#writing fics tips

[moccabunie]

things I've learned after a year writing fanfiction

This is a post from a non-writer who, apparently, now writes (❓) And this is a little crazy to me, considering that a year ago writing less than 1k decent words took a lot of effort. But this year I have completed a +100k project. (It's still difficult, though.)

I found out that the more I wrote, the easier it was to get into the story. So I think that being captivated by my own story has made a lot. I am an eager fanfiction reader, but I had yet to really try to write something on my own.

That was until I got hyper-fixated on three characters and wrote a small story about them sharing a room, and it was one of the funniest and most rewarding things I've done. So I was like "oh, maybe I can try to imagine stories I would like to read?"

(1) story one - a bird told me to wait

The first thing I considered was to make it completely self-indulging. The second was to make it as evocative as possible, not only telling what was happening. I like sensations and emotions, so I really wanted to write things I would like to feel as a reader. I wrote this story, and after that, I added a second longer part because I was enjoying it a lot. I used to doodle about the characters and make small annotations about their dynamics, but there wasn't really a lot of planning here.

(2) story two - beneath the moonlight

My second attempt was a three-chapter story (not so distant from the previous one that can be read as three parts too). But for this one, I wanted to challenge myself because I wanted to explore new themes and tropes, so I made a brief list of the things that should appear here. (but honestly, I just wanted to write a soft mating bite scene lmao, because I was super into a/b/o at that time.) I used keep notes app this time.

I barely showed explicit themes here but I got to enjoy the story anyway. This one wasn't difficult to write because I felt familiar with the characters. It's a light story but these 20k words gave me the courage to take a step further. I said to myself

"stop being a coward. you have enjoyed this. keep writing."

(3) story three - lucid dreams

This one was planned for four or five chapters, quite in the same line as beneath the moonlight. But, and the keyword is planned, it became a full 13 chapters as I developed the story and the characters. If I wanted it to be coherent then I needed to explain the things, build the context, and introduce the world. But it was also an experimental work. I took my notebook and listed the new things I wanted to try, such as - write in past tense - write first and edit later

my process was something like this • imagine random scenarios with pretty imagery as I listened to music • doodling the characters doing things so I didn't forget • open the notes app to write random sentences and dialogues in the middle of the night, I'll find a place for them later • dream about the story and daydream about the story

as for the physical notebook, I have scribbled A LOT there during the writing process.

(a little bit chaotic but functional enough)

One thing I wanted to keep in mind was the evolution of the characters, or in other words, how they were gonna be at the start and the end of the story. And this made things a lot simpler because it gave me an insight that was helpful whenever I had to decide what kind of decisions the characters would make along the story.

Parallelly, I was aware of my narrative flaws, as well as there was a lot of vocabulary and grammar that would escape me in a different language. So I used the notebook to do writing research. Some of my pages were like "how to write action scenes," or "tips for flat scenes." Whenever I felt blocked I read again these pages.

I'm going to copy down here some tips that were useful during the writing block days.

• read another book or fic you like, since sometimes, getting yourself caught by another writer's style can help you to flow through your own. • scroll on pinterest and try to find pictures that capture the vibe of your story, maybe try to describe them or setting a scene in a similar environment that you can see? • changing the setting (for example, day to night, or sun to rain) can add more variants and ambiental tools to play with. • or, changing the character's pov. maybe a scene feels flat because it's narrated by the wrong character. • use objects, not just the characters.

(4) finishing a story

To have an insight into the plot, I wrote the main scenes in really short sentences. That was useful for the first chapters, but suddenly I had 70K words of the story and a lot of details to track. Frequently I had to split chapters into two parts because the "short sentence" became a very long scene. See this comparison: the scenes' guide in the last chapters usually are fragmented into shorter scenes. That's how I avoided losing my mind as I wrote (?)

These are a few tips that were useful to me during this last part.

• write the important plot points as they are mentioned so you can come back to them later and don't forget about them. • keep a scrip to annotate significant things about the characters to make the story consistent. • notion pages is a great place to make inspo boards (usually I added 4 pictures for each scene). During the last chapter, I used the to-do list tool to keep track of the closed story points and the things that were yet to happen • list some of your favourite past scenes, those that have been nice to write, so you can pursue the same vibe again.

The last two months writing the fic I joined the nanowrimo to keep myself motivated but also to have an impulse. My only goal was getting the habit of writing everyday, not minding how many words (usually it was around 400-600 daily). I ended that month with 16k added on my wordcount (to me, that was a lot!). Since I enjoyed that little challenge, I did the same on the next month, resulting in finishing the fic :)

The most important thing during this time was remembering myself from time to time why I am doing this. Let me say I am an utter perfectionist, so I would easily get trapped in making-the-story-perfect, which would end in a writing block. So each time this happened I repeated to myself that I didn't want to write a good story. I just wanted to enjoy and have fun while writing a story, so I should write only things I enjoy. And this simple thing was incredibly helpful whenever I wasn't able to continue a scene.

I think that this is what most writers say, but now I have come to understand that it's true: just have fun. Write what you wanna read.

(5) the next story - requiem of the sleepless

This would be the third part of my first fic. I miss these unhinged boys and I have a little draft of (unholy) things I want to happen to them! Now I want to unlearn everything I know. I want this story to be zero planned, I just want to ~feel~ the characters and make a lot of random things happen. This is about not forgetting why I started, so here I am again.

