#story building blocks

[enchantingepics]

Story Prompt 38

In a small town where the sunsets painted the sky in hues of orange and pink, there lived an ambitious soul ready to face a formidable opponent - math homework. Our protagonist, armed with determination and a pencil, stared down the menacing equations on the crumpled sheets.

The room was silent except for the occasional tap of the pencil on the desk. It was a battlefield, and our hero, with a furrowed brow, was ready for the fight. The numbers on the paper seemed to mock, but our protagonist had a steely resolve.

As the night progressed, frustration turned into whispered negotiations with the stubborn math problems. "Come on, you can't be that difficult," muttered our hero, as if trying to reason with the elusive solutions.

Suddenly, the window creaked open, letting in a gentle breeze. A mysterious figure, clad in the shadows, appeared. "Need a hand with those tricky numbers?" the enigmatic stranger offered, a mischievous glint in their eye.

Our protagonist, cautious yet curious, nodded. The stranger took a seat, and with a flair for the dramatic, began explaining math concepts in a way that made them sound like the plot twists of a gripping novel.

[imbecominggayer]

Giving Your Characters A Unique, Distinct Voice (With Examples)

What does "unique voice" mean? Basically, every single person has their own manner of speaking. This difference can be from politeness, the volume or "loudness", confidence, emotional quality, maturity, accents, cultural slang, and other variables that can be shown in a character's voice.

This can also be shown through "prioritization". Prioritization is what a character or narrator decides is worth focusing on for any given scene.

For example, Tree of Heaven is a cynical cinematographer whose inner life is primarily eclipsed by beautiful landscapes and settings. However, Jukka is a highly dedicated actor who neglects the trees for the people, whether they be strangers or loved ones. While Jukka and Tree of Heaven could be walking through the same park, they would be focused on entirely different things. Heaven would be focused on the way the sunlight scatters through the autumn-coated, gold-platted leaves while Jukka is people-watching!

Sometimes, I use other stories and their tones as inspiration for my characters!

For Haun, their inspiration for tone came from "I Have No Mouth and I Must Scream". Specfically, AM's monologues like the "and I began to hate" or the bee monologue describing AM's thoughts on bees radio play! The reasoning behind this was the fact that Haun Anatemori, my character, is someone with deep-seated resentment. Rage and hatred born out of a feeling of injustice, self-loathing, and a feeling of deep-seated betrayal. However, Haun confines their emotions to logical actions and long-term planning meaning there is no outward way to express these emotions. Leading to his entire inner voice being coated in hatred.

Education and social standing often has the most outward influence on a character's external voice. That's the unique thing about protagonists and narrators. Because narrators don't have to worry about social standing and protagonists can have visible inner life, protagonists often have "two" voices. Their "outside" voice, aka the voice they use to speak to others, and their inner voices they use for their own feelings.

Haun's inner voice is resentful with metaphors and analogies of disgusting things such as bodily fluid used to provide an artful crassness to his voice that shows Haun's education and anger but his outer voice is far more innocent and self-contained with less verbosity as Haun is attempting to portray an innocent, less literate farmer type in order to trick others as he rises the social ladder.

Another highly influencial factor is maturity! If a character is emotionally mature, then they often have a more composed tone of voice with simple, yet profound metaphors that often express clear motivation and clear emotion. They often have accurate ideas about others and themselves. This is different from how emotional a character is! A mature character can be emotional but they have a clearer understanding of their emotions. Not the mood swing type!

Nonkosi Tyali is the most compassionate yet mature character I have with their inner voice and outward voice both having a sense of "refinement". Nonkosi understands what they want, why they want it, and how to get it. Despite their cheerful tone, it's obvious they aren't naive or out of control. Nonkosi also has remarkable observational skills as they are deeply intune to the thoughts and emotions of others which allows them to have accurate and insightful observations about other characters.

Verne Lawless, in contrast, is highly immature with a tendency for rapid mood swings, ranting, and catastrophizing. They rarely compose their emotions with them having to spend far more time detailing and failing to "accurate" translate their emotions for the audience. They rarely focus on the emotional lives of others. While Verne can use flowering, verbose words and nostalgia, this fails to counteract the obvious desperation and run-around Verne has in their thoughts.

Finally, just think about what their emotions are. This doesn't have to be something as simple as "happy" or "sad".

Verne is a nostalgic person who constantly references old classics like Jules Verne with long, verbose poetry. This is influenced by Verne's obvious intellect and his emotional center of love. However, whenever they are emotionally in a tailspin, they often resort to manic, modern slang with firey self-hatred and self-deprecation. This is due to the fact that Verne adores love but he believes that he will never find love. This desperation often leads him to be more psychologically "fragile" with his ability to contain his emotions constantly threatened.

Emotions: Mania, nostalgia, desperation, and love

Nonkosi is an optimistic person which can sometimes veer into surpressing negative emotions and experiences. They maintain the belief that they can be eternally strong and compassionate as they act more like a force of nature then the human they actually are.

