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[writingfairycat]

Filmmaking advice from John Waters

[writingfairycat]

It's a double feature this October here at the Prompt Foundry with both Prompts That Go Bump In The Night and OC-tober.

For Prompts That Go Bump In The Night, let's get creepy with it, get in touch with our dark sides, make Edgar Allan Poe proud, and get into the spirit of spooky season!

Feel free to combine different days' prompts with each other, or combine them with other events! Use your OCs, your favorite characters from media, your own experiences, whatever tickles your fancy.

Make this as scary as you want, just remember to tag appropriately!

If you use this list, please tag me here @thepromptfoundry, I’d love to see your writing and art and learn about your characters!

Respond to as many prompts as you want or as interest you, don’t worry about missing or skipping any. Remember, this is supposed to be fun!

If you have any questions or musings, check our FAQ, and if you don't find your answer, shoot me an ask.

Plain text list below the cut:

1 Too many eyes 2 A whisper in the dark 3 Someone who shouldn't be there 4 Vampires 5 Blood 6 An untimely death 7 A shadow in the window 8 The darkness before dawn 9 Nobody's child 10 Open graves 11 Zombies 12 A stolen face 13 Something behind you 14 A lying smile 15 Creaking floorboards 16 Witches 17 The full moon 18 Werewolves 19 Screams on the wind 20 Skeletal remains 21 A black dog 22 Rattling chains 23 Restless spirits 24 The wrong way home 25 Icy breath 26 A forgotten name 27 Words never spoken 28 The other side of the mirror 29 Lights going out 30 An unheeded warning 31 One last chance to escape

[writingfairycat]

a list of 100+ buildings to put in your fantasy town

academy

adventurer's guild

alchemist

apiary

apothecary

aquarium

armory

art gallery

bakery

bank

barber

barracks

bathhouse

blacksmith

boathouse

book store

bookbinder

botanical garden

brothel

butcher

carpenter

cartographer

casino

castle

cobbler

coffee shop

council chamber

court house

crypt for the noble family

dentist

distillery

docks

dovecot

dyer

embassy

farmer's market

fighting pit

fishmonger

fortune teller

gallows

gatehouse

general store

graveyard

greenhouses

guard post

guildhall

gymnasium

haberdashery

haunted house

hedge maze

herbalist

hospice

hospital

house for sale

inn

jail

jeweller

kindergarten

leatherworker

library

locksmith

mail courier

manor house

market

mayor's house

monastery

morgue

museum

music shop

observatory

orchard

orphanage

outhouse

paper maker

pawnshop

pet shop

potion shop

potter

printmaker

quest board

residence

restricted zone

sawmill

school

scribe

sewer entrance

sheriff's office

shrine

silversmith

spa

speakeasy

spice merchant

sports stadium

stables

street market

tailor

tannery

tavern

tax collector

tea house

temple

textile shop

theatre

thieves guild

thrift store

tinker's workshop

town crier post

town square

townhall

toy store

trinket shop

warehouse

watchtower

water mill

weaver

well

windmill

wishing well

wizard tower

[writingfairycat]

speculative fiction writers i am going to give you a really urgent piece of advice: don't say numbers. don't give your readers any numbers. how heavy is the sword? lots. how old is that city? plenty. how big is the fort? massive. how fast is the spaceship? not very, it's secondhand.

the minute you say a number your readers can check your math and you cannot do math better than your most autistic critic. i guarantee. don't let your readers do any math. when did something happen? awhile ago. how many bullets can that gun fire? trick question, it shoots lasers, and it shoots em HARD.

you are lying to people for fun. if you let them do math at you the lie collapses and it's no fun anymore.

[writingfairycat]

One piece of acting advice that has stayed with me for years in regards to both writing and drawing as well is: "Don't use the body to act what the character is saying. Act what the character is THINKING."

Like, as a very, very basic example: a character is apologizing by saying, "I'm sorry." But that line is going to look and sound different depending on what the character is thinking. Crossed arms and a sullen tone can mean that a character is actually thinking, "I don't mean it and also I hate you." A pleading tone and reaching out to take the other character's arm can mean: "Please don't leave me." A tired voice and slumped shoulders within context could mean: "I did what I had to do."

