zjasperwrites

[zjasperwrites]

I want to write a book called “your character dies in the woods” that details all the pitfalls and dangers of being out on the road & in the wild for people without outdoors/wilderness experience bc I cannot keep reading narratives brush over life threatening conditions like nothing is happening.

I just read a book by one of my favorite authors whose plots are essentially airtight, but the MC was walking on a country road on a cold winter night and she was knocked down and fell into a drainage ditch covered in ice, broke through and got covered in icy mud and water.

Then she had a “miserable” 3 more miles to walk to the inn.

Babes she would not MAKE it to that inn.

[zjasperwrites]

Show, don’t tell

"Show, don’t tell" means letting readers experience a story through actions, senses, and dialogue instead of outright explaining things. Here are some practical tips to achieve that:

1. Use Sensory Details

Tell: "The room was cold."

Show: "Her breath puffed in faint clouds, and she shivered as frost clung to the edges of the window."

Tell: "He was scared."

Show: "His hands trembled, and his heart thudded so loudly he was sure they could hear it too."

2. Focus on Actions

Tell: "She was angry."

Show: "She slammed the mug onto the counter, coffee sloshing over the rim as her jaw clenched."

Tell: "He was exhausted."

Show: "He stumbled through the door, collapsing onto the couch without even bothering to remove his shoes."

3. Use Dialogue

What characters say and how they say it can reveal their emotions, intentions, or traits.

Tell: "She was worried about the storm."

Show: "Do you think it'll reach us?" she asked, her voice tight, her fingers twisting the hem of her shirt.

4. Show Internal Conflict Through Thoughts or Reactions

Tell: "He was jealous of his friend."

Show: "As his friend held up the trophy, he forced a smile, swallowing the bitter lump rising in his throat."

5. Describe the Environment to Reflect Mood

Use the setting to mirror or hint at emotions or themes.

Tell: "The town was eerie."

Show: "Empty streets stretched into the mist, and the only sound was the faint creak of a weathered sign swinging in the wind."

6. Let Readers Infer Through Context

Give enough clues for the reader to piece things together without spelling it out.

Tell: "The man was a thief."

Show: "He moved through the crowd, fingers brushing pockets, his hand darting away with a glint of gold."

7. Use Subtext in Interactions

What’s left unsaid can reveal as much as what’s spoken.

Tell: "They were uncomfortable around each other."

Show: "He avoided her eyes, pretending to study the painting on the wall. She smoothed her dress for the third time, her fingers fumbling with the hem."

8. Compare to Relatable Experiences

Use metaphors, similes, or comparisons to make an emotion or situation vivid.

Tell: "The mountain was huge."

Show: "The mountain loomed above them, its peak disappearing into the clouds, as if it pierced the heavens."

Practice Example:

Tell: "The village had been destroyed by the fire."

Show: "Charred beams jutted from the rubble like broken ribs, the acrid smell of ash lingering in the air. A child's shoe lay half-buried in the soot, its leather curled from the heat."

[zjasperwrites]

[zjasperwrites]

Being obsessed with your own ocs is so so good for you i seriously can't recommend it enough

[zjasperwrites]

Writing a novel when you imagine all you stories in film format is hard because there’s really no written equivalent of “lens flare” or “slow motion montage backed by Gregorian choir”

[zjasperwrites]