Emotions: Awkward optimism, gentle melancholic, and confidence

Jukka is mostly possessed with a quiet melancholy for most of life with pretentious verbosity surrounding the nature of society in a similar vein of "No Longer Human" by Osamu Dazai. However, whenever Jukka is bound up in the passion of acting, Jukka can often dance with mania, emotional highs, and life coated in fandom and acting. Jukka's language is primarily references to media such as Main Character Syndrome, tropes, rivalry, found family, and some not really 4th Wall Breaks because Jukka believes he lives in a series but he doesn't know he is actually a written character.

Emotions: melancholy, sentimentality, and minor resentment.

[wolfiestarzz]

wyd when gaslight, gatekeep, and girlboss pull up

[d8tl55c]

[alvivaarts]

Writing Tips For You (as if I don’t currently have insane writer’s block)

-Can’t start a scene? Write the setting instead. What is the lighting like? Is this place comfortable? Is it familiar or not? What should you point out now so it doesn’t suddenly appear when it becomes important for the characters? SET! YOUR! STAGE!

-Everyone says “show, don’t tell”. I like to think of that as “what are your character’s physical reactions? What are they feeling?” You can say “Character looked dismayed”, or you can say “Character grimaced with dismay.” See the difference?

-Struggling with dialogue? Talk to yourself while you’re writing. You might be blocking yourself if you subconsciously think some dialogue feels unnatural.

-Context, context, context! This applies to everything from the small interactions to the big plots. Every force has an equal and opposite reaction, allow interactions and events to grow as such.

-Context, context, context pt 2! But worldbuilding! If your character is performing an act, how does that fit into the physical reality they already exist in? How is it possible? Can you imply (imply, not explain) that these things are commonplace or why they wouldn’t be?

-Build the action. (Stealing this from theater class like twelve years ago.) You can’t just put a character into the scene and say ‘they made a sandwhich’. What has to happen for the sandwhich to be made? Your character has to walk into the kitchen, open the cupboard, get out a plate, get out the jam and peanut butter, get out the knives, open the fridge, get out the bread, close the fridge, open the bread bag, lay down two slices of bread on the plate, close the bag, open the first jar, pick up the first knife, scoop up the jam, slather it on the bread, put the knife down, close the first jar- and so on and so forth. Every small step is necessary for you to understand, and to engage your readers. You don’t have to go into ridiculous detail like I just did, but even understanding that for yourself helps remember the ‘state’ of your scene at any given moment.

-See above, but it’s not a scene and a sandwhich. The scene is your whole story and the sandwhich is your plot. What small steps MUST happen to reach the climax? Does changing one of those small steps change the result? How?

-Emotions are best portrayed when you have experienced them or can get insight from those who have experienced them. Let yourself get emotional in a scene. Allow yourself to be empathetic and vicariously experience what your characters are.

-Reread your own work! Your writing style and characterizations can change over time, but if you feel like you’re losing them, don’t be afraid to look at where you started to ground yourself!

-Proofread your own work 2-12 hours after you finish a section! Not while you’re writing! Don’t let yourself get carried away with writing things ‘right’, just get the ideas out.

-Have a friend or volunteer proofread for you too! This can help pick out things you repeatedly say, words you might misuse, grammar and punctuation that might need correction, and phrases that are hard to digest or don’t make sense.

-Make sure you’re making an effort to use regionally/era specific words and slang both in dialogue and in your writing. There are plenty of websites and videos online that list and discuss regional and era slang worldwide. Not to mention, we can connect with people all over the world using the web just to ask! Using incorrect phrases can really break immersion and make characters feel- well, out of character! I.E. an 80s jock saying ‘dope bruh’, American characters (generally) saying ‘lift’ instead of ‘elevator’, so on and so forth.

-Research research research! Research bloodloss limits, research how laws and jobs operate in different regions and countries, research weirdly specific myths and biblical themes, research as much as you can! You can only build a richer environment to write in!

-If you actively want to implement themes, allow them to reflect the experiences of your character. Example character is an Italian American who was orphaned at 13 after his orthodox Catholic parents died, he has been in and out of foster care his whole life, and the moment he got out his military job became strict and he allowed himself to be blackmailed to protect a child in a similar position. This has plenty of fun themes and symbolisms, like sacrifice, fate, lack of control, love, losing autonomy, etc, all of which can be framed under the impactful history of his Catholic childhood. This evokes the imagery of farm animals, servitude, animal tags/dog tags, holy spaces being used for other purposes. Play with it!

-Build three base playlists! One for your overarching story, one for songs that remind you of the main character and their story arc, and one for how you feel when you’re writing/songs that weirdly remind you of your story. You can cycle through these to help get into your mood.

-Consume other media! If all you do is focus on writing, you WILL lose steam and inspiration. Don’t be afraid to watch new shows, read new books, look at more artwork, read more poems, listen to more music. You might get a flicker of inspiration for themes, motives and ideas, and you’ll continue to fill yourself instead of dumping your focus out on your writing.

-Understand how each major character thinks and instinctively reacts to things. Some characters can stay calm, but others might instinctively react to things ‘angrily’, others might try to run away. This is an easy way to figure out character flaws and impliment easy conflicts.