Being a non-writer writing.

thank you for reading ♡ 

[frownyalfred]

Okay, another little lesson for fic writers since I see it come up sometimes in fics: wine in restaurants.

When you buy a bottle of wine in a (nicer) restaurant, generally (please note my emphasis there, this is a generalization for most restaurants, but not all restaurants, especially non-US ones) you may see a waiter do a few things when they bring you the bottle.

The waiter presents the bottle to the person who ordered it

The waiter uncorks the bottle in order to serve it

The waiter hands the cork to the person who ordered the bottle

The waiter pours a small portion of the wine (barely a splash) and waits for the person who ordered it to taste it

The waiter then pours glasses for everyone else at the table, and then returns to fill up the initial taster's glass

Now, you might be thinking -- that's all pretty obvious, right? They're bringing you what you ordered, making sure you liked it, and then pouring it for the group. Wrong. It's actually a little bit more complicated than that.

The waiter presents the bottle to the person who ordered it so that they can inspect the label and vintage and make sure it's the bottle they actually ordered off the menu

The waiter uncorks the bottle so that the table can see it was unopened before this moment (i.e., not another wine they poured into an empty bottle) and well-sealed

The waiter hands the cork to the person who ordered the bottle so that they can inspect the label on the cork and determine if it matches up; they can also smell/feel the cork to see if there is any dergradation or mold that might impact the wine itself

The waiter pours a small portion for the person who ordered to taste NOT to see if they liked it -- that's a common misconception. Yes, sometimes when house wine is served by the glass, waiters will pour a portion for people to taste and agree to. But when you order a bottle, the taste isn't for approval -- you've already bought the bottle at this point! You don't get to refuse it if you don't like it. Rather, the tasting is to determine if the wine is "corked", a term that refers to when a wine is contaminated by TCA, a chemical compound that causes a specific taste/flavor. TCA can be caused by mold in corks, and is one of the only reasons you can (generally) refuse a bottle of wine you have already purchased. Most people can taste or smell TCA if they are trained for it; other people might drink the wine for a few minutes before noticing a damp, basement-like smell on the aftertaste. Once you've tasted it, you'll remember it. That first sip is your opportunity to take one for the table and save them from a possibly corked bottle of wine, which is absolutely no fun.

If you've sipped the wine (I generally smell it, I've found it's easier to smell than taste) and determined that it is safe, you then nod to your waiter. The waiter will then pour glasses for everyone else at the table. If the wine is corked, you would refuse the bottle and ask the waiter for a new bottle. If there is no new bottle, you'll either get a refund or they'll ask you to choose another option on their wine list. A good restaurant will understand that corked bottles happen randomly, and will leap at the opportunity to replace it; a bad restaurant or a restaurant with poor training will sometimes try to argue with you about whether or not it's corked. Again, it can be a subtle, subjective taste, so proceed carefully.

In restaurants, this process can happen very quickly! It's elegant and practiced. The waiter will generally uncork the bottle without setting the bottle down or bracing it against themselves. They will remove the cork without breaking it, and they will pour the wine without dripping it down the label or on the table.

[luna-azzurra]

Soft prompts to make you YEARN

✭ brushing your thumb over their knuckles while you're both not saying a word, just existing quietly in the same space like it's the most sacred thing.

✭ them absentmindedly playing with the hem of your sleeve because they want to touch you but aren’t ready to say it yet.

✭ “can i kiss you?” whispered like they’re afraid the moment might shatter if they speak too loud.

✭ their voice cracking just a little when they say your name for the first time in a long time.

✭ them resting their forehead against yours and just… staying there. No words. No movement. Just breath. Just nearness.

✭ sharing headphones and they keep looking at you during the best part of the song. you don’t even know what the song means to them but suddenly it means everything to you.

✭ "stay the night?" said so soft it might’ve been a wish.

✭ dragging their fingers gently down your back like they’re trying to memorize the map of your spine.

✭ tracing your features with their fingertip like you're a sculpture in a museum and they were not supposed to touch you, but god, they can’t help it.

✭ “don’t leave yet.” not because you’re going somewhere. but because being with you is the safest they’ve felt all day.

✭ their voice in the dark. low. quiet. like the night is just for you two.

✭ "this reminded me of you" and it’s just a stupid rock or a weird leaf but you hold onto it like it's a diamond because it's you to them.

✭ laying in bed, face smushed into the pillow, sleep-drunk and murmuring, “you make me feel like i’m home.”

✭ them looking at you like you're not just a person, but their favorite story. one they’ve been rereading since forever and still keep finding new parts to fall in love with.

[vivsinkpot]

How to Structure a Oneshot That Hits Like a Thunderclap

“A good oneshot is a single breath—sharp in, slow out.”

A oneshot isn’t just a short story. It’s a moment, a mood, a slice of intimacy that wouldn’t survive being stretched into a full-length fic. Here’s how to make it count.

Pick One Core Emotion

Build the whole thing around a single feeling. Obsession. Longing. Regret. Euphoria. Grief.

If a full-length fic is a symphony, your oneshot is a single piano note.

Ask: What should the reader feel when they finish?

Ex: “This oneshot is about the moment someone realizes they’ve already fallen in love.”

Limit the Timeline

Don’t span days. Or even hours, if you can help it. The strongest oneshots focus on a single scene or moment.

A kiss in a hallway.

A final goodbye at dawn.

A confession said too late.

Tight time = tight tension.

Start Late, End Early

Drop us into the scene already in motion—no lengthy set-up. And leave us just after the climax, not long after.

