writingcentral

[writingcentral]

if you haven’t written in the middle of the night and then couldn’t comprehend it the next day, are you even a writer?

[writingcentral]

10 things we need to see in male characters.

- men who show emotions.

the expectation that men should be tough and closed off is so normalized and is really harmful. please, let your male characters cry and portray emotion.

- men who do not have the physical physique of an olympian.

we need to see men who are not society’s standard of what a man “should look like”.

- men who are poc.

this shouldn’t even be a discussion. men of color need to be included more in media.

- men who are lgbtqia+

though some people will say “well, there are so many mlm charatcers in books!!” and while this may be true, we need to see more than just gay characters. bi, pan, ace, trans, etc.

- men who aren’t looking for a relationship with another character.

this may seem weird, but if you look at many books, nearly all the men are interested in someone. this isn’t necessarily bad, and i know it “makes your book more exciting,” but still.

- men who have mental health issues.

this applies to all characters no matter of gender, but males especially. depression, adhd, anxiety, and many more mental illnesses are not being talked about, especially in male characters.

- men who have non-masculine special interests.

not all fictional men need to be just be interested in sword fighting or training. i would love to see men who are interested in sewing, gardening, baking, etc.

- men who fill “feminine” roles

especially in fantasy, it’s easy to just see men as fighters or kings. but what about tailor or librarian? men don’t always have to be in positions of high power.

- men who show affection.

if a male character is in a relationship, they can show affection. it’s as simple as that :)

- men who are not seen as dominant or in power.

not all male characters have to be in control all the time. let’s let someone else lead the soldiers or rule an empire for once :)

[writingcentral]

yeah, your favorite character might be hot, but are they “staring at you with blood on their face and anger in their eyes” hot?

[writingcentral]

my writing / account goals for 2022!!

in january of 2021, i made a post just like this one, and now, a year later, i get to see if i succeeded in those goals!! but first, i just want to say a HUGE thank you. a year ago, i had 687 followers. now, i have 1,911. that’s totally insane. i can’t put into words how grateful i am. thank you so much <3

writing goals:

1) finish draft one of my book legend of the slethes.

alright, this goal was met!! i finished my first draft in december of this year. i’m january, my book was at 52,417 words. i finished it at 85,598 words. i did not do as much writing this year, but i’m still really proud of that number.

2) finish editing my wip.

i didn’t do that :) i just finished my wip a couple weeks ago, so there was no way that was happening this year. and that’s okay <3

3) start a possible second wip or do a second draft of my current one.

i did that!! i just started draft two of legend of the slethes, so we’re on track!!

4. get my wip over 70,000 words.

i also did that!! like i previously mentioned, my wip was finished at 85,598 words <3

reading goals:

1) read at least fifteen books i have not read before.

i did that!! i read 74 new books this year :)

2) finish percy jackson series.

i also did that!! it was a childhood goal of mine, and i did it!!

3) do more digging to find lesser know authors.

i tried my hardest to do that this year :)

follower / instagram goals:

1) get 1k followers and 100 posts!!

with 1,911 followers and 245 posts, i think i succeeded :)

2) make new friends.

i found some really awesome people this year, and i would definitely say i made new friends <3

3) new themes.

i’ve had 11 different themes since then, so mission accomplished!!

4) offer more support to newer writers / accounts.

i tried my best with this one, and i think i did pretty well ??

now onto my new goals:

writing goals:

1) get 30,000 words into my second draft.

nothing too big, i’m very busy and don’t want to be outrageous!!

2) try to get 20,000 words in during nanowrimo / participate in nanowrimo

once again, i don’t want this is a goal that is still a bit uncomfortable but still achievable :)

reading goals:

1) read 15 books on my tbr.

nothing too major, but my tbr is HUGE so this shouldn’t be too difficult ??

that’s it for my reading goals. nothing too crazy.

follower / account goals:

1) hit 2.5k!!

this one might be a bit difficult, but i think it is very possible :)

2) try to post more.

this is difficult since there is not set number, but i think i need to be more consistent :)

[writingcentral]

i think my wip’s new years resolution is that it should write itself. why am i the only one putting effort here?

[writingcentral]

if i don’t see a present shaped like a dark haired morally grey protagonist under my tree this christmas, there’s gonna be some issues.

