. This is interesting on its own, but I’m more interested in how this may correlate to their attitudes towards treating Autobots:

Even though Glit’s KP version is willing to treat people regardless of faction, this is never confirmed for his IDW version. There isn’t enough evidence to infer how he feels about Autobots, or treating them. Yes, he was at Grindcore, but that says nothing about how he treated Autobot prisoners behind the scenes.

As for Ambulon, he switched sides and underwent the Act of Affiliation, but—evidently—not the Rite of the Autobrand. I could speculate all day about why, but that’s not important because, whatever the case, he treats patients of both factions without hesitation. Because he’s been on both sides, he has an externally observable reason to do so.

This leaves Flatline as the only badgeless—and only Decepticon—medic who’s proven to uphold a moral value of treating people regardless of faction. Unlike Ambulon, he has no externally obvious reason to do so, but he does it anyway because it’s personally important to him.

The following roams into headcanon territory, but based on what can be inferred from Flatline’s few appearances, I like to think his choice to not wear a Decepticon badge serves two purposes:

It’s his way of signaling to potential patients: “I don’t see you through the lenses of your faction and ideology, but as a person.”

It’s a personal reminder for himself of his commitment to being blind to factions when treating people; it’s a way of reminding himself he’s committed to the preservation of life first—not to any group or “order” of medical personnel.

This is not to say medics who do wear badges and belong to an order of medics don’t also treat patients based on similar values—as we see First Aid and Ratchet treating people of the opposing faction.

This is just me playing around with the possibility of inferring something deeper about Flatline’s character—what he values, how he sees himself and the world, what sets him apart from others “like him,” etc.

And besides, Autobot medics are expected to uphold their medical oaths. Decepticon medics—perhaps unfairly—are assumed to be lax in that area, so it means more to have a Decepticon medic who holds to their personal moral values despite the general attitude towards the enemy seen in many of their comrades.

On that note, I would love to know how Tarn sees Flatline…

A Decepticon who refused the Rite of the Deceptibrand.

A Decepticon who refused to cut into his spark casing to signify his commitment to the Cause.

A Decepticon who values commitment to his personal morals above adhering to any external ideology.