And last but not least:

-Take breaks! Don’t worry about forcing yourself to keep a posting schedule (unless you’re being paid. I’m not. I’m doing this shit for free and for funsies) if all you do is spend all your time worrying about your writing, you won’t be able to relax your brain. Spend time with friends, play games, go outside!

I hope this helps!

[star-lights-up]

I'm having thoughts again (it's a very dangerous thing, thinking is): Cherik matilda au, with Jean as matilda. Honestly, it'd probably be a jean-centric fic, background cherik, because i mean miss honey doesn't have a love interest in the original lol. (Oh, right, Charles = miss honey. Erik also kind of = miss honey. they're sharing the role.)

ALSO i'm basing this on the book and the original movie, not the musical and musical movies. I love all incarnations of matilda but I am too tired to work in the whole premonition story thing.

So Jean is just chilling. She's like two years old and already she can cook and clean and pretty much be self sufficient. Her parents are self-absorbed assholes who don't really pay her any mind, and her brother is a little shit who's older than her and never home anyways.

She goes to the library, and she reads. She expands her horizons. She learns. She develops a yearning to see the world outside of her lonely little life -- she may be self-sufficient, but it doesn't mean she doesn't want any friends.

Now, when she's six, she tells her parents that she really should've started school already, and her dad makes a deal with this terrifying man to send her off to Hellfire Elementary (sounds like a great place for kids, amiright?)

There she meets Ororo, who's funny and nice, and then there's Logan, this older kid who's absolutely TERRIFYING (at least he thinks he is, jean's calling his bs). He warns them about the headmaster -- Shaw. The truly terrifying one.

Shaw in this isn't really the kevin bacon shaw. He's like if shaw lost his fucking marbles and became a really buff lunatic. He throws a girl wearing her hair in pigtails over the fence. It's insane.

Then Jean goes to her class. The first years have two teachers -- Mr. Lehnsherr and Mr. Xavier, who tells them just to call him Charles as long as Shaw's not around.

The classroom is kind of amazing. They've got art by students hanging everywhere and cute little posters and vases of wildflowers, the doors opened to the school grounds and filtering in the last of the warm summer air. To Jean, it feels magical. She's finally at school. She finally feels like she's going to get to be in the world. She chats with Ororo and some kid named Scott before the bell rings.

(Now for teaching duo cherik! I'm thinking for them, this is an established relationship fic. )

They've both been hurt by shaw (more on that later) to the point where they've become more muted versions of their personalities.

Charles is kind, as he always is, but in this he's very soft-spoken and stuff. Even as he smiles warmly at the kids, checking on the girl with the pigtails, Jean notices this deep sadness in his eyes.

And then there's Erik. He's quiet, very matter-of-fact when he does speak up, methodical. He's very gentle with all of the children, though, and Jean sees him tracking Charles with his eyes, as though he's sure something awful will happen to him as soon as he lets him out of his sight. Again, his eyes hold some deep sadness, some hidden pain.

As the lessons begin, they're shocked by Jean. Her reading, her writing. Her incredible math abilities.

( found this cute little line from the original book, and i wanted to adapt it (very erik-core):

"It's not fair," Ororo says, "How can she do it and we can't?"

"Don't worry, Ororo, you'll soon catch up," Mr. Lehnsherr says, lying through his teeth. )

After class is over, Charles wants to talk to Shaw, try and get Jean in a more advanced grade. Erik doesn't want him to go. They go together, and Shaw pretty much yells at them and threatens them until they leave.

They decide to think of another way to go -- they can't have jean just sitting in class, learning how to spell r-a-t when she's read shakespeare already.

Back at home, for another week or so, Jean's life continues much the same as it always does. Her parents: the assholes. Then her father takes her and her brother into work one day, telling his son he needs to learn the family trade. Jean's just there.

He shows them all sorts of illegal things he does to the cars before he sells them -- sawdust in the engine, running the miles backwards until the car seems barely used. It's not legal. Worse, it's not safe.

Jean speaks out and gets yelled at.

So she finds some superglue and glues his stupid hat to his head the next day. And so starts her rebellion.

Charles and Erik decide that perhaps it's best to speak to Jean's parents directly. Cue creepy CGI cherik from the last stand. No, no, I'm kidding. They just show up there, try to talk to the greys, who really aren't having it, and before they leave Erik sneaks a book behind a coat rack, Jean smiling at him from where she's hidden on the stairwell, having listened to the whole thing.

Jean plays another prank on her parents for treating her teachers so bad (blabbermouth parrot in the chimney. Mrs. Grey is convinced they've got a ghost).

Meanwhile, at school, Charles and Mr. Lehnsherr give her all these workbooks with more difficult math and language and science, apologizing that they can't instruct her directly or get her into a more advanced class but promising to help if she has any questions (she doesn't).

Anyways. Then we get to the interesting part.

It's been a while, and Jean's seen the horrors of Shaw. He made a boy eat a whole cake in front of the school. he throws kids out windows. And there's this terrible thing called the chokey.

Shaw comes into their classroom to teach his monthly class -- Charles and Mr. Lehnsherr quickly hiding all the art and decorations in the room.

Ororo sneaks a newt into shaw's water. Pandemonium breaks out. Shaw starts targeting poor scott, of all people, who's not capable of breaking a rule.

Something in Jean snaps. And the glass tips over, sending the newt right onto shaw and shaw right out of their classroom.

After class, she explains it to Charles and Mr. Lehnsherr. She shows them what she can do. With just a little bit of anger, she can push the glass over.

The two teachers glance at each other (after being quite shocked, of course), then Charles asks if she'd like to have tea, and talk about this more, if her parents wouldn't mind.

Jean knows that they most certainly don't care where she is, and agrees.

Charles and Mr. Lehnsherr bring her to a small cottage, surrounded by wildflowers. The walls are whitewashed. There are two little windows. Charles spreads cheap margarine on the toast. Mr. Lehnsherr pulls two chipped mugs out -- there doesn't appear to be a third. The kitchen is just a shelf, really, with a little portable stove.

Charles asks Jean if she'd be willing to get them some water from the well out back. She has a wonderful time doing so, never having drawn from a well before.

She and Charles have tea and toast, sitting on the crates that are the only furniture in the whole of the tiny cottage. Mr. Lehnsherr sits cross-legged on the floor, leaning against Charles's crate a little and not eating or drinking anything.

Jean, as a small child -- because, yes, no matter how smart and independent she is, she's still a small child -- asks a few questions that might be a little too personal, inquiring about just how poor their salaries are to live like this.

"Why shouldn't you ask?" Charles says, after Jean apologizes. "You were bound to ask in the end. You are much to bright to not have wondered. Perhaps... Perhaps we even wanted you to ask."

Erik nods his head, saying his solemn voice, "You're our first visitor, after all."

Quietly, a little sadly, Charles begins to tell Jean a story. He once lived in a large brick house in town. His mother passed when he was born, and his father was absent until he died, leaving him in the care of an uncle. The uncle brought with him a ward, Erik.

The uncle was an unkind man. He forced them to work around the clock, doing the household chores and the cooking and anything else he could think of, like they were servants and not young children. He would beat them if they disobeyed -- and even when they didn't.

They managed to go to the teacher's college about forty minutes away when they both turned eighteen. They could've gone to university -- but the evil man wouldn't allow it.

"How did you get away?" Jean asks, equally riveted and in deep sympathy for her kind teachers.

They tell a story of being forced to sign away their salaries to the uncle, since apparently they "owed him thousands" for being just barely fed and clothed for ten years. With the little that they got to keep, it seemed they would never get a place of their own...

But Mr. Lehnsherr, on his early morning walks, stumbled into a small, empty cottage. He went to find out who owned it, and the farmer, after insisting he didn't want to live there, agreed to rent it out for ten pence a month.

Charles and Mr. Lehnsherr (who, at a point, sighed and told Jean just to call him Erik since they're not at school) quietly packed their things, informed the evil man that they'd rented a house, and rushed out the door.

While Jean is happy for their triumph, she's aghast of the idea of the evil man still living in Charles's old home. He says that his father's will was apparently destroyed ("no prizes for guessing who," Jean says, and Erik huffs a laugh) and his uncle produced a piece of paper saying the house was to go to him -- Charles is sure it was counterfeit, but there's nothing he can do.

"He still owns my family property a town over, too," Erik says quietly. "Won in much the same fashion." His hands are balled into fists, his face mournful and angry. He doesn't elaborate, and Jean and Charles are smart enough not to push.

Jean asks who the evil man is.

With a glance at his partner, Charles says the name "Shaw."

After the initial shock, the conversation changes, and Jean eventually excuses herself to go home. Charles and Erik apologize for keeping her so late, walking her to the end of the dirt road and back to the sidewalk.

Before they part, Jean asks a few questions: what did Charles's father call him before he passed? Charlie. He hated it. What did charles and Erik's parents call Shaw? Sebastian. His first name. And what did he call their parents? Brian, Charles answers. ...Edie, Erik whispers after a moment of hesitation.

Jean practices her new gift at home. It's not long until she can lift things at whim, pointing at them or staring at them or just thinking of it. She plots. She plans. She practices what's needed for her plots and her plans.

The next time Shaw comes into their classroom, he's startled by the whiteboard chalk floating into the air, beginning to write a message:

Sebastian, give my Charlie back his house. Give him and Erik their wages. Give Erik his land. Then get out of here. If you don't, we will get you. We will get you like you got us. We are watching you, Sebastian.

There is a great commotion as Shaw passes out on the floor in shock. He's carted out of the school. He leaves the brick house within a day. Reportedly, Brian Xavier's will turns up. Charles and Erik move into the great house. Charles is appointed headmaster of the newly christened "Big Friendly School." (Note: this is taken from the source material. I don't think charles would name something after himself in this au tbh). Jean is a welcome visitor anytime.

Then, one day, arriving back from the brick house in the evening, she finds her parents packing up the car. They're moving to spain, they say. Her father has been caught, which they don't say, but is clear.