Don’t: “They met three years ago and…”

Do: “It’s raining the night he finally says it.”

Your oneshot should feel like eavesdropping on something private.

Structure Like This

ACT I: Setup (15–25%)

Who are we with? Where are we? What’s simmering under the surface?

ACT II: The Shift (50–70%)

Something changes. A kiss. A fight. A confession. A memory.

The mood deepens or flips—this is your emotional peak.

ACT III: The Fallout (15–25%)

How does it end? A single line. A final look. A choice not made.

Leave a lingering echo, not an epilogue.

Let Style Do the Heavy Lifting

A oneshot gives you space to lean into voice, imagery, and metaphor. Write like it’s the last thing you’ll ever write.

“He says her name like it’s a prayer, but the gods stopped listening hours ago.”

Mood. Matters.

[kacchanot-fucking-deal-with-this]

So you know when you're writing a scene where the hero is carrying an injured person and you realize you've never been in this situation and have no idea how accurate the method of transportation actually is?

Oh boy, do I have a valuable resource for you!

Here is a PDF of the best ways to carry people depending on the situation and how conscious the injured person needs to be for the carrying position.

Literally a life saver.

(No pun intended.)

[crazywolf828]

To all my writers who have a tough time with smut terms and not knowing which ones to use, I have found the holy grail for us.

This reddit user, who I've recently found out is @kjscottwrites here on tumblr, took a poll of 3,500 people and went really in depth with asking their favorite terminology, along with actual pie charts on what the readers preferred to see in their smut.

Check out their post with the link to the Google doc here!

[gayeddiejuice]

thinking about uber driver eddie and you know what? buck WOULD have happily chatted with him even if they were strangers!! and he would’ve given 5 stars and a fat ass tip

[me-writes-prompts]

-:“We’re definitely just enemies, and not anything more” Enemies to lovers prompt :-

(*Wink wink* tag me if you write these.)

By @me-writes-prompts

“I want to wrap my hands around your throat, and choke you until the life in your eyes die down.” “Kinky.” ;)

“It’s funny, isn’t it? How we always end up, in the same place, at the same time.” “It’s not funny, I know you’ve been stalking me. That’s how we always end up together.” “Stalking? You? *scoffs* in your dreams.”

“Well, if it isn’t my favorite human being on the earth!” They say with fake excitement. “Oh thank you, but I regret to not say the same.”

“If you don’t care, then why are you holding my hand?” “So I can drag you down with me if we fall from this cliff/edge.”

Just deadass staring daggers at each other, and communicating with their eyes.

“Fuck you!” “Love you, too.” They say, blowing a kiss.

“I hate being in your presence, I hope you know that.” “You’re literally sitting half on my lap.” “Because there is nowhere else to sit!” (There was only one couch *snickers*)

“It just so happens that I put on my nicest outfit, just to find out that you’re my blind date.”

“Don’t look at me like that.” “Like what?” “Like you want to murder me but also like…you want me.” 😏

“It’s impossible not to hate you.” “It’s impossible not to hate you.” *mocking*

“Look, I win. So back off okay?” “Stepping on my toe and reaching the ceiling is not winning.”

“Shut up before I-” “Before you what, huh? No, say it. Let me see if you can finish that sent-” *shoves the nearest thing into their mouth*

“Come here, let me see the cut.” “No.” *sighs and walks up to them* “Let. me. see.”

“You’re not that good looking, alright?” “So you admit I’m good looking?” “What? N-no. Never.”

“I love you.” “Huh?” “Is the last thing I would be saying, so get that delulu thought out of your mind, and leave me alone.”

“You’re such an idiot. Who steps on a knife unknowingly?” “It was in the middle of a dumpster, I didn’t see it!” “Someone needs glasses.” “Shut up!” (This is so random lmaooo)

[buckyschair]

✸BETRAYAL✸

Azriel blurb 

Summary: A domestic dispute with Azriel. 

Warnings: none, fluff 

I kinda pictured this pair as Azriel and Flirting!Reader from my last little fic series if that tickles your fancy hehe :) Comments are encouraged, I love to hear from you <3

Word count: 800+ (so short!! who am i!)

masterlist

✸✸✸ 

“I can't believe you.”

Your words were a savage snarl. Azriel sighed. He'd had a long day, and he didn’t want to fight. 

“Well if you’d just let me explain–”

“–What is there to explain?” you snapped. 

You couldn’t believe it. A male who was committed to you, loyal above all else. That he would do this to you? You were dizzy from the insanity. 

You were curled defensively into the corner of your couch, knees packed tight to your aching chest. It was by the grace of the Mother you’d been sitting down when you found out. 

“How could you do this to me?” The words were bitter, and your broken voice betrayed your wound. 

“I’m sorry.”

Pathetic words, from a pathetic male. Where was his shame?  

His face was wrought with concern. He stood before you, keeping a safe distance. His wings ruffled, and they dragged along the floor. It was a sorry sight, the love of your life ruined, stained by his transgression. 

He didn’t even feel bad, you sensed, he just didn’t like that you were mad. The fact cuts deeper than the betrayal. Resentment soured your mouth. 

“Well, sorry isn’t going to change anything, Az,” you breathed. 

“I’ll make it up to you,” he promised.

You huffed a humorless laugh, the sound catching in your throat. 