This is one way to begin to do "Show, Don't Tell" in storytelling. It is trusting your audience to see the depth and to catch on to the things you leave unsaid. It's fun to let the audience be observant and clever. It is also reflective of real life, where people are often scared of being vulnerable, or don't necessarily even understand their own emotions, or have difficulty identifying the true feelings of the people around them, and so don't say very much.

There are exceptions to this advice, of course. In writing, rather than in a visual medium, some POV characters are very good at reading emotions from body language and others are not, and their observations in the narration may reflect this skill. Some characters will assume everyone around them is always angry with them or simply not pay attention to other people's moods at all, personalities which can also be subtly communicated to the audience and later used in the story in some interesting way.

Some characters have excellent control over their body language and tone of voice, because they are on-guard, highly trained in some fashion, or a very good liar. They will not easily communicate their true thoughts through their body language or their actions. Their lie can be so good that it can be slipped past the audience as nothing important to the plot until it comes back to bite. Their oddly perfect control over their body in a tense situation can instead maybe be used to indicate to the POV character and/or the audience: "Oh, there's something WRONG with this person."

This advice was originally given to me in the context of illustration and animation, in which it is very common for inexperienced artists to act out the words that the character is saying in mime-like gesture. In media for young children, we might choose to keep things very simple, as toddlers struggle to learn what it looks like and feels like to be angry or happy. But past that? People don't actually behave this way. What we say and what we really mean are not always synchronized.

[writingfairycat]

fascinating that when you tell people "you have to learn the rules to break them" when talking about drawing/painting etc everyone nods and agrees but the second you say "you have to read books if you want to write better" there's a horde of contrarians begging to be the wrongest people ever all of a sudden

[writingfairycat]

I've had this little idea in my head for a while now, so I decided to sit down and plot it out.

Disclaimer: This isn't meant to be some sort of One-Worksheet-Fits-All situation. This is meant to be a visual representation of some type of story planning you could be doing in order to develop a plot!

Lay down groundwork! (Backstory integral to the beginning of your story.) Build hinges. (Events that hinge on other events and fall down like dominoes) Suspend structures. (Withhold just enough information to make the reader curious, and keep them guessing.)

And hey, is this helps... maybe sit down and write a story! :)

[writingfairycat]

Random worldbuilding: A culture where everyone's social status is expressed through how their hair is braided.

Children all have the same kind of a simple, unisex "child's braid" which is meant for their parents to be easy to do - traditionally boys were only taught how to do a "wife's braid" while women braid both their husbands and their children, but a modern man is naturally an attentive father and contributes to both cleaning and feeding, and clothing and braiding his children.

While this kind of knowledge is more accessible in the modern age, the art of braiding is still seen as an intimate family thing, and it's not unusual for a youth to come out to their parents by the way of braids - for example a daughter asking her father to teach her how to do the "wife's braid", or a son asking her mother how to weave the "husband braid" for their future spouse. Or a trans kid asking their parents to give them the other gender's braid when it's time to transition from the child braid into the "unmarried youth" one.

It is nonetheless still somewhat common to see an older gay man with a "wife's braid" or two older women both wearing "husband braids", because that was the only way they were taught to braid a future partner's hair when they were young. They could learn the "appropriate" braid now, but it has become a part of the culture, an old-fashioned gay thing to do. It's pride - if you wear this braid to show that you're an adult with a spouse, why try to hide who braids your hair every morning?

The only braid that one is expected to do on themselves is the widow's braid - the only one that is also unisex, braided in reverse from the simple children's braid. Sometimes, young unmarried adults who have no interest in starting a family switch directly into wearing a widow's braid to signify that they are not looking for a partner and are independent adults on their own.

[writingfairycat]

Tips for writing those gala scenes, from someone who goes to them occasionally:

Generally you unbutton and re-button a suit coat when you sit down and stand up.

You’re supposed to hold wine or champagne glasses by the stem to avoid warming up the liquid inside. A character out of their depth might hold the glass around the sides instead.

When rich/important people forget your name and they’re drunk, they usually just tell you that they don’t remember or completely skip over any opportunity to use your name so they don’t look silly.

A good way to indicate you don’t want to shake someone’s hand at an event is to hold a drink in your right hand (and if you’re a woman, a purse in the other so you definitely can’t shift the glass to another hand and then shake)

Americans who still kiss cheeks as a welcome generally don’t press lips to cheeks, it’s more of a touch of cheek to cheek or even a hover (these days, mostly to avoid smudging a woman’s makeup)

The distinctions between dress codes (black tie, cocktail, etc) are very intricate but obvious to those who know how to look. If you wear a short skirt to a black tie event for example, people would clock that instantly even if the dress itself was very formal. Same thing goes for certain articles of men’s clothing.

Open bars / cash bars at events usually carry limited options. They’re meant to serve lots of people very quickly, so nobody is getting a cosmo or a Manhattan etc.

Members of the press generally aren’t allowed to freely circulate at nicer galas/events without a very good reason. When they do, they need to identify themselves before talking with someone.

[writingfairycat]

so I’m looking at short story publishers (fantasy)

Tor, cream of the crop. 25 cents a word. Stories can be read for free (YES). Slowish response time at ~3 months. Prefer under 12k, absolute maximum is 17.5k. Don’t bother if it’s not highly professional quality. SFWA qualifying.

Crossed Genres. 6 cents a word. Different theme each month (this month’s is “failure”). Submissions must combine either sci-fi or fantasy with the theme. Response time 1 month. 1k-6k, no exceptions. SFWA qualifying.

Long Hidden, anthology from CG. 6 cents a word. 2k-8k, no exceptions. Must take place before 1935. Protagonist(s) must be under 18 and marginalized in their time and place. Must be sci-fi/fantasy/horror. Deadline 30 April. Response by 1 October.

Queers Destroy Science Fiction. Sci-fi only right now, author must identify as queer (gay, lesbian, bi, ace, pan, trans, genderfluid, etc, just not cishet). 7.5k max. Deadline 15 February. Responses by 1 March. You can submit one flash fiction and one short story at the same time. (My network blocks the Lightspeed site for some reason, so I can’t get all the submission details. >_>) Probably SFWA qualifying?

Women in Practical Armor. 6 cents a word. 2k-5k. Must be about 1) a female warrior who 2) is already empowered and 3) wears sensible armour. Deadline 1 April. Response within three months.

Fiction Vortex. $10 per story, with $20 and $30 for editor’s and readers’ choice stories (hoping to improve). Speculative fiction only. Imaginative but non-florid stories. 7.5k maximum, preference for 5k and under. (I kind of want to support them on general principle.)

Urban Fantasy Magazine. 6 cents a word. 8k max, under 4k preferred. Must be urban fantasy (aka, the modern world, doesn’t need to be a literal city). 

Nightmare. 6 cents a word. 1.5-7.5k, preference for under 5k. Horror and dark fantasy. Response time up to two weeks. SFWA and HWA qualifying.

Apex Magazine. 6 cents a word. 7.5k max, no exceptions. Dark sci-fi/fantasy/horror. SFWA qualifying.

Asimov’s Science Fiction. 8-10 cents a word. 20k max, 1k minimum. Sci-fi; borderline fantasy is ok, but not S&S. Prefer character focused. Response time 5 weeks; query at 3 months. SFWA qualifying, ofc.

Buzzy Mag. 10 cents a word. 10k max. Should be acceptable for anyone 15+. Response time 6-8 weeks. SFWA qualifying.

Strange Horizons. 8 cents a word. Speculative fiction. 10k max, prefers under 5k. Response time 40 days. Particularly interested in diverse perspectives, nuanced approahces to political issues, and hypertexts. SFWA qualifying. 

Fantasy and Science Fiction. 7-12 cents a word. Speculative fiction, preference for character focus, would like more science-fiction or humour. 25k maximum. Prefers Courier. Response time 15 days.

Scigentasy. 3 cents a word. .5-5k. Science-fiction and fantasy, progressive/feminist emphasis. Fantastic Stories of the Imagination. 15 cents a word. 3k maximum. Any sci-fi/fantasy, they like a literary bent. (psst, steinbecks!) They also like to see both traditional and experimental approaches. Response time two weeks. 

Beneath Ceaseless Skies. 6 cents a word. 10k maximum. Fantasy in secondary worlds only (it can be Earth, but drastically different—alternate history or whatever). Character focus, prefer styles that are lush yet clear, limited first or third person narration. Response time usually 2-4 weeks, can be 5-7 weeks. SFWA qualifying.

Clarkesworld. 10 cents a word up to 4000, 7 afterwards. 1-8k, preferred is 4k. Science-fiction and fantasy. Needs to be well-written and convenient to read on-screen. Appreciates rigour. No talking cats. Response time 2 days. SFWA qualifying.

Orson Scott Card’s Intergalactic Medicine Show. 6 cents a word. Any length. Science-fiction and fantasy (along with fantastic horror). Good world-building and characterization. Clear straightforward prose. Response time three months. Yes, OSC is editor-in-chief. SFWA qualifying.

Interzone. Sub-pro rates if anything (but highly respected). 10k max. Short cover letter. Science-fiction and fantasy.

[writingfairycat]

I have a question, do you accept requests?

I do not promise to fulfill requests. If that's what you're looking for, then no, I'm sorry. However, if you're willing to throw a request into the ether and hope that I fulfill it some time before whichever one of us dies first, then yes, I accept requests!

[writingfairycat]

Writing tip of the day: whenever you can, plug a plot hole with a character flaw!

Every time you realise that it makes no sense that the characters didn't do some super logical thing in the first place, figure out which character could have prevented it by simply the way they are as a person. You're not only solving the problem of the plot hole, but also the issue of writing flaws into your characters in a way that doesn't feel gratituous and contrived.

Why did the characters not use this weapon they had access to the whole time? - The character who could have told them about it wants to have control over people and had personally decided they shouldn't have it.

Why didn't that one genius character just tell everyone how to dismantle the robots? - They meant to, but being an absent-minded genius, they literally just forgot.

How did nobody notice that this little girl has been hanging out with an actual demon for seven years? - The demon made her pinky-promise not to tell anyone about it, and being naive and overly trusting, she didn't find that sketchy at all.

Why didn't the characters go to The Big Cool Guys for help in the first place? - The character who is stubborn and overly proud wanted to choose death before dishonour and didn't want to ask for help.

Every time there was a perfectly reasonable solution accessible to the characters all along, that could've resolved the whole plot in minutes, always try to find an angle where someone prevented it just by who they are as a person.

[writingfairycat]

If you ever find yourself thinking "oh, I can't write this Cool But Impractical thing into my story, it's just not realistic", here are a few perfectly realistic reasons why people and even whole cultures would rather do something in an impractical way rather than the sensible one:

weird flex

religious reasons

religious weird flex (someone decided that they are So Religious that they consider the practical method Sinful, and people got competitive about it)

tax reasons (some ruler put a tax on doing something the sensible way and people started doing the impractical alternative as a legal loophole)

someone wildly powerful and popular preferred doing it that way, and everyone adapted to it in order to look cool

someone wildly unpopular suggested doing the practical thing, and everyone went out of their way to avoid doing that in order to not look uncool

it just genuinely never occurred to them that there is a better alternative, and their current method has been honed to perfection/adapted to the infrastructure so deeply that at this point altering it wouldn't be sensible

[writingfairycat]

some people think writers are so eloquent and good with words, but the reality is that we can sit there with our fingers on the keyboard going, “what’s the word for non-sunlight lighting? Like, fake lighting?” and for ten minutes, all our brain will supply is “unofficial”, and we know that’s not the right word, but it’s the only word we can come up with…until finally it’s like our face got smashed into a brick wall and we remember the word we want is “artificial”.

[writingfairycat]

I want to see a work of fiction that reverses the "vampires are snobby upper class, werewolves are brutish lower class" stereotypes

[writingfairycat]

okay hey real question: what are good ways to describe fat characters?

I see a lot of 'have more fat characters' and I'm Here For It but as someone who is skinny and in a world where most existing literature makes characters fat only as a joke or an indication of some variety of moral badness, I'm not really sure how to describe them in a way that's not objectifying or insulting. like, I've grown up on poetic descriptions of thin characters ('long slim fingers' and 'willow figure' etc etc) but I haven't read flattering descriptions of fat characters and I don't know where to start. I've seen a lot of 'how to describe poc' or 'how to describe disabled characters' or whatever and I've seen art ref posts for drawing fat characters, but no posts about how to write them well. so. open call for advice or for examples you've found and like??