Writing rule:

Every character who speaks gets their own paragraph. If two characters are talking, each time they switch you must create a new paragraph.

Do not add more than one characters’s dialogue into a single paragraph or it will be too confusing for the reader.

Fear: Using Stoicism to Shape Characters

WC: 2,730

Introduction

Like many people, I suffer from severe panic and anxiety attacks. My heart races at what feels like a thousand beats per minute, I get a cold sweat, and my thoughts do not have a filter. The latter of which, I find the most dangerous and disturbing, especially when said attacks get triggered by something so small or nothing at all.

A lot of the time, they boil down to not feeling safe. I feel like I’m vulnerable, that the worst things that happened to me will happen again tenfold, or I’ve become the worst person in existence. Fear, as a lot of us know, can have us assume the worst.

I’m still working on managing my fear, if it can be managed at all, but a lot of what I’ve been practicing is essentially Stoicism. Epictetus, a Greek Stoic philosopher, often highlighted that it is not events themselves that disturb people, but rather their judgments about those events. One famous quote attributed to Epictetus that reflects this idea is: “People are not disturbed by things, but by the view they take of them.”

This sentiment suggests that fear and other negative emotions stem not from objective reality but from our interpretations and perceptions of reality.

I thought, “What a wonderful way to get to know our characters!” Not only do we have to have a grasp on the world around them, we have to understand the extent of how they perceive said reality and how it leads to their own fears as well as their ambitions, passions, hate, love, etc.

Amor Fati

One of my favorite phrases is “amor fati.” It’s what helped me most in navigating my own fears and, as a result, writing some ways in which my characters handle theirs.

The idea of “amor fati” is closely associated with philosophers like Epictetus and Marcus Aurelius, even though they didn't use those exact words. However, it was Nietzsche who made it a key part of his philosophy. He believed that true greatness comes from embracing fate and wanting nothing to change, not in the past, present, or future. In simple terms, it means loving and accepting everything that happens, rather than just enduring it.

When considering the relationship between “amor fati” and fear, several key points emerge:

Acceptance of the Uncontrollable: Fear often arises from the unknown or from circumstances beyond our control. “Amor fati” encourages individuals to relinquish their resistance to such uncertainties and to accept that life is inherently unpredictable. By embracing fate, individuals can find solace in the realization that some things are simply beyond their power to change or influence.

Facing Adversity with Resilience: Rather than viewing challenges as threats to be avoided or overcome, individuals can approach them with a sense of equanimity and resilience. Instead of succumbing to fear or anxiety in the face of challenges, one can choose to see them as opportunities for growth and self-discovery. By embracing adversity as an integral part of life’s journey, individuals can cultivate the strength and fortitude necessary to navigate difficult times with grace and composure.

Gratitude for All Experiences: Fear often stems from a sense of insecurity or dissatisfaction with one’s circumstances. “Amor fati” cultivates gratitude for all experiences, both positive and negative, recognizing that each contributes to the richness and depth of life. By embracing fate with gratitude and appreciation, individuals can mitigate the fear of the unknown and find peace and contentment in the present moment.

This idea is what helps form a “baseline” for my way of thinking and perceiving fear, which is what many people, fictional characters included, tend to mix up.

You don’t need to adopt the same mantra, of course, but I believe that having this Ground 0 in your own personal philosophy will add further depth and characterization in writing. It provides a deeper perspective on why your characters think the same or why they may deviate.

Distinction Between Events and Perceptions

Let’s go back to what Epictetus said: “People are not disturbed by things, but by the view they take of them.” Stoicism teaches that events themselves are neutral; it is our interpretation of those events that shapes our emotional responses. This concept is often referred to as “cognitive appraisal” or “judgment” in Stoic philosophy.

In practical terms, this means that two individuals may encounter the same external circumstance, yet react to it in vastly different ways based on their subjective interpretations. For example, consider a person who loses their job unexpectedly. While one individual may perceive this event as a devastating blow to their self-worth and security, another may view it as an opportunity for growth and new possibilities. The event itself—the loss of a job—remains the same, but the emotional response varies depending on the individual's perception of the situation.

Epictetus’s insight invites us to reflect on the role of our perceptions in shaping our emotional experiences. It suggests that our judgments, beliefs, and attitudes about the events we encounter play a crucial role in determining how we feel and behave in response to those events. By recognizing this distinction between events and perceptions, individuals can gain greater agency over their emotional lives.