Principles and Laws of Magic for Fantasy Writers

Fundamental Laws

1. Law of Conservation of Magic- Magic cannot be created or destroyed, only transformed.

3. Law of Equivalent Exchange- To gain something, an equal value must be given.

5. Law of Magical Exhaustion- Using magic drains the user’s energy or life force.

Interaction and Interference

4. Law of Magical Interference- Magic can interfere with other magical effects.

6. Law of Magical Contamination- Magic can have unintended side effects.

8. Law of Magical Inertia- Magical effects continue until stopped by an equal or greater force.

Resonance and Conditions

7. Law of Magical Resonance- Magic resonates with certain materials, places, or times.

9. Law of Magical Secrecy- Magic must be kept secret from the non-magical world.

11. Law of Magical Hierarchy- Different types of magic have different levels of power and difficulty.

Balance and Consequences

10. Law of Magical Balance- Every positive magical effect has a negative consequence.

12. Law of Magical Limitation- Magic has limits and cannot solve every problem.

14. Law of Magical Rebound- Misused magic can backfire on the user.

Special Conditions

13. Law of Magical Conduits- Certain objects or beings can channel magic more effectively.

15. Law of Magical Cycles- Magic may be stronger or weaker depending on cycles (e.g., lunar phases).

17. Law of Magical Awareness- Some beings are more attuned to magic and can sense its presence.

Ethical and Moral Laws

16. Law of Magical Ethics- Magic should be used responsibly and ethically.

18. Law of Magical Consent- Magic should not be used on others without their consent.

20. Law of Magical Oaths- Magical promises or oaths are binding and have severe consequences if broken.

Advanced and Rare Laws

19. Law of Magical Evolution- Magic can evolve and change over time.

20. Law of Magical Singularities- Unique, one-of-a-kind magical phenomena exist and are unpredictable.

Unique and Imaginative Magical Laws

- Law of Temporal Magic- Magic can manipulate time, but with severe consequences. Altering the past can create paradoxes, and using time magic ages the caster rapidly.

- Law of Emotional Resonance- Magic is amplified or diminished by the caster’s emotions. Strong emotions like love or anger can make spells more powerful but harder to control.

- Law of Elemental Harmony- Magic is tied to natural elements (fire, water, earth, air). Using one element excessively can disrupt the balance and cause natural disasters.

- Law of Dream Magic- Magic can be accessed through dreams. Dreamwalkers can enter others’ dreams, but they risk getting trapped in the dream world.

- Law of Ancestral Magic- Magic is inherited through bloodlines. The strength and type of magic depend on the caster’s ancestry, and ancient family feuds can influence magical abilities.

- Law of Symbiotic Magic- Magic requires a symbiotic relationship with magical creatures. The caster and creature share power, but harming one affects the other.

- Law of Forgotten Magic- Ancient spells and rituals are lost to time. Discovering and using forgotten magic can yield great power but also unknown dangers.

- Law of Magical Echoes- Spells leave behind echoes that can be sensed or traced. Powerful spells create stronger echoes that linger longer.

- Law of Arcane Geometry- Magic follows geometric patterns. Spells must be cast within specific shapes or alignments to work correctly.

- Law of Celestial Magic- Magic is influenced by celestial bodies. Spells are stronger during certain astronomical events like eclipses or planetary alignments.

- Law of Sentient Magic- Magic has a will of its own. It can choose to aid or hinder the caster based on its own mysterious motives.

- Law of Shadow Magic- Magic can manipulate shadows and darkness. Shadowcasters can travel through shadows but are vulnerable to light.

- Law of Sympathetic Magic- Magic works through connections. A spell cast on a representation of a person (like a doll or portrait) affects the actual person.

- Law of Magical Artifacts- Certain objects hold immense magical power. These artifacts can only be used by those deemed worthy or who possess specific traits.

- Law of Arcane Paradoxes- Some spells create paradoxes that defy logic. These paradoxes can have unpredictable and often dangerous outcomes.

- Law of Elemental Fusion- Combining different elemental magics creates new, hybrid spells with unique properties and effects.

- Law of Ethereal Magic- Magic can interact with the spirit world. Ethereal mages can communicate with spirits, but prolonged contact can blur the line between life and death.

- Law of Arcane Symbiosis- Magic can bond with technology, creating magical machines or enchanted devices with extraordinary capabilities.

- Law of Dimensional Magic- Magic can open portals to other dimensions. Dimensional travelers can explore alternate realities but risk getting lost or encountering hostile beings.

- Law of Arcane Sacrifice- Powerful spells require a sacrifice, such as a cherished memory, a personal item, or even a part of the caster’s soul.

---

✨ Hello, I'm Kali, The Plot Mage! ✨

I’m here to ignite your creativity and help you craft your next bestseller! Today is your lucky day, writer! 🪄 Whether you're battling writer's block or building an epic fantasy world, I've got just the tool you need to make your writing journey enjoyable and organized.

Introducing the all-in-one writer’s toolkit designed by a fellow fantasy writer. 🌟 This comprehensive resource includes:

- An in-depth worldbuilding worksheet (covering religion, lore, factions, currency, economics, and more)

- Character development worksheet

- Series roadmap

- Outlining and guided plot planning section

- Relationship dynamic worksheet

- Idea dump and a repository of helpful writing resources

- Task planner (from brainstorming to publishing and book marketing)

- Plus, free editable wanted posters and fantasy illustrations because you're special ❤️

✨ Use code "F4NTASY" for a magical 75% off! ✨

Happy writing, and let’s bring your fantasy world to life! 🌈📚

[zjasperwrites]

Re-sharing this post I found on Twitter for people looking for alternatives to NaNo. I haven't tried any of these sites but they might be worth looking into.