Jean runs all the way back to Charles and Erik's house. Jean begs them to let her stay -- she doesn't want to leave, and she certainly doesn't want to be trapped with her parents forever in a foreign country.

Charles and Erik come with her back to her house. She takes some adoption papers out, which, funnily enough, she's had since she was tall enough to use the copier at the library! Boss move, Jean.

her parents don't fucking care, so they sign the papers. Charles and Erik are pretty much about to cry. They're parents, now, something they never thought they could be. They hug Jean, something her own parents never did, and don't bother to watch them leave.

Now, they all live in the big brick house together, and it's a house full of reading and laughter and life, all three of them, daughter and her fathers, finding a kind of happiness they never thought they'd be able to have.

and that's it. Why did I spend two hours writing this. 😂

[corellianhounds]

Some headcanons for Mando:

Anything he uses to shower or wash his clothes with is unscented. Those scent-neutralizer dryer sheets keep his clothes from smelling like anything that can be detected while he’s on a hunt. Very few species are exempt from being unable to detect him

He keeps a clean ship and a strict schedule. He’s been self-sufficient and on his own for long enough he knows how to cook and take care of himself. Keeping your tools, gear, weapons, armor, and ship in clean, efficient working order means you’re less likely to have to spend time fixing one of them when it breaks from your lack of routine maintenance, and his body is just another tool in his arsenal; sleep, food, necessary medical care, staying limber and getting vitamin D at some point all go a long way towards ensuring he can last longer in the field. You can’t run something ragged every day and expect for that to be sustainable.

That also means he’s well-equipped to handle long stints without different necessities when needed from time to time; you can push yourself pretty far when you’re already in prime condition.

Wilderness survival skills were some of the first things he learned while being brought up by the Mandalorians. Being aware of your surroundings, setting up and breaking down camp, foraging and hunting for food, building impromptu shelters, purifying water, navigating and tracking, having a variety of general and specific medical knowledge— All of those skills are building blocks for self-sufficiency. You never know when you’re going to be alone or thrust into survival scenarios, so it pays to be prepared.

That also means he’s capable of stomaching a wide variety of what some might consider inedible. Beggars can’t be choosers, and it’s rude to decline someone’s offer of food or hospitality so in any scenario where food is in short supply and/or it’s been offered to him, he’s taking it. As long as it’s something he knows humans can digest, he’s open to whatever cultural or regional dishes his travels have to offer, and he’ll muscle through the less pleasant tastes or textures of food he’s had to make do with when he didn’t have other options.

He does know how to make food taste good, but that more often than not requires more spices and ingredients and hardware than he can afford or spare the room for, so he makes do without. Once the kid comes along he branches out a bit more to make sure he gets some variety.

Along the lines of self-sufficiency and independence, he has a lot of general repair skills: you may not always have somebody who can fix things for you, and he obviously isn’t going to pay somebody else to do something he’s capable of learning, except for when he’s short on time or resources. We see him working on the interior circuitry of his armor in the second episode. He knows how to bypass and pick locks. He has the electrical, mechanical, and structural know-how to fix his ship and would know how to weld and use a torch cutter and a variety of other tools, but it also means he’d know how to sew and mend his clothes. Soft goods are just as necessary as hardware.

Injuries where he genuinely needs professional medical care are few and far in between partially because he’s very good at what he does, and partially out of necessity. Though it is by choice, him tending to his own wounds may not necessarily be because he is neglectful or prideful or has a penchant for pain; medcenters cost money, and submitting to that care means he is vulnerable and at risk of somebody breaking his creed by force, or doing more damage when he can’t fight back. It’s why he likely refuses anesthesia or anything that will put him under and make him unaware of what’s happening while he’s asleep. Either he will find somebody he’s close to to help him, or he will find a way to muscle through self-administered medical care yet again, or he will die from his injuries (which means he will have gone down because of a fight)

Though he has a few physical reference materials and logs he’s written down important details in, a vast majority of his knowledge concerning trade routes, ballistics, geography, maps, various customs and cultures and languages, Guild bylaws— anything he could possibly need to know for a hunt— is committed to memory. He travels light, and the Mandalorians have an oral history more than a written one; belongings and archives can be destroyed, but their people live on and carry the knowledge that’s been passed down through centuries. It just makes more sense to him to commit everything to memory.

That being said, he does a significant amount of research before each hunt anyway, though the bulk of it is centered around the target themselves. Having all of your prep work done means the acquisition itself will go smoother.

He’s mathematically sharp: engine repair, manual piloting, vector calculus, electrical work, ballistics, basic engineering, weapons maintenance, financial management, and navigation by maps or by stars take a lot of mental acuity to understand and apply as quickly as he usually has to use them.

He’s not going to back down from others who purposefully encroach on his personal space, but he dislikes being in close proximity to strangers for extended periods of time. So much of his life is spent evading threats and fighting off challengers it’s hard to trust anybody to be that close. It’s not an aversion so much as it is an irritation that makes him tense. When you’re always looking over your shoulder, it’s just reflex to act defensively.

He doesn’t drink alcohol or caf unless he has sufficient time and he’s secure in the Crest without worry of attack; both impede his marksmanship and reflexes, neither of which are things he can afford while he’s working, so it’s usually only when he’s traveling through space that he’ll indulge

He doesn’t sing, but once the kid comes along he’s found that it’s easier to get him to sleep when he hums as he holds him and walks around the cargo hold.

[bidokja]

this isekai could've been an entirely independent fantasy setting

[lazuliquetzal]

I keep on telling people you're the only one who knows how to plot. Can you teach all of us how to plot, please? I love you.

I AM SUMMONED? PLOT BRAIN SUMMONED?

I love plotting. It's my favorite part of the writing process. Plot is "things that happen" and the best part of writing is imagining things that happen. I'm going to assume that whoever may be reading this knows how to imagine The Happenings, so I'm gonna be talking more about structure, but in like, a kinda abstract sense.

A good plot is a little bit more than a string of events. Plot is like music: there's variation in rhythm and sound and melody, but ultimately there's cohesion, because it's all one song. You can have a bunch of wild things happening, but no matter how strange, there should be something that links them all together, because you're telling one story.

Plot structures are patterns in stories. I'm pretty sure most of them were developed as analysis tools (as in, story already exists > look! it follows this pattern) rather than as writing tools, but people use them as writing tools because it's a neat little way to organize the chaos that is "shit happens." Stories follow patterns for the same reasons music follows patterns: we enjoy the certainty of hitting certain beats. But we also like being surprised. A good pop song doesn't sound like a random collection of sounds, but it also doesn't sound like the middle slider of other songs.

There is this shared concept in both music and writing: the idea of tension and release. Basically, you're playing with reader expectation: there's an imbalance in the experience (tension), and we want to see that imbalance resolved (release). All the common plot structures deal with this basic pattern:

You set an expectation

There are complications to the expectation

You meet the expectation

And this rhythm is happening on multiple levels in writing. Scenes follow this structure (we're gonna get past that door, we're gonna find the murder weapon, we're gonna collaborate and come up with a plan) and all those scenes feed into the overarching expectation (we're gonna solve this murder!). I usually think of chapters as their own mini-story, part of the larger whole. And I think of scenes as their own mini-story, part of the larger chapter. I have engineer brain. I see the gears spinning in the clock. That's why all my chapters have at least One Important Thing happening, because that's that particular chapter's Step #3.

And One Last Important Thing:

In music, a delayed resolution is almost always more interesting than the standard resolution. In writing, that means you wanna drag out Step #2 for as long as you can. That's where the bulk of the story is happening, that's how you build tension, that's how you get people to turn the page.

So when you write a fake dating fic, those bitches better not get together until the very end. I came here for fake dating, not for real dating, damn it. If you resolve that expectation early on, you better replace it with a different expectation that's just as engaging.

But also don't drag it out for too long. Sorry. The hard part of writing is learning the difference between too short and too long. Writing is unfortunately a nuanced skill which is why my advice is like "do this but not too much teehee." But tension and resolution is just rhythm, you can build a sense for it if you engage with enough stories.

[novlr]

I’ve been reading some craft books and online posts about the world building because my story is an urban fantasy set in present day US, in a fictional town, and theres not a secondary world where the fantasy happens, it’s all in the real world, except the magic is a secret that only certain people know about, but all of the resources I find about world building only talk about fantastical worlds that exist by themselves and not the kind of more subtle world building that I’d have to do. Do you have any tips?

Worldbuilding for urban fantasy is the perfect opportunity to explore the mix of the mundane and the magical. It involves crafting a universe where the impossible becomes possible, yet is grounded within the familiar settings of our own world. This requires a delicate balance—immersing readers in the fantastical without breaking the spell of believability. Here are some essential tips on worldbuilding for urban fantasy writers.

Understanding urban fantasy

Before delving into building your urban fantasy world, it’s crucial to understand what sets this subgenre apart from other forms of fantasy.

Recognise the defining traits of urban fantasy, which typically include a contemporary setting combined with supernatural elements.

Familiarise yourself with the genre’s common tropes and themes, like hidden magical societies, the coexistence of magical and non-magical beings, and the contrast between the ordinary and the extraordinary.

Critically read successful urban fantasy novels to see how other authors have balanced the real and the fantastical.

Consider reader expectations for the genre, and the flexibility it has for innovation and subversion of norms.

Determine the tone and mood you want for your setting, as this will influence all other aspects of your worldbuilding.

Creating your magical systems

The magical systems in your urban fantasy will offer a unique flavour to your world, determining the capabilities of your characters and the challenges they face.

Where does the magic in your world come from—is it drawn from nature, ancient artefacts, parallel dimensions, or something else?

Decide if magic is commonly known or if it’s a secret kept from the general populace. If it’s a secret, why? And what are the consequences if it becomes known?

Develop the limitations and costs of magic, as these constraints can drive conflict and plot development.

Invent magical organisations, guilds, or societies, detailing their roles, influence, and how they operate in your story world.