The hardest part was that you’d built a beautiful life together. It hadn’t been easy, either. The shadowsinger was slow to trust, and you’d been hurt before too. But you’d both overcome your fears, and had traded invulnerability up for connection. Your sorrows had been comforted by cooling shadows. Your days were lit with bliss, sipped away in coffee houses or the comfort of your shared home. You’d embraced the bond, sure of its sparklingly rare reward. Until this moment. 

He shook his head, continuing, “No, really, I will. The two of us can-

“-it won’t be the same,” you murmured, your tone forlorn. 

Azriel seemed at a loss. A fearsome warrior, a master of spies, brought low by one pissy mate. 

“I'm sorry," he repeated, more seriously this time. “Will you forgive me?”

“You’ve got a lot of nerve. After what you’ve done–”

“Oh come off it!”

The male plopped himself down next to you on the couch, and his wing draped around you. His expression was pleading. 

“Let’s not fight,” he tried in a fragile voice

“I just,” you huffed. “I can’t believe you would go and do that– and with Cassian, no less–”

“He really wanted to!” Azriel defended himself 

You scowled, unimpressed. 

“It’s just that you knew I was excited about this new restaurant and you knew I wanted to go with you,” you stressed. “How could you do this to me?”

Soft traces on your knee calmed you. He listened to your words intently before speaking. “Listen, though, there’s some good news. I learned they have a special brunch menu on the weekends. How about we go tomorrow?”

You brightened slightly. 

“A special menu?”

“Yes,” he coaxed, lips twitching. “One I haven't even seen. Plus, Cass and I went there for lunch–”

“–famously the most boring meal,” you supplied, nodding along. 

“Exactly,” he replied, equally solemn, “so it’s basically like I didn't even go.”

You saw his logic. Plus you knew how obnoxious Cassian could be when he didn’t get his way. You regarded your mate pouting next to you, his hand still drawing soothing circles on your knee. 

“I guess it would be fine if you took me to brunch tomorrow,” you offered eventually. 

He sighed in relief. 

“–But you have to let me try a bite of whatever you order!”

“Deal.” 

Contented, you leaned forward to nestle into the towering Illyrian. His arms wrapped around you instinctively, fondness softening his sharp features. 

You kissed his chest and he melted. 

“I’m sorry,” he said again.

“I forgive you, baby,” you murmur absently into his chest. He smelled good, his citrus soap mixed enticingly with his musk. “I know Cassian can be an ass.”

“Cauldron, he is such an ass!”

You nodded into his chest, your head gently bumping his chin. You stroked his shoulder, down to his heart. 

“You’re so brave for putting up with him.”

The fearsome warrior was putty in your hands as you babied him after his long day out in the field. 

“I’m gonna kill him tomorrow,” Azriel sighed.  

You hummed quietly. His sculpted arms wrapped around your midsection, your playful attitude bringing out his syrupy side. 

“No one gets between me and my baby,” he said gravely, his boyish grin betraying him.

“You can’t blame him for your poor choices and my bad attitude!” you smirked.

His brows furrowed and he quirked his lips in contention. “Yes I can. He’s a bad influence.”

You laughed at his severity while he grinned. He kissed away your giggles, groaning imperceptibly at the affection he felt for you, only inflamed by your antics. 

The sound of your laughter was a balm to his tired soul. Of course, he’d been trying to make you laugh, just to make sure you were really well and recovered from your mood. 

Mission accomplished.

✸✸✸ 

A/N: hehe I had this idea at 5am one day and wrote the first draft in a furious early morning haze! Enjoy a silly domestic dispute fake out with our most longsuffering bat boy <3

Let me know if you like the shorter blurb-y one shot style??

[quillver]

WRITING TIP: Make your dialogue beats do more.

A beat isn’t just filler; it’s how you write the silence.

The best beats reveal what’s felt, not said:

– hesitation

– discomfort

– tension

– hidden motive

What’s a beat?

A dialogue beat is a small action or thought that shapes rhythm and reveals what’s left unsaid.

Avoid:

“Sure,” she said, with a shrug.

(Filler beat. Adds no emotional value.)

Use beats with intent:

“Sure,” she said, without looking up from her phone.

(dismissive)

“It’s fine,” she said. The fight was over. And she’d lost.

(self-censorship)

“I’m fine.” He lined up the silverware again - and again.

(anxiety)

A good beat doesn’t echo the line - it complicates it.

[angelilacs]

enemies to lovers ˎˊ˗

⭑ “are you okay? no fever? i’m a little worried with the lack of daggers to my throat recently.”

⭑ “you’re not hurt, are you?” “no, obviously not.” “that’s unfortunate.”

⭑ he liked her in ways he couldn’t explain, so he hated her instead.

⭑ he hates that he knows she fiddles with her ring when she’s nervous, and that her seashell necklace was given to her by her late grandma, and that she hides it underneath her shirts so people take her seriously.

⭑ “my brain just goes blank when i try to find a solution.” “huh. interesting.” “what is?” “didn’t know you had one.”

⭑ heated argument turns into make out session

⭑ “despite how we feel about each other i wouldn’t leave you for dead.” “how romantic.” “i take it back.”

⭑ forced proximity

⭑ one of them is egotistical and sure they’re always right which riles the other one up to constantly point out their mistakes

⭑ “you come to me. when shit goes down you come to me, you don’t fucking run away from me.”

⭑ “if we don’t get out of this alive—” “shut up, you do not love me.” “i was going to say thank god.”

⭑ “is he losing a lot of blood?” “yes.” “i love it when the universe is on my side.”