[zjasperwrites]

i think some of you dont like narratives or stories or characters i think you just like fanfiction tropes

[zjasperwrites]

getting older and looking at ur own ocs like okay i know i said you were like 16-19 when i made you at 13 but no fucking way. youre 25 now

[zjasperwrites]

sharing a very sage bit of advice from The Simpsons' own John Swartzwelder that i've been trying to hamper down in my writing and drawing alike. let your inner crappy little elf do his worst

[zjasperwrites]

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

[zjasperwrites]

just a reminder:

a black girl character growing her hair out long breaks more stereotypes than a black girl character having short hair

a black girl character getting to be soft and fragile breaks more stereotypes than a black girl character being strong all the time

a black girl character being protected and comforted by others breaks more stereotypes than a black girl character having no one to look out for her but herself

a black girl character being considered pretty or cute by other characters breaks more stereotypes than a black girl character being considered unattractive

not everything that is empowering for white girls is empowering for black girls

the sexism we face overlaps, but it is not the same

[zjasperwrites]

Some small details for a character learning sword fighting for the first time:

- sore wrists

- blisters on hands

- every movement opens you up to be hit

- they will hit the tops of their arm and own sides with the sword while learning

- there is a primal sixth sense when you know you’re being toyed with

And, for your typically nonviolent characters.

You don’t aim for the swords. You aim for the person holding the sword.

It sounds so obvious but needs to be accepted. Actively. When holding a sword you have to understand you’re attacking another person. Even to block you have to aim your blocks at the other person or they won’t be strong enough to actually protect yourself.

[zjasperwrites]

How to Survive the Editing Process

Writing a first draft takes so much of your time and energy. When you finish something, celebrate your accomplishment! It’s proof of your creativity and hard work.

If you want people to read your work, then it’s time to edit.

Editing can seem scary. Daunting. Confusing.

Use these tips to get started.

1. Take a Break from Your Work

It’s so important to let your brain reset after finishing any story. Close your draft and spend the next few days or weeks doing other hobbies. When you feel ready to return with a newly energized, distanced perspective, you’ll get your best editing work done.

2. Start With Developmental Editing

Writers often think that they have to start editing line by line, looking for grammar and spelling issues. While you’re free to do that, you’re likely going to add and remove plenty of content before your final draft is done. 

Instead, start with developmental editing. Read through your work and take notes about how the larger plot points are working or not working. Does each chapter move your characters through each point on your plot outline or your visualized storyline?

This step may involve adding new scenes or removing others. It can also mean reworking old scenes so they’re less wordy, more descriptive, more actionable, or whatever you feel like is missing.

Take notes about plot holes too. You don’t have to fix them on your first read-through, but note where they’re happening and why they’re holes. You can return in your second read-through to address them.

You can also break your developmental editing into questions, like:

What is my story’s theme and does each chapter support that theme?

What does every character want and do they achieve that? Why or why not?

What motivates each character? Do they retain that motivation or develop a new one to better serve the plot? (Sometimes writers forget about initial character motivations while getting lost in the writing process. This is the time to revisit that!)

Do you have a beginning, an inciting incident, building through the middle, and payoff at the end? (You can have much more than these, but these are very basic plot mechanics to look for.)

3. Save and Start a Second Draft

After reading through your manuscript and noting the things above, create a copy for your second draft and start working on your notes. It’s good to have a separate second copy in case you want to include something from the original draft later on or just want to compare where you story started/how it ended up.

Again, you’re not supposed to worry about line work at this point. Focus on bigger-picture story issues like plot mechanics, how scenes work/don’t work, plot holes, and your theme(s).

Reminder: there’s no timeline for getting these steps done. Work when you have the energy and take breaks when you don’t. Your manuscript will stay right where you save it.

4. Reread Your Work

When you’ve worked through your list of notes, make a copy of your manuscript and start Round 3. Reread your story and start a new list of bigger-picture notes as needed. This time, the list should be shorter or include new notes that you didn’t catch before. They may also include notes for new scenes you just added.

The point of this reread is to make sure that your manuscript still works. Your plot shouldn’t have any holes, it should flow smoothly, and it should be engaging. 

Here’s a key concern for many writers: how do you edit your story without getting away from your original intentions?

Keep your eyes locked on why you write your original draft. If you make edits/scene removals or additions with that purpose or theme in mind, your story will stay on track. It may eventually look completely different than what you originally wrote (if that’s your editing journey), but the heart of it will remain the same.

Try posting your story’s purpose or theme on a sticky note attached to your monitor.

You could also write the theme in your document’s header so it appears on every page.

5. Save and Start a Fourth Draft

Yes, it’s time for another new copy that’s your official fourth draft.