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now that it’s the end of the year and people are posting the books they’ve read, here’s a reminder: you could have read 2 books or 200, it doesn’t matter. you’re still a reader, and you’re valid :)

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putting italics on words that absolutely don’t need it in order for the sentence to “make sense” is the most undiscussed writing tip ever.

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lovers to enemies? no. lovers to enemies to lovers? absolutely.

[writingcentral]

how to write a sequel.

I. perfect the first chapter.

as you should already be aware, the way to hook a reader from the start is not just with the alluring cover or the blurb on the back. while these concepts play an important role in attracting your ideal reader to your book, it is not the main hook.

so, what is it?

- it’s the first chapter.

at this point, you’re familiar with introducing the main character in media res, and providing tidbits, teasers and some backstory as the narrative goes on. the good news is, most of this has been accomplished in the first book, so there is no burden lying on you to recreate those aspects from scratch.

now, what we need to focus on is reintroducing the character and the setting to the reader in a way that sets up the main conflict of the second book. we also want to show how our beloved protagonist has changed/transitioned from book one to book two, and to consider how much time has passed since the ending of book one.

think about the questions your reader may have:

- what happened since the first book ended?

- what have the characters been up to?

- how have they changed?

- what is going on in their lives now?

- what is the problem they need to solve?

these questions should be answered throughout the course of the book, but not necessarily all in the first chapter.

II. treat the sequel as a fresh start

while sequels may include the same characters and continue the overarching storyline from book one, a sequel shouldn’t be an exact replica of the first novel. and while the most logical place to begin your sequel might seem to be exactly where the first book ended, don’t fall into the trap of thinking you have to do this.

i know what you’re thinking:

“there are so many things i didn’t get to mention in the first book…”

“the cliffhanger ending – i need to explain it so my readers will understand it completely…”

while these are valid points, don’t feel the need to dump a whole lot of information on the reader right at the beginning, or bog them down with a rehashing of the first book.

now is the time to begin anew and give readers a new perspective. but what if someone picks up the second book after a considerable length of time and has no recollection of the first book?

by adding subtle reminders and tidbits of backstory from the first book (as long as they’re pertinent to the sequel’s storyline), you can avoid getting off to a slow, repetitive start.

III. introduce new, original stakes

your sequel should take readers on a new adventure as you increase the stakes and create a more intense, more exciting story than the first.

should you choose to write a multi-book series, each subsequent book should raise the stakes even higher so the reader never feels cheated, and so your story arc continues to rise towards a satisfying ending.

IV. figure out what attracted readers to the first book (and put a spin on it)

when writing a sequel, you may be thinking, “since my first book worked, i’ll just give readers more of the same so that this book is a massive success as well.”

but no matter how good your first book is, your readers don’t want a regurgitated copy of it. they want something new and fresh, not just more of the same.

consider the reasons your first book was a success. what was it that drew readers in? why are they clamouring for the next book in the series?

perhaps they want to see more of the characters, similar plot or subject matter, or a deeper exploration of the same world.

if you understand the reasons they loved your book and want more of the story, characters or world, it’ll be easier to understand what they’re looking for in a sequel.

but instead of asking ‘how can i replicate these elements for my sequel?’, ask yourself how you can throw a spin on them.

V. include some fresh faces

it’s important to ensure your characters matter to your reader, enough that they make an impression on them for the long run.

that being said, though: in addition to our beloved characters from book one, a sequel can benefit from some fresh, new faces. let’s meet a new character or two!

but don’t introduce a new character and leave it at that. make them memorable, too. they should have a voice and, most importantly, a reason for being in the story.

VI. continue developing characters (major and minor)

one of the many great things about sequels is that they allow us to rekindle our love for our characters. readers get to spend even more time with them, learn more about them, cry with them, laugh with them. and writers get to continue developing and fleshing them out.

as well as continuing the character arcs of your main characters, you have the chance to reinvent or further develop minor characters from the first book.

you can reintroduce minor characters by giving them a more prominent role in the sequel’s storyline, or switching up their role from book one.

VII. play with the reader’s expectations

play with what your reader wants or expects in this book. ask yourself: ‘what are my readers going to expect to happen in this sequel?’

and then do the opposite.

another way to play with your reader’s expectations is to look at your first novel’s key moments, and see if you can top them.

what was your protagonist’s weakness? how can you expand upon it, explore it on a grander scale, and/or twist it in a way the reader doesn’t expect?

what was the antagonistic force in your first book? how can you make it even more powerful in the second, and surprise readers in the process?

building off what worked in the first book, expanding upon it and altering it can help you give your reader what they want, but not in the way they expect.

[writingcentral]

writers are the scariest people. if you cross them, they will write you into their book just to kill you.

[writingcentral]

how to write flashbacks.

flashback scenes are some of the most difficult to write. effective flashbacks relay vital backstory that cuts straight to the emotional core of a narrative. they exist because they must, because there’s no better way to reveal the essential context on which the story hinges. but like the infamous prologue, flashback scenes are all too easy to get wrong.

an ineffective flashback lacks purpose and necessity. it bores readers, jarring them out of the story, making them wish the author would just get on with it. excessively lengthy and frequent flashbacks may even make readers set a book aside.

- first, why are effective flashbacks so difficult to write?

effective stories immerse readers, encouraging them to fly through the pages to discover what will happen next. any element that disrupts the flow of a narrative risks pulling readers out of the story, and that’s exactly what makes flashback scenes so dangerous.

a flashback isn’t merely a moment in which your point-of-view character considers the past; it’s an entire scene set in the past that disrupts a story’s chronological flow.

if a flashback provides answers to questions readers are desperate to know, then they’re unlikely to be fazed by the disruption.

- how can you write an effective flashback scene?

like any scene in your story, flashbacks must serve a definitive purpose, preferably one that strikes at your story’s emotional core (i.e. your main characters’ internal journeys).

an effective flashback reveals essential information that could not be relayed in any better way. if you could just as easily work this context into your story via dialogue, inner dialogue, or narrative, then consider doing so to maintain your story’s immersive flow.

however, if you’re certain that a flashback is the best way to reveal essential backstory, then here are six tips for crafting a flashback that will keep readers immersed and engaged.

- give readers a reason to care.

immersive stories give readers a reason to care, to have an emotional stake in your main character’s journeys. a story’s flashbacks need to do the same.

no matter how interesting a past event might seem, if it doesn’t directly impact your main characters’ lives then readers simply aren’t likely to care.

- make it engaging.

despite taking place in the past, effective flashbacks feel immediate. they often tie directly into the pov character’s journey via triggers. the resulting flashback shows that the memory still haunts your character.

you can maintain the flow of your narrative by using a second trigger to draw your pov character out of the flashback. for example:

- your character may dream about the death of a loved one only to be woken by their alarm clock.

- the smell of peppermint tea may remind your character of the day they were married, only for the sound of the doorbell to draw them back to the reality of their new widowhood.

when writing flashbacks, avoid language that feels too on-the-nose. phrases like i flashed back to, i thought about the day that, and i remembered when can feel contrived. instead, practice using triggers to transition seamlessly between the present and the past.

- make it clear.

to maintain the flow of your story, readers need to know when they’re being eased in and out of a flashback. a lack of clarity can lead to confusion, while attempting to shock readers by concealing the reality of a flashback can leave them feeling cheated and patronized.

- keep it brief.

effective flashbacks aren’t self-indulgent. they exist to serve the present story, and the sooner you can return readers to that story, the better.

- make it distinct.

to ensure readers don’t feel lost in the shuffle, consider writing your flashback in a different point-of-view, tense, or writing style to signal the important shift from present to past. italics can also help illustrate this jump.

- give it consequences.

effective flashbacks don’t just reveal vital backstory to readers; they serve as the ghosts that haunt your characters, impacting their actions and reactions throughout the story.

the deeper the impact a flashback has on a character in their present story, the more powerful and immersive the scene will be.

effective flashbacks may be difficult to write, but they can also serve as powerful emotional touch-stones within your story. use the tips above to guide you in developing flashbacks of your own, and you’ll soon craft immersive and impactful scenes readers won’t soon forget.

[writingcentral]

writers be like “i’m busy” and then go stare at a computer screen picturing themselves writing

[writingcentral]

55 romance tropes.

alpha hero: the heroine must contend with a strong-willed, domineering, hyper-masculine, successful and wealthy hero.

amnesia: the hero or heroine suffers temporary or permanent memory loss and is forced to start over and reclaim their identity.

armed forces: a dynamic hero in uniform draws the heroine into a relationship, but a career in the army, navy etc., creates conflict. the heroine may also be in the military and is attracted to someone in her unit or during a mission.

beauty and the beast: the hero, often disfigured or injured in an accident, must overcome his physical and emotional scars to find love with the heroine.

best friend’s brother: the heroine sees her friend’s brother in a new romantic light and must hide her feelings from him and her friend.

beta hero: the good guy, the guy next door – this type of hero is usually more even-tempered and more realistic than the typical alpha hero. he doesn’t want to run the world; he just wants to be king of his own castle.

betrayal: the heroine is betrayed by the hero – the betrayal may be genuine or the result of a misunderstanding. she often vows revenge.

blackmail: the heroine is blackmailed by the hero into marrying him, usually as a form of revenge or payback for a previous slight or insult, real or imagined.

blind date: the heroine agrees to a blind date. the date usually delivers a surprise or a twist – for example, her dinner companion turns out to her boss, best male friend, or an ex-boyfriend.

boss & secretary: although a bit dated as a trope, the boss falling for his personal assistant or secretary is still popular.

christmas romances: almost a genre in itself, christmas provides a theme and background for the love story, which features european or north / american settings.

coming of age: the first discovery of love as teenager can be a powerful theme to explore in a romance novel or story. the plot can cover a sweet, innocent crush or a dark, intense attraction to the wrong boy.

cursed! in a fantasy or folklore-inspired romance, the heroine may have fallen under a curse, spell, or wicked charm that only the hero can break or reverse.

the dare or the bet: a staple of teen romances, the heroine takes up a challenge from friends or a rival to date or bed a popular young man – or an unpopular wallflower. she eventually loses her heart to him until he learns of her deception.

the dating game: from online dating agencies to hook-up apps, speed dating sessions to blind dates, the newly single heroine enters the world of dating with hilarious and romantic results.

enemies to lovers: probably an overused trope, but still effective. the heroine hates the hero on sight. she may still be smarting from a past betrayal or is being blackmailed by him. how the characters move past the anger to attraction and love makes up most of the narrative.

fake engagement: the hero needs to produce a date or fiancé in a hurry and the heroine steps into the role. of course, this phony arrangement soon leads to real complications and a genuine emotional connection.

first love: the heroine seeks out or is reunited with her first love or high school sweetheart – has he changed or not? the hero can’t forget his first wife or a deceased girlfriend and the heroine feels she cannot compete with his former love.

fish out of water: the heroine comes from a small town to a big city and is unprepared for the sophistication of the hero. similarly, a city girl finds herself working or stranded in a small town and falls for the charm of a local hero.

forbidden love: taboos lie at the heart of this romance theme. race, religion, conflicting culture, or feuds are just some of the forces that could potentially keep the lovers apart.

forced proximity: the heroine finds herself stuck with the hero in a confined space. she could find herself snowed in with him at a remote cabin or trapped in an elevator – the possibilities are endless!

frenemies: the hero and heroine enjoy a friendly rivalry – either socially or at work. but soon the banter, teasing, and ribbing exposes an underlying attraction and sparks fly!

friends to lovers: the main characters, who have hitherto been friends, discover a growing attraction to each other. for the heroine, this is often a childhood friend who re-enters her life as an adult.

girl next door: falling for a new, cute, or mysterious neighbour is what sets the plot in motion in this storyline.

the guardian or ward: an older male is bound by the obligation of a legal will or promise to oversee the care of a young charge. when the heroine comes of age, she falls in love with her older, handsome guardian.

heiress: the heroine comes for a fabulously wealthy family with an impressive pedigree. she is often in line to inherit a large fortune or take control of a family estate of company.

hidden identity: the heroine hides her true identity or creates a false persona to hide her involvement in events that usually took place in the past.

kidnapped: the heroine is snatched and reluctantly falls in love with her abductor. or she must wait for hero to come to the rescue or, better yet, must find her own way out of the dangerous situation.

learning-to-love: the heroine is determined to learn a new skill (dance or drive a car, etc.) and falls head over heels for the instructor. the heroine may also head back to school or college and falls in love on campus.

love triangle: the heroine is often torn between two lovers and wrestles with the secrecy of the situation. the viewpoint of other characters in the triangle can also be explored.

magical heroine: the heroine is a witch, sorceress, shifter, spell caster, fairy, or she possesses psychic or supernatural powers.

makeover: the heroine is transformed from drab to fab to catch the hero’s attention. alternatively, the hero has to transform his looks, body, and attitude to prove his worth to the heroine.

marriage of convenience: the heroine is compelled to marry the hero, usually an alpha hero, in name only. the marriage is based on necessity, or for financial or strategic reasons.

mistaken identity: the hero mistakes the heroine for someone from his past. the heroine is mistaken for someone rich or royal.

mistress heroine: the heroine finds herself the mistress of a rich and powerful man. In modern romances, the hero is not a married man but rather a guy who doesn’t seek commitment.

new girl in town: the heroine finds herself in a new town, without many friends or adequate social skills to negotiate the new world she finds herself in. often, she has moved to the town for a job.

partners in fighting crime: the heroine is a cop or detective who falls in love with her handsome partner on the same beat or based at the same precinct or station.

rags to riches: a struggling or down-on-her-luck heroine comes into money and/or fame through a surprising windfall – like winning the lottery or a reality tv show. the hero helps her navigate this new world of wealth and popularity. ‘rags to royalty’ is a sub-trope.

revenge: the heroine, betrayed by the hero and/or his family, is determined to get revenge. the trope also works well if the hero is the primary character hell-bent on retribution. an extremely popular and successful theme in romantic stories.

riches to rags: a wealthy heroine or heiress loses her money and status overnight. with the hero’s help and love, she finds a way to re-establish her identity, and realise her own ambitions and self-worth.

rock star: the hero is a rock, musical, or reality/social media idol and the heroine must see beyond the groupies and fast-paced lifestyle to find the talented and vulnerable individual behind fame’s mask.

royalty: the main character rules or is in line for the throne of a fictional country, kingdom, or principality.

second chance at love: a couple break up only to reunite years or decades later. or a heroine who has been deeply and possibly repeatedly hurt in love finally gives herself – and the hero – a second chance.

secret billionaire: the hero hides his identity and/or his wealth from the heroine, usually to test if she loves him for his true nature or his enormous wealth.

small town: heart-warming stories set in small towns. in romantic suspense, the rural setting could hide sinister secrets.

soulmates: the two main characters feel they are destined to be together. however, other forces or characters in the story conspire to keep the lovers apart. from deadly hurricanes to horrible curses, the more obstacles in their path, the better.

unexpected inheritance: the heroine comes into a windfall from a distant relative.

terminal situations: the heroine loses her heart to a hero who is terminally ill. or the heroine, facing a life-threatening illness or condition, must help a romantic partner deal with the situation.

workplace romances: the hero and heroines are co-workers or colleagues in the same company and find that they can’t suppress their chemistry. the professional suddenly becomes very personal.

wrong side of the tracks: the heroine falls in love with a rough diamond from the proverbial ‘wrong side of town’. radically different socioeconomic conditions tests the love affair. or the heroine is from a poor background and finds romance with a handsome rich boy from the wealthier classes.

[writingcentral]

ppl be like “so what’s your personality?” like idk mine changes with every book i read

[writingcentral]

you know, i only like writing dialogue. plot is just filler at this point.

[writingcentral]

how to fix plot holes.

first, what are plot holes?

-> plot holes are inconsistencies or gaps in the storyline or character development. they are formed when a narrative stops following its own logic. viewers and readers only have the details you’ve provided to immerse themselves in a believable world. if you present a narrative without thinking through the implications of each plot point, you may create an unsatisfying and incomplete story, which can lose your audience quickly.

- the five different types of plot holes

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

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

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

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

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

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

- five tips for fixing plot holes

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

however, it can be nearly impossible to anticipate every avenue for your narrative, and sometimes your story needs tweaking. your job as a writer is to do as much as you can in order to tell the most complete, understandable story for your audience. here are some tips for doing just that:

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

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

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

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

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