Create distinct magical phenomena that occur within your urban setting, which can become landmarks or points of interest in your narrative.

Consider how technology and magic interact; do they coexist harmoniously, or are they in constant contention?

Creating realism in your urban setting

Realism in urban fantasy is about making the reader recognise and connect with the world you have created as something that is both other and familiar.

Include lots of real-world details, including accurate descriptions of city life, technology, and culture. Make sure you research for accuracy.

Use sensory details to make the urban environment come alive—smells, sounds, textures, and tastes that the reader can relate to.

Include social and political issues that resonate with contemporary society, allowing readers to draw parallels with their own experiences.

Develop a diverse cast of characters whose life experiences and backgrounds reflect the complexity of a modern urban society.

Integrate authentic dialogue that mirrors the way people communicate in modern life, including local slang and mannerisms, both real-world accurate and unique to your setting.

Consider the logistics of an urban environment, like transportation, law enforcement, and the economy, and how these are affected by the presence of magic.

Character development in an urban fantasy

Characters are the heart of your story, and the way they react to fantasy elements in their real-world environments will drive a lot of your narrative.

Create protagonists and antagonists whose motivations are shaped by the intersection of the real and the magical in their lives.

Develop backstories for your characters that explain their relationship to the urban setting and the magical elements within it.

Design character arcs that reflect the challenges and growth that come with living in a world where fantasy is reality.

Introduce secondary characters that highlight the diversity of the urban fantasy landscape, from magical creatures to human allies and adversaries.

Explore the psychological impact of a dual-world existence on your characters, including the strain of keeping secrets and the wonder of discovering magic.

Use character relationships to explore the nuances and complexities of your urban fantasy world.

Plotting your urban fantasy

Your plot is the vehicle through which readers experience your story world. Urban fantasy requires careful attention to pacing to give both elements equal weight.

Construct a plot that intertwines the urban and the fantastical, using the unique aspects of your setting to drive the story forward, rather than relying on the mundane.

Introduce conflicts that arise from the overlap of the magical and the mundane, be they societal, personal, or existential.

Use the setting itself as a character, with its own moods, secrets, and evolving role in the narrative.

Create set pieces that showcase the extraordinary within the ordinary—magical battles on the rooftops, secret meetings in subways, or enchanted parks hidden in plain sight.

Develop a pace that balances the exploration of your urban world with the unfolding of magical elements and plot progression.

Consider the use of multiple viewpoints to give a broader perspective on how the urban fantasy elements affect different characters and society at large.

Blending the real and magical

The key to urban fantasy is making the reader believe that magic could exist in their own world, interwoven with the everyday.

Introduce the fantastic elements gradually, allowing the real world to serve as an anchor for the reader’s suspension of disbelief.

Develop a set of rules for how magic operates in your world to maintain consistency and a sense of order.

Use recognisable landmarks and urban elements as grounding points, then twist them with your fantasy elements.

Establish the history of magic in your world and how (or if) it has shaped society and its infrastructure.

Consider the impact of magical events or beings on the everyday lives of both your characters and the city’s unsuspecting inhabitants.

Intertwine the real and the fantastic so that they feel inseparable, each substantiating the other’s existence.

[conspicuous-clown-car]

what a morning,,,

here's a rant about the pressure community

I've been kinda lurking on pressure twitter for the past few weeks while all this shit went down and i just gotta say... jesus fuck.

I practically had a heart attack as soon as i opened my phone when i woke up and saw zeal was trying to sell pressure. Considering how he changed his profile last night to a strictly corporate one and then this? It seemed like a really hasty decision, and something serious was going on with him.

And yknow what, with all the hate being directed at him right now i don't blame him one fucking bit. I'd probably end up doing the same thing if i was in his shoes. Being autistic as well, i would just want to completely distance myself from this overwhelming bullshit. I think that's why he started to distance himself from the community in the first place (which unfortunately is kinda what led to some issues getting overlooked).

The tweet was deleted and pressure isn't for sale anymore thank GOD, but I'm honestly more worried about the actual people behind pressure than the game itself.

I agree that there's issues they need to fix, but its not an entirely black and white situation, and its pretty fucking complicated. With the sheer amount of people in the community its crazy to expect them to handle and manage everything themself, especially since they blew up in popularity in such a short amount of time, how the hell would they know how to deal with this???

Yes, there are certain things they need to actually address and take responsibility for that they sort of haven't, but attacking them to where it gets to this point isn't the fucking answer.

I wouldn't blame any of the devs if they never touch the game again, the way the community has treated them and has completely blown things out of proportion is insane. I feel like the main issue is the discord server itself but that's just me. From what I've seen its mostly just the community self cannibalizing, attacking each other, sending death threats, and doxxing people over shit that literally doesn't matter at all.

I'm not one to really delve into fandom drama, but this whole issue with certain possessive Sebastian fans and those who took it upon themselves to attack those fans is the stupidest fucking conflict I've ever seen in any fandom. Especially when this stuff reaches the people who work on the games who have nothing to do with it.

I agree that this is something the devs need to talk about head on with full transparency, no matter their feelings on it, because a main problem I've seen with them is lack of community management.

But again, y'all are forgetting the devs are REAL FUCKING PEOPLE, people who are bound to make mistakes, and get overwhelmed, and not know how to deal with suddenly having a giant fanbase. Harassing them and sending death threats is going way too fucking far and wont solve anything, because clearly all its done is made things worse.

Also god forbid they have boundaries and don't want to see certain things in the discord server. I'm not gonna get into the specifics, but as a queer trans person I think some of y'all are reading too much into the things they don't allow, seriously.

Reminder, I'm saying all this as someone who self-ships with Sebastian, and who's not entirely thrilled about him being canonically married. BUT PRIORITIZING A FICTIONAL CHARACTER OVER REAL PEOPLE????? THE FUCK IS WRONG WITH YALL???

And to the people I've seen disappointed in zeal's response to all this on twitter, I'm with you, not seeing whats happening in the community doesn't mean these problems don't exist. But think about the shit he's going through, put yourself in his shoes and genuinely try to understand how fucking overwhelming this whole situation is, for him and the rest of the team. Especially after what's happened in the past 24 hours.

Tangent, but am i the only one who's seen a drastic change in the way fandom communities operate in the past few years? Like after lockdown fandom spaces have gotten more and more hostile, and people are just being so fucking mean to each other over the most trivial shit??? Listen I Get being chronically online, because i am, but at a certain point you just gotta log the fuck off and touch some grass, man. christ.

I really hope the devs take a break, they need it. I was excited about the update that was supposed to come out this month but I don't think it will now, and I honestly don't think we deserve it.

TL;DR: Pressure fandom, do better. Speaking from both points of view, no matter the various mistakes the dev team has made, the majority of this is on y'all.

And lastly, I'd honestly rather keep pressure exactly the way it is with no updates and no new stuff ever again than for it to turn into roblox slop like most of the games that are sold off on that platform.

[bunabi]

Tbh DAI's combat is the only one I was ok with. I genuinely found Origins and 2 so hard to control. I still beat them... but I didn't like it.

Totally fine

Origins, II, and DAI play so differently from each other that you're bound to prefer one over the others

Its folks that enjoy none that shock me 😭 DAI combat lovers you're in good company here

[l-michalska-writer]

Villain prompts

You won't save her.

They won't see what's coming for them.

You won't survive this.

There's no one to save you.

You're only a mortal.

You save everyone, but who saves you?

You really think you can defeat ME?

I won't stop until it's done and they're six feet under.

Don't worry, I already despise you.

Kill them.

Open the fire.

Execute them.

When I kill someone I expect them to stay dead.

If you ever need me, just call my name.

The dark side awaits you.

I'm here to end what I started.

Say your goodbyes while you still have time.

She'll die, unaware of your love.

You call yourself a HERO?

Oh, how I love that you're trying so hard to defeat me.

I wonder when you'll realise I already won.

Even your undying love couldn't save her.

I'm here to kill me.

I'm getting tired of trying to kill you, human.

Fire at will.

You're just a child. You don't stand a chance.

[miriadalia]

If more than one, please feel free to specify in the comments or tags :)

[wereh0gz]

The Minecraft movie would've been so good if they'd just. Made it in earnest

[cloudgremlin-creations]

Grafted Branches Krang Lore

Look every tmnt iteration needs a fun twist on the krang :3c

The only rule of magic I have for Grafted Branches is that magic cannot physically transform a living being. This is Specifically to show how the krang could have secured such a legendary and feared reputation, as the only beings on earth capable of such transformations.

The krang invasion of earth happened over 3,000 years ago, and has been tangled into the world of legend and myth.

Initially, the krang was a biotech power generator made by the Utrom (who I have to draw later bc they are fun) and with no emergency shutdown, the krang did its job of converting everything and anything into power very, very well. It’s a single organism existing in multiple bodies, and shares information through physical contact with other parts of itself. Think of it like a giant, constantly hungry mushroom and that’s a pretty good comparison ^-^

It spreads to new bodies using spores, though it can also spread through physical contact. At earlier stages of infection, a person (folk or human) will gain vitality, strength, and heightened senses. One can keep their mind and exist in this state for quite a while, though there are no cases of it being indefinite. Once the krang body erupts from the skin, the person it has infected is completely obsessed by gathering more power and is considered deceased.

There is no sure fire way to gain immunity to the krang infection, but all around the world groups formed to prevent further infection, fight off the krang, and- eventually- find a way to destroy it completely. In Japan, there were three such groups who worked together to control, fight, and seal away the krang:

Note: when I was making up the symbols I accidentally made the Star Wars Rebels symbol for the Usagi family TwT

There are many stories of the fabled three clans, but it’s generally believed that the Tsume family betrayed the other two families and sided with the krang, causing the downfall of Yokai society. A few families in modern times claim to come from either the Hamato or Usagi families (though not so much from the Usagi line, since there’s plenty of rumours that they either fell to or were corrupted by the krang as well) but the actual family lines are secretive of their ancestry. No one claims to be from the Tsume fam :3