Remember—you can still walk away and return to your work later! Burnout won’t result in the story you’ve been working so hard to create. Get some sleep, see some friends, enjoy your other hobbies. You’ll come back ready to go.

The fourth draft is another chance to read through your work and ensure that everything works. Your chapters should get your characters closer to your theme/purpose with each page. The scenes should flow, not repeat information, and keep you engaged.

When you have a small list of edits or none at all, it’s time to start line work.

The spell check feature of any word processing software is a lifesaver, but it’s also not perfect. You’re going to have sentence structures that spell check deems incorrect when it actually works for your writing style or character. You’ll have fake names you made up that spell check wants to change.

If you use spell check, proceed slowly. Read every sentence with a flagged issue to make sure it’s a good or bad suggestion.

You can double your line work by combing through it by yourself. Print your story and grab a highlighter or use the highlight feature on your computer. Note linework issues that you can fix with a quick edit when you get a chance, like:

Misspellings

Missing punctuation

Wrong punctuation marks

Missing words

Inconsistent capitalization or spelling

Formatting issues (spelling out numbers vs using numerals, etc.)

Using the wrong tense in some paragraphs or chapters

Inserting indents as needed

Extra spaces between paragraphs

6. Send Your Work to Beta Readers

Repeat the saving, making a copy, and editing as many times as you want. When you feel like you’ve got your strongest draft yet, you can send it to beta readers.

How you define beta readers depends on your specific situation. You may have a few writing friends who know the craft well and will read your work with a professional eye. You might have a family member or best friend who doesn’t know about the craft of writing but always reads your work.

There are also places like Reddit threads and Facebook groups where people volunteer as beta readers.

The primary reason to get fresh eyes on your work is to get notes from someone who hasn’t been working on the content for months or years. 

Their advice might not always be usable, but it’s still an important part of editing. Your beta reader might suggest points where they lost interest because your pacing slows down or point out places where you described your protagonist as having long hair when they have short hair during the rest of the story.

You’ll know which suggestions are actionable and which aren’t based on who’s speaking and how it resonates with your story’s purpose. You’ll probably get better advice from other writers who have been through editing before, but that doesn’t mean their advice will always be correct.

Check in with your story’s purpose or theme before taking action on a beta reader’s notes.

When Should You Stop Editing?

One of the final battles during your editing experience will be recognizing when you can stop working on your manuscript.

There will always be moments where you could think of a new scene or a new way to rewrite a scene. That doesn’t mean you have to!

Ask yourself these questions to finish your editing when your story is strongest:

Question 1: Have I Worked Through the Most Essential Plot Mechanics?

A finished manuscript doesn’t need more structural work. But structural, I mean that you’ll be at peace because your manuscript:

Doesn’t have any plot holes

Addresses your theme/message from beginning to end

Showcases each character’s growth through plot developments

Has natural dialogue

Has introduced and resolved conflicts (with the exception of conflicts that will continue in a sequel or series)

Has no known typos or grammar issues

Question 2: Are My Edits Improvements or Are They Inconsequential?

You could spend a lifetime swapping character names, adjusting your world map, or revising how you describe locations. You might like your edits better, but they aren’t vital to your story’s plot or character development. If there’s no substantial improvement with your edits, you’re likely done with your manuscript.

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Editing can be tricky at first, but using steps like these will help you whack through the densest parts of the work. Take your time, give yourself space to rest, and you’ll create the story you’ve been working so hard to finish!

[zjasperwrites]

Resources For Writing Deaf, Mute, or Blind Characters

Despite the fact that I am not deaf, mute, or blind myself, one of the most common questions I receive is how to portray characters with these disabilities in fiction.

As such, I’ve compiled the resources I’ve accumulated (from real life deaf, mute, or blind people) into a handy masterlist.

Deaf Characters:

Deaf characters masterpost

Deaf dialogue thread

Dialogue with signing characters (also applies to mute characters.)

A deaf author’s advice on deaf characters

Dialogue between deaf characters

Mute Characters

Life as a Mute

My Silent Summer:  Life as a Mute

What It’s Like Being Mute

21 People Reveal What It’s Really Like To Be Mute

I am a 20 year old Mute, ask me anything at all!

Blind Characters:

The 33 Worst Mistakes Writers Make About Blind Characters.

@referenceforwriters masterpost of resources for writing/playing blind characters.

The youtube channel of the wonderful Tommy Edison, a man blind from birth with great insight into the depiction of blind people and their lives.

An Absolute Write thread on the depiction of blind characters, with lots of different viewpoints and some great tips.

And finally, this short, handy masterpost of resources for writing blind characters.

Characters Who Are Blind in One Eye

4 Ways Life Looks Shockingly Different With One Eye

Learning to Live With One Eye

Adapting to the Loss of an Eye

Adapting to Eye Loss and Monocular Vision

Monocular Depth Perception

Deaf-Blind Characters

What Is It Like To Be Deafblind?

Going Deaf and Blind in a City of Noise and Lights

Deaf and Blind by 30

Sarita is Blind, Deaf, and Employed (video)

Born Deaf and Blind, This Eritrean American Graduated Harvard Law School (video)

A Day of a Deaf Blind Person

Lesser Known Things About Being Deafblind

How the Deaf-Blind Communicate

Early Interactions With Children Who Are Deaf-Blind

Raising a DeafBlind Baby

If you have any more resources to add, let me know!  I’ll be adding to this post as I find more resources.

I hope this helps, and happy writing!  <3

[zjasperwrites]

Ways to Skip Time In Your Stories

Finding ways to skip time in stories can feel challenging. Writers often worry it’ll make their work feel too amateur or negatively affect their pacing. 

The truth is that every author includes ways they skip time to maintain their pacing and plot. Check out a few ways to do it with confidence. 

1. Start a New Chapter

Yes, it’s really that simple. Go back to your favorite books and note how each chapter ends. You’ll likely find a few of these tricks that transition the story in ways that match the story’s flow.

Ideas to End a Chapter

The protagonist goes to sleep (likely overused, but practical)

The characters end a conversation

One character informs another of a plot twist

Unexpected action occurs, like a car crash

2. Emphasize the Season

You don’t need to tell the reader exact dates or hours to pass the time. You could mention the season instead.

If a scene or chapter ends in the summer and you need your plot to start in winter, make your protagonist mention something about the leaves changing color and giving way to snow before your action picks up again. It will only take a sentence or two, so it’s also an effective method for short stories.

3. Visualize a Movie Montage

Imagine watching a movie about a character who goes on a summer adventure. They backpack through Europe, but they have to take a flight to get there. 

You likely wouldn’t see them standing in airport security lines, napping in a terminal or watching a full movie on their flight to their destination. Instead, you’d get a montage of them driving to the airport with a shot of their plane cruising over the open ocean.

Writers can do the same thing, minus the soundtrack in the background. Describe how your character got to their destination when a new chapter or scene starts. Your readers will get the general idea and appreciate getting straight to the plot that made them pick up your story in the first place.

Here are a few ideas to do this in just a few sentences:

One delayed flight and a bad airplane dinner later, I was walking out of the Amsterdam-Schiphol Airport with an aching back and excited heart.

My trip began with the perfect flight. I got an entire row of seats to myself, which made napping through the trip much easier. A flight attendant roused me awake when it was time to land. I couldn’t believe how fast I’d arrived in Athens that quickly.

My flight was just long enough to catch up on the movies I’d been missing over the last year. The landing gear bounced along the runway in Rome just as the Barbie credits started flashing across my iPad.

4. Showcase Some Confusion

Sometimes we aren’t aware of what time it is. We only know time has passed. That might be the best way to make time pass in your story if your protagonist gets confused, caught by surprise, or otherwise discombobulated.

These are some examples:

I woke up with a bad taste in my mouth. The sun was already peaking in the clear blue sky. How long had it been since my explosive video call with my ex the night before?

The time machine landed with a thud that knocked me to the ground. The control panel exploded in shimmering sparks. What year was it?

Working a double shift always left my brain spinning. I left work, walking across the parking lot with only the stars watching my back. I could feel the hours aching in my feet, but didn’t care what time it really was. I just needed to sleep.

5. Employ a Phrase

There are many quick phrases you can use to make your time jumps immediately clear. Consider using a few of these when you feel creatively stuck:

Later that morning

A few weeks later

After months of trying

Six hours later

The following week

As the store closed for the night

-----

There are many other ways to make time pass in a story. Starting with these could help you figure out the best way to move your story forward without disrupting its pacing. 

Remember, you’re in control of your story at all times. There’s always a way through creative challenges if you take a deep breath and try something new.

[zjasperwrites]

I want to write a book called “your character dies in the woods” that details all the pitfalls and dangers of being out on the road & in the wild for people without outdoors/wilderness experience bc I cannot keep reading narratives brush over life threatening conditions like nothing is happening.

I just read a book by one of my favorite authors whose plots are essentially airtight, but the MC was walking on a country road on a cold winter night and she was knocked down and fell into a drainage ditch covered in ice, broke through and got covered in icy mud and water.

Then she had a “miserable” 3 more miles to walk to the inn.

Babes she would not MAKE it to that inn.