⭑ eye contact that one of them breaks just to hit the other one in their leg

⭑ one of them is a walking encyclopedia of fun facts and constantly remind the other that what they’re doing will one day kill them: you shouldn’t smoke, being on your phone for too long causes immense radiation, brushing your hair with that type of brush is harmful.

⭑ “if we don’t get out of this alive—” “that’s not funny, we could actually die this time.” “i love you.”

based on this ask !

[riinawriter]

20 Dialogue Prompts to Spark Your Next Scene

Whether you’re writing fanfiction, crafting your original story, or just daydreaming about your favorite characters, dialogue can be the heartbeat of a scene. These prompts are filled with tension, yearning, angst, and banter—perfect for bringing your characters to life or spiraling into a new obsession.

Use them as inspiration for drabbles, moodboards, roleplays, or that one WIP you keep rewriting at 2 a.m.

1. “You promised you’d never leave. So why does this feel like goodbye?”

2. “Don’t look at me like that. Like I matter.”

3. “You were never supposed to mean this much.”

4. “Well, if we’re both going to hell, we might as well hold hands on the way down.”

5. “Do you ever think about what we could’ve been?”

6. “This is the part where you’re supposed to kiss me, you idiot.”

7. “You lied to protect me. But it still hurts.”

8. “Can you just… stay? You don’t have to talk. Just—stay.”

9. “I hate how good you look in my clothes.”

10. “I brought snacks, bad decisions, and zero self-control.”

11. “You’re bleeding.” “It’s not my blood.”

12. “Tell me to stop, and I will.”

13. “Oh my god, we’re not actually enemies. You know that, right?”

14. “I don’t need a hero. I need you.”

15. “If we die, I’m blaming you.”

16. “Stop pretending you don’t care. You always cared.”

17. “I think I started falling for you the moment you insulted me.”

18. “You make it really hard to hate you, you know that?”

19. “We’re not just friends. Don’t lie to yourself.”

20. “Say it again.” “Say what?” “That you love me.”

Check out a full collection of articles explaining everything about writing from having an idea to publishing your book and even after. FIND HERE

[luna-azzurra]

Slow Burn Realization Prompts

✶ “when did it happen? when did i start looking at you like that?”

✶ “i think i always knew, i just didn’t want to ruin it.”

✶ “you’re the only constant in my chaos.”

✶ “everyone else faded. you stayed.”

✶ “you laugh, and something in me aches to keep you happy.”

✶ “i didn’t mean to fall for you. i just... tripped into it, slowly.”

✶ “i watched you fall asleep one night and everything just clicked.”

✶ “i tried to convince myself it was just friendship. it never was.”

✶ “i think the scariest part is how much sense you make.”

✶ “and then one day, i looked at you and thought: ‘oh. it’s you.’”

[writingwithfolklore]

Book Terms to Know Before Self/Trad Publishing

Will continuously update. Last updated: May 2025.

ARC: Advance reader copy – a special edition of the book printed before the release date, may still need finalizing edits. Meant for creating marketing buzz.

CNR: Closed No Response, when a query has been sent for long enough with no response to be considered an auto pass

Contemporary Fiction: A book that takes place in the present day, typically lacking in a genre. Centers around a protagonist’s everyday life: work, relationships, and modern day struggles

Literary Fiction: Contemporary fiction but considered to have some sort of artistic value—typically character-driven and introspective, it’s meant to engage the reader in a personal or social commentary.

Magical Realism: A real world setting with magical elements. Typically, the magic in the world is unusual and a cause for concern for its inhabitants.

Manuscript: An unpublished piece of writing.

MG: Middle grade. Books targeted at readers 8-12

Monomyth: Another word for the Hero’s Journey

MS/MSS: Manuscript or manuscripts

MSWL: Manuscript Wishlist—a list of an agent's next “want to reads”, look under #MSWL on any social media, or the MSWL website to find.

New Adult: For readers just beyond young adult containing college-aged protagonists written in the commercial style of YA.

Literary Boutique: This is what small agencies tend to call themselves instead of saying "small". Usually they are very selective about their clients but are also able to give a lot more attention to each individual.

R&R: Revise and resubmit—the agent is interested in your work but needs a hefty revision before they can really consider it.

SFF: Science fiction and fantasy

Speculative Fiction: Umbrella genre of fiction that breaks away from reality—can be fantastical, supernatural, futuristic, or otherwise imaginative.

Upmarket fiction: contains the lyrical writing of literary fiction with the plot-focus of genre fiction. AKA bookclub fiction

Urban Fantasy: Subgenre of fantasy that places supernatural/magical elements in a contemporary, urban setting.

Women’s Fiction: An umbrella term for books targeted towards a female audience—typically about female issues or struggles. AKA Chick-Lit

Young Adult: Targets readers aged 12-18 with characters around the same age. Most typically a coming-of-age story.

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[somepsychopomp]

Tips for Writing a Good Fic Summary:

I firmly believe that no writer should ever have to say "I suck at summaries", "my summary is bad but my story is good", "idk what to put in my summary" etc.

Why?

It makes you seem unconfident or disinterested in your own writing, which therefore puts off a lot of potential readers

It can come off like you didn't try

When tons of people say "I suck at summaries", it lowkey lumps you in with all the other writers who also don't know how to write summaries, and can make the premise of your fic seem less interesting or unique as a result

And quite frankly, I think every person who's ever slapped this kind of disclaimer on their fic absolutely can write a good summary if only they had some guidance and practice!

So, here are my go-to strategies for how to write a summary that functionally conveys the premise of your fic while also making it sound fun and interesting:

(Disclaimer, a lot of fellow fic writers out there have already internalized at least a good portion of what I've written below. This guide is designed for fanfic newcomers who may or may not still be learning how to write, largely because I most often see them posting the dreaded "I suck at summaries" as a shield, excuse, or preemptive defense of their works. I also want to say- no shame. We all have to start somewhere, and I just want to help out as much as I can.)

1) The In-Universe & Out Strategy:

I'm explaining this one first because if you've ever spared even a passing glance at Ao3, you've definitely come across this summary archetype before. And I'm super guilty of using it, too. But hey, if it works, it works!

This strategy is actually two summaries in one, the first being a blurb explaining the plot in a way similar to those you'd find printed in published books, with the goal of highlighting the drama or central conflict in the story and/or main character(s).

But it's also combined with an "out of character", typically much shorter summary that explains the premise by referencing its tropes or general format. The example below is one of my own fic summaries:

Let's start with the easier "out of character" component of this two-parter, that being the very last line of the example summary. This portion is technically optional in any summary, but has its many uses. The most important of which is that it offers clarity and guidance for your readers, and informs them of what exactly they're getting into if they were to click on your fic.

Also, it always comes second because the technical, "out of character" component is not you as a fandom participant trying to sell your story in an engaging way, it's you as the author explaining what it is you've made using familiar terms like "pre-canon"/"AU", etc.

And to be clear, I personally believe it's always better that your potential readers' first taste of your story (that being your summary) is immersive and enticing rather than plain and technical. So this smaller blurb should always go after your actual summary. Think of it as the cherry on top.

And you can make this portion of your summary very easily. Just state if your fic is an AU, if it's a "5 times X happened and the 1 time Y happened" fic, etc. All you have to do is tell your audience plainly what the main draw of the fic is, and all that takes is 1 sentence.

Aside from that, why does this format work and why is it so common in fandom spaces?

Well I referenced it before, but it offers something that most summaries in published books do not: clarity.

Yes, a good fic summary should tell you who the central character(s) are and a general idea of what happens in it. But summaries are also often used to build intrigue. You want your audience's curiosity to be piqued, so if you make your summary (and by extension your story) sound cool and mysterious, or full of adventure, or intensely cerebral and thought-provoking, readers will be inclined to click on your fic to find out how it ends.

But also, mystique offers uncertainty. And some readers might not like a fic if they can't quite parse out what exactly it'll be about. So, having an additional line or two after your "real" summary to explain the premise the way you might quickly explain it to a friend, gives that balance of intrigue and clarity.

But how do you write that first part? The actual summary?

2) The Cheater's Strategy:

It sounds a little dramatic, but honestly I consider this my "cheat sheet" way of making a summary because it's very much a shortcut that works.

And that strategy is: you sum up the first chapter of your fic. Nothing more. You do not allude to what the overarching plot is, you act as if chapter 1 is all you've got. But why would you do that?

Here's the thing about fanfics, based heavily on my experience in both writing and reading them. When you've got a fic that's more than 5-8 chapters long, or it stretches beyond 10-15k, oftentimes the first few chapters are all set up for your premise and the real meat of the story (the solving of the mystery, the big battles, the winding adventure, the burning portion of the slowburn) will come after.

When it comes to the cheater's strategy, you're going to ignore all the best portions of your story just so you can explain the boring set-up period where you position all your characters in the right places so they're ready to go on their (mis)adventure.

If you think that sounds like a bad idea, let me ask you this: When you pick up a mystery novel at the bookshop, does the summary give away who did it?

No! And you're not going to, either.

Also, it's implied and expected that the longer your story is, the more it will develop, change, and grow. So if you can sell your initial concept idea enough for a reader to click and read the first chapter, you very well could hook them and keep them seated for the rest of your story.

And remember what I said about building intrigue? This strategy is designed to build intrigue by suggesting there's more than what meets the eye.

Here's another example:

That might sound dense. And it's long. And it sounds like maybe a lot of stuff goes on in chapter one, but literally all I've done is explain the initial premise of my fic. (Note- this summary is for an Epic the Musical fic, which is a musical based of the Odyssey. Would highly recommend but that's beside the point)

The point is, this is an AU. But I didn't employ the Out of Universe strategy this time around and say it's an AU because it's obvious to anyone in the Epic fandom and it does not need to be further clarified.

What mattered to me in this scenario is that my potential reader sees my summary and knows that Odysseus the main character is a man who is married to the goddess Calypso, and is currently living in paradise. But in canon (both in Epic and in the actual Odyssey), Odysseus rebuked Calypso's advances because he wished to remain faithful to his actual wife Penelope.

The suggestion or implied understanding here is that something bad happened that caused Odysseus to discard Penelope in favor of Calypso. (Spoiler alert: the bad thing was him being brainwashed by a woman who would eventually become his abuser.)

And in this case, it's the suggestion of something gone wrong that builds the intrigue and curiosity for me without me having to add anything extra.

In the bulk of King of Ogygia, Odysseus goes on a strenuous mental journey to rediscover his true self with the help of various Greek gods, while also physically fighting back against his abuser. That all sounds pretty important to the story, right?

And it is! But I didn't want to include any of that and risk spoiling the overarching story. Anyone who'll be interested in chapter 1 will probably willingly continue reading to see how the story develops because that's just what you do when you find a story you like.

But let's say you're not writing an AU or a complicated, multi-chapter story spanning tens or hundreds of thousands of words.

If your fic is short and sweet, your summary should be as well. Next up,

3) Keep it Simple Strategies

(Yes, plural. This section is more like two different ideas lumped into one sum, but it made the most sense to put them together so please bear with me.)

Maybe you've got a neat little one-shot or a short fic (like 10k words or less) and you're not sure how to write it's summary precisely because it's so short. Or maybe you just prefer simple, direct summaries as opposed to the lengthy, dramatic kind.

Here's my next example from a 3k one shot I once wrote:

To be clear, this is a NOT an ideal summary. Far from it. But it's from a fic I wrote 6 years ago and I've definitely grown and changed as a writer since then. Let's dissect and rewrite this summary together.

Firstly, it does the bare minimum of telling you who the main character is (Kirishima), who he's being shipped with (Izuku), and the setting (a gym). And from a technical standpoint, that's almost all you have to write in order to reach the textbook definition of a summary.

But I didn't even really explain what the conflict or actual plot is, only suggested that that plot would be Kirishima trying to get together with another character who, in this setting, is a personal trainer.

It's succinct, I can at least give it that. But it's so short and plain that it doesn't really spark much imagination, does it? In all honesty, if I saw this exact summary posted at the top of Ao3, I'd skip right past it because it's so unimaginative and bland 😭

But the fic itself is only 3k, how do you build intrigue for a story that most readers can digest in about 30 minutes or less?

Let's start by identifying the main character and make a short list of their most important emotions or characteristics. Here, I would characterize Kirishima as being hopeful (that he can score a date), in love, and active (in a physical sense).

So I should try to channel these primary components into my summary. I could say something to the effect of:

Kirishima has been hitting the gym a lot more often, but it's not to improve his strength. There's a new personal trainer and he's got Kirishima's heart rate spiking better than cardio day. But can he work up the nerve to actually ask Izuku out?

Obviously, he'll ask out the cute trainer and they'll go on a date, but that's not what's important to a ship fic. It's the journey to the inevitable getting together that we want.

What makes this summary a little more engaging is that it's a lot more playful than the original. The gym pun and usage of "strength", "heart rate", and "cardio" really emphasizes the setting and premise. It helps sell the idea that this fic is a lighthearted romp while also hitting all the basics of who we're supposed to care about and where they are.

Here's a marginally better example summary:

Same fandom, different ship, similar premise. One character has a crush on the other, their crush is unaware of their affection at first, and the name of the game is winning them over.

But what makes this summary better than the previous example?

Well, it explains itself quite well by hitting all the minimum details. With four short sentences, it introduces who the two most important characters are and what their deal is. One of them is a god, the other is a mortal. It's a fantasy setting. The romance is one-sided.

But those minimum details coalesce into something greater than the sum of its parts. You also get the sense that Katsuki is dangerous and hot headed because he's the god of war, and you know that the object of his affections is more bookish and not quite interested in the brutish type.

How will they ever get along?

You thereby implicitly understand that the conflict of the story is figuring out how the ship will inevitably become a ship despite their initial differences. We could call this the Opposites Attract strategy, where the summary focuses on the juxtaposition between the two characters in the central ship, and makes that the central defining feature of the story. Got all that?

Good!

But making lists or divvying up character traits might seem confusing or tedious for some. (IMO if you're a new fanfic writer just starting out, it's worth a try to treat these simple strategies as writing exercises for your stories/summaries, even if you end up not using/posting them.)

If you as a writer want a more direct approach, try:

4) The Excerpt Strategy

All that stuff I said earlier about generating intrigue and hiding the meat of your story?

Well, you're still sort of doing that with this strategy, but not really. Instead, you're going to let the fic do the talking for you.

And by that, I mean your summary isn't really a summary at all, and is instead a brief excerpt from the fic itself. Here's some examples from various fandoms I've written for, including some where I've let the fic speak entirely for itself and others that I've combined with Strategy 1:

But how do you choose the right excerpt to represent your entire story?

In my opinion, a good excerpt needs to fulfill a few key requirements:

It has to convey who the main character is or what the plot is, so it will probably be from early in your fic.

Likewise, it can't give away the ending/big reveal because it looks careless. (And does not build intrigue!)

It can't be too long or else it'll seem bloated and readers might skip over it.

It also can't be so short that it ends up being confusing.

And most of all, it can't be so out of context that it ends up being baffling. Like if my fic's summary was just the line "And then all the kangaroos got wet" sure that could convey that my fic might be wacky and/or crack, but it's also distracting, uninformative, and doesn't really convey anything about your characters or plot.

Yes, oftentimes all of the above can be a hard checklist to fulfill, I know from experience. Hence why a lot of writers, myself included, combine it with a brief out-of-character explanation of the fic to cover all our bases.

The third and shortest example is arguably too brief for a proper summary, but it does one thing I really like by establishing the tone. It's sensual and a little sarcastic, offering a hint of danger, and is cushioned from failing by not fulfilling requirement #4 b/c of its supplementary summary.

So, why choose this strategy over any other?

Well, it advertises your writing style and unique voice more than a typical summary would. Sure, a regular summary kind of reflects who you are as a writer already, but I've definitely noticed in my own experience that the way I write a summary might be more formal, less formal, more dramatic, less dramatic, or just plain different from the voice/tone/perspective used in my actual fic.

And remember- that's because a summary is designed to GRAB attention. A fic is designed to MAINTAIN attention. They aren't quite the same and each has its own needs & goals.

And last but not at all least:

5) No man is an island

You really want to learn how to write good summaries?

Read more fics. Read more books. Read their summaries.

Go to your local bookstore or library, or visit your own book shelf, and study how others have written their summaries. What's important to each story in order to make a publishable summary? Is it the character's powers, the world they live in, the time period, the setting, their relationships, their enemies, their conflicts? Or something else? Or is it a combination of the factors above? And how do you make each factor as enticing as possible?

Does a sci fi novel have the same summary structure as a Jane Austin novel? Probably not! So if you have a sci fi fic in mind, it might do you some good to see how sci fi authors characterize their works. (Or maybe think outside the box and do take inspiration from an Austin blurb? Anything is possible in the world of fiction.)

Alternatively, go to Ao3 (or your preferred platform) and read how others in your community portray their fics. Comb through the fics you've bookmarked and study their summaries. Did they entice you? If so, try to figure out how and why. If not, what compelled you to click on the fic regardless?

And don't be afraid to draft out your summaries and revise them the same way you'd do so with your actual fics. Granted, I know there's lots of people out there that post fanfics without editing them, and that's fine. This should all be for fun, after all.

But if you want to put your best foot forward and give your story a strong advertisement, experimenting with the wording and structure of your summaries might do you some good!

Ultimately, when I say no man is an island, I mean it in the sense that artists study other artists all the time, and have been doing so for thousands of years. Crafting an effective and compelling summary is arguably an art itself. So, learn from those around you. Take advantage of your predecessors and the fellow writers in your community.

And that's that!

But we're not quite done here. My parting gift to you all is one last strategy, one that can be readily combined with nearly all others. It's called the Try & Try Again Strategy:

Start with a shitty first draft of your summary. It can be as bad and uninformative and bland as you want because it's just for you and no one else will ever see it. In fact, it should intentionally be as simple and plain as possible. Something like "Percy Jackson goes to the store"

Then tack on an extra detail, something to make it a little more exciting or elaborate. Maybe you've identified that your summary needs to convey what the initial premise or inciting incident is, as opposed to something like a romantic pairing or the setting. So you write a newly revised summary: "Percy Jackson goes to a store and a bomb goes off inside."

But you want to add a few more details to make it just a little more exciting and informative: "Percy Jackson thought he was about to have an ordinary day when he's framed for a pipe bomb explosion inside a deli market." (Now we have the central conflict- Percy is being framed for a crime! But how can we make it even better? How do we build even more intrigue?)

Keep trying: "Percy Jackson's day went from mediocre to horrible as he's framed for an explosion inside a New York bodega. Follow his misadventure as he runs from the local cops, finds the perpetrator, and most important of all- gets his groceries home by dinner time."

But wait, you might say. That's not a strategy. That's just doing the same thing over and over again to varying degrees of success.

To that I say yes, it most certainly is. And that's basically all writing is. It's trying to bring your idea to life, identifying what's not working along the way, and fixing it.

But starting with a seed is how you get a flower.

And if you've made it this far, I just wanted to say thanks for stopping by! Have fun writing! ♥️

[artistmarchalius]

Cockney Rhyming Slang Phrases Part 2

In a previous post I went into Cockney rhyming slang history and gave some tips on how to use it.

This is the second post in a series where I’ll give you some commonly used Cockney rhyming slang phrases, phrases that I find funny, as well as some phrases that I think would be useful for Spider-Verse fic writers specifically. Part 1 of this series can be found here.

So let’s get started on Part 2!

C-D

China Plate - Mate

E.g. “How are you, me old China?” Or “I’m meeting me old China at the pub later.”

Cobblers Awls - Balls

E.g. “Ooh! Got him right in the cobblers!”

It can also be used to mean “Nonsense”. E.g. “What a load of cobblers!” is another way of saying “What a load of nonsense!”

Cream Crackered - Knackered

E.g. “Sorry mate, I’m creamed!” Or “I’m cream crackered!”

Custard and Jelly - Telly (Television)

E.g. “Shh! I’m watching the custard.”

Daisy Roots - Boots

E.g. “Hang on, I need to put my daisies on!”

Dicky Bird - Word

E.g. “Not a dicky bird, mate.”

Another example of where you usually use the whole phrase. Also, “word” can also mean “a brief chat”. E.g. “Can I have a dicky bird?”

Dog and Bone - Phone

E.g. “You know what, give me a call on the old dog and bone and we’ll sort it out then.”

Duck and Dive - Skive

E.g. “Let’s duck!” Or “I gotta duck.”

Skive means to avoid work, usually by leaving early, similar to what Americans might call “playing hooky”.

Dustbin Lid - Kid

E.g. “How’s the dustbin lid?”

As mentioned in Part 1, it’s good to keep in mind that there can be multiple Cockney rhyming slang phrases for the same word, as well as multiple Cockney rhyming slang phrases that start with the same word. For more information, see Part 1.

As always, I’m not an expert; a true Cockney would know far more than I do. I just want to share the knowledge that I have. I hope someone will find this helpful, informative, or entertaining at the very least.

I’ve got more Cockney rhyming slang phrases coming, but if there’s any other areas of British slang you’d like me to go into, let me know and I’ll see what I can do!

Happy writing and happy speaking!

My other British slang posts: Cockney Rhyming Slang, Cockney Rhyming Slang Phrases Part 1, British Police Slang, Terms of Endearment, Innit VS In’t - a PSA