Moreover, understanding this distinction empowers individuals to practice what Epictetus called the “dichotomy of control”—the Stoic principle of focusing only on what is within our power to control, namely our thoughts, attitudes, and responses, rather than becoming consumed by external circumstances beyond our control. By directing our attention inward and cultivating a mindset of resilience and rationality, we can navigate life's challenges with greater equanimity and inner peace.

Applying this to character development, particularly in relation to crafting a character’s fears, can add depth and complexity to the character.

Understanding the Character’s Perception of Fearful Events:

Explore how the character interprets and perceives the events or situations that evoke fear. What underlying beliefs, past experiences, or personal values shape their perception of these events?

Consider whether the character’s fear is rooted in the objective reality of the situation or in their subjective interpretation of it. For example, is their fear based on genuine physical danger, or is it driven by irrational beliefs or past traumas?

Revealing Character Traits and Beliefs:

A character’s response to fear can provide insight into their personality, values, and beliefs. For instance, do they confront their fears head-on with courage and resilience, or do they succumb to anxiety and avoidance?

Consider how the character’s fear reflects broader themes or conflicts in the story. For example, does their fear stem from a desire for control, a fear of vulnerability, or a struggle with existential questions?

External Manifestations of Fear:

Consider how the character’s perception of fear manifests in their actions, behaviors, and interactions with others. Do they exhibit outward signs of fear, such as trembling or avoidance, or do they mask their fears behind a facade of bravado?

Pay attention to how the character’s response to fear influences their relationships with other characters. For example, do they push others away in an attempt to protect themselves, or do they seek support and connection during times of fear and uncertainty?

Symbolism and Subtext:

Use the character’s fears as a vehicle for exploring deeper themes and subtext within the story. What do their fears symbolize in terms of larger narrative themes or character arcs?

Consider how the character’s perception of fear parallels or contrasts with other characters in the story, providing opportunities for reflection and exploration of different perspectives.

“Personal Truths” Are Not Necessarily Lawful

No matter how much a character is afraid of something, there is a line to be drawn on how valid that fear is when justifying a character’s actions and self-proclaimed motives. A person can say that they are afraid of someone else and that they are acting to protect others, but does that truly evade them from the law? In other words, a Villain can be completely convinced that what they are doing is noble and right, or that it stems from their own trauma, but, at the end of the day, they’re a murderous liar.

For example, in George Orwell's allegorical novel Animal Farm, Napoleon is a Berkshire boar who emerges as one of the leaders of the animal revolution against the human farmer, Mr. Jones. Initially, Napoleon is portrayed as a strategic thinker and persuasive speaker, working alongside Snowball, another pig, to rally the other animals and establish the principles of Animalism, which advocate for equality and freedom from human oppression.

As the story progresses, Napoleon’s character undergoes a transformation fueled by his ambitions for power and control.

Napoleon’s fear of losing control over the farm drives many of his actions. He becomes increasingly paranoid about potential threats to his authority, particularly from Snowball, whom he views as a rival. This fear prompts him to manipulate and eliminate anyone who opposes him, including orchestrating the expulsion of Snowball from the farm and later falsely accusing him of being a traitor.

He also utilizes propaganda and manipulation to maintain his grip on power. He gradually assumes control over the farm’s decision-making processes, consolidating power in his own hands and using fear tactics to suppress dissent among the other animals. For example, he employs the threat of the mysterious “Jones” returning to instill fear and obedience among the animals.

Napoleon’s lust for power leads him to betray the principles of Animalism that he once espoused. He progressively becomes more authoritarian and exploitative, engaging in corrupt practices such as trading with humans and altering the Seven Commandments to justify his actions. Despite initially advocating for equality, Napoleon begins to live a life of luxury while the other animals toil and suffer.

As his regime becomes more entrenched, he resorts to violence and oppression to maintain control. He establishes a reign of terror, using his loyal enforcers, the ferocious dogs he raised since they were puppies, to suppress dissent and punish any animal perceived as disloyal. Under his rule, the farm descends into a state of fear and tyranny, with Napoleon ruling with an iron fist.

Napoleon’s character serves as a symbol of totalitarianism and the corrupting influence of power. His transformation from a revolutionary leader to a despotic dictator mirrors the rise of real-life totalitarian rulers who exploit fear and propaganda to consolidate power and suppress dissent. There is not one moment of self-reflection, of him questioning that, perhaps, his fears are unfounded or his “personal truths” are not true at all.

Playing With Reality

Now, how can you utilize fear in order to create a character with as much depth and reflection (or lack thereof) like Napoleon?

Exaggerating a character’s fear involves manipulating elements of reality within the narrative to heighten the character’s sense of paranoia, insecurity, and authoritarianism.

Distorted Perceptions: Employ literary devices such as unreliable narration or distorted perspectives to amplify the character’s fears. By presenting events through the lens of the character’s paranoia, the narrative can create a sense of heightened tension and uncertainty. For example, descriptions of seemingly innocuous occurrences may be exaggerated or imbued with sinister undertones to reflect the character’s heightened state of fear.

Symbolism and Imagery: Symbolic imagery can be used to represent the character’s fears in a heightened and exaggerated manner. For instance, recurring symbols of oppression, surveillance, or impending doom can serve as visual metaphors for the character’s anxieties and insecurities. These symbols can be woven throughout the narrative to reinforce the character’s sense of paranoia and isolation.

Surreal Elements: Introducing surreal or fantastical elements into the narrative can create a sense of disorientation and unease, effectively amplifying the character's fear. By blurring the boundaries between reality and fantasy, the author can evoke a sense of psychological instability and existential dread. Surreal imagery, dream sequences, or hallucinatory experiences can all contribute to the character’s sense of dislocation and terror.

Manipulation of Time and Space: Playing with the conventions of time and space can further exaggerate the character’s fear and disorientation. Flashbacks, flash-forwards, or nonlinear storytelling techniques can create a sense of temporal dislocation, mirroring the character’s fractured mental state. Similarly, disorienting shifts in perspective or setting can contribute to the character's sense of being trapped or pursued by unseen forces.

Atmospheric Detailing: Careful attention to atmospheric detail can help to create a sense of oppressive dread and foreboding. Descriptions of the environment—such as gloomy weather, claustrophobic settings, or unsettling ambient sounds—can evoke a palpable sense of unease, intensifying the character's fear and paranoia.

Character Interaction and Dialogue: Dialogue and interaction with other characters can be used to reinforce the character’s fears and insecurities. Conversations may be laced with veiled threats, double entendres, or gaslighting tactics, leaving the character uncertain of whom to trust. Manipulative or menacing exchanges can heighten the character's sense of isolation and vulnerability.

Did anyone else get a little uneasy imagining all of that? I’d go rather mad if I had all of that happening to me, too. Now, what about the good guys? They are afraid of things, too, right?

Of course they are, and you can utilize the above methods for your heroes, as well! There might just be a little bit of extra work involved in ensuring that they don’t spiral into the villain role.

Establish Strong Moral Compass: From the outset, establish the hero’s core values and moral compass. Make it clear what principles guide their actions and decisions. This foundation will serve as a guiding light, helping to anchor the character and prevent them from straying into villainous territory.

Empathy and Compassion: Ensure that the hero retains their empathy and compassion towards others, even in the face of fear and adversity. By prioritizing the well-being of others and demonstrating empathy towards those in need, the hero reaffirms their commitment to noble ideals and reinforces their heroic identity.

Positive Support Systems: Surround the hero with positive support systems, including allies, mentors, and friends who can offer guidance, encouragement, and moral support. These relationships serve as anchors, providing the hero with strength and stability during moments of doubt and fear.

Consequences of Actions: Highlight the consequences of the hero’s actions and choices, emphasizing the impact they have on others and the world around them. By holding the hero accountable for their decisions and their effects, the narrative reinforces the importance of ethical behavior and reinforces their heroic identity.

Redemption and Forgiveness: If the hero does succumb to fear or makes mistakes along the way, provide opportunities for redemption and forgiveness. Allow the hero to acknowledge their faults, learn from their experiences, and strive to make amends. This narrative arc reinforces the hero’s humanity and resilience, emphasizing the possibility of growth and redemption.

Thematic Resonance: Ensure that the hero’s journey is thematically consistent and resonant, emphasizing themes of hope, courage, and resilience. By grounding the narrative in these overarching themes, the hero’s actions remain aligned with their fundamental nature, reinforcing their heroic identity and preventing them from veering into villainous territory.

Conclusion

Fear is a powerful and universal human experience that can shape both individuals and characters in profound ways. Drawing upon Stoic philosophy, particularly the concepts of “amor fati” and the distinction between events and perceptions, can provide valuable insights into understanding and managing fear. By exploring how characters perceive and respond to fear, writers can create nuanced and compelling portrayals that add depth and complexity to their stories.

“Amor fati,” or love of fate, encourages individuals to embrace and accept all aspects of their lives, including the uncertainties and challenges that provoke fear. By adopting an attitude of gratitude and acceptance towards fate, characters can navigate fear with resilience and courage, transforming adversity into opportunities for growth and self-discovery.

Furthermore, understanding the distinction between events and perceptions allows writers to delve into the subjective nature of fear, exploring how characters’ interpretations and judgments shape their emotional experiences. By depicting characters’ fears as rooted in their perceptions of reality, writers can add layers of complexity to their motivations and behaviors, enhancing the depth and authenticity of their characterization.

While fear can drive characters to make choices that lead them down dark paths, it is ultimately their moral compass, empathy, and support systems that determine whether they remain heroes or succumb to villainy. By emphasizing themes of redemption, forgiveness, and growth, writers can ensure that even in the face of fear, their characters' journeys ultimately lead to strength, resilience, and self-discovery.

Do this for your ocs

Or Your mutuals

Or both

Cultivate anniversary

October 27th will mark exactly one year of me posting Cultivate.

It's difficult for me to wrap my mind around this. The idea of "Wow... been an entire year?" conflicts directly with the idea of, "Wait, it's only been a year?" (Granted, I'd been writing it off and on for awhile before I started posting it, so that does mess with time perception... but still.)

I have to laugh that I've spent the last year getting excited about the idea that once I finished the fic I could sit back and get to read in the SVSSS fandom for a bit before starting to write again (thinking I would finish the rest off over Christmas and have several months of guilt-free goofing off) and yet... because of IRL being such a PITA this year, all I've been able to do is stay afloat by writing one chapter a week most of the time. I never got to get ahead and finish it as it developed... cultivated, if you will... into a bit of a monster of its own.

Zero regrets, though.

The story is a different beast than it would have been if I'd written it entirely behind closed doors, but I love the way it grew based on the reactions of the readers.

The way the reactions (and fanart) of readers brought certain characters (Mu Qingfang especially) more into the story than they were originally intended. (With full pleasure on my part - you know I love writing the platonic relationships as well as the romantic!)

The way reader speculation made me connect the dots on two unrelated pieces of information LONG before I would have connected them on my own. (Sometimes just because the reader said something off-hand and it sparked a connection in me, and sometimes just because they're clever, clever beans who figured something out even without as many clues as I had.)

The way I went ahead and pulled the trigger on some things I wasn't so sure about because enough readers seemed positive enough about the initial hints it might go that way for me to commit to it.

You all indulged me this entire way, continuing to read even as I made the story longer and longer as I put more and more things I liked into the plot. (And so many of you did more than indulge me, but egged me on.)

Cultivate isn't (quite) over yet, but in all sincerity and to the fullest depths of my heart: thank you for reading. Thank you so much for commenting or creating. I don't think I can say how much it's meant to me and how much it will always mean to me. 🥰

Update March 5th, 2024 - A Small Snippet + Next Week on Patreon!

Hey everyone, sorry I didn't do this last week! It was a bit of a rough week for me, and to be honest, I was focusing on just having enough energy to get up and focus on the story and on the stuff for Patreon. Speaking of those two things, let's go over some stuff!

First off, the story! The first half of the next chapter for The Bureau is ALMOST DONE! That's super exciting because I know how different these paths can be, and how much variation they have, and will have, on the extra scenes that come after them. I'm so excited, in fact, that I decided to share a snippet of one of the extra scenes with you this time over on Patreon! Aside from that, I also added on more extra scene to work on for Chapter 4.5 as well. 

I'm at the point where I'm not going to add anymore unless I view them as super important to the feel and story of the game, because 13 extra scenes is more than enough in my opinion. That being said, I'm not going to worry about getting every single one of those done before releasing the update, because I hate the idea of keeping people waiting. Besides, having extra scenes to unlock in the full game that weren't in the beta will be part of the fun I think!

Now, as for the Patreon, this week we have Parts 4 and 5 of The Bureau Audiobook for you guys. Next week, however, will be the first part of a three or four part short story series about an original character, Guinevere Heartstead! It will obviously be taking place in a more fantasy based setting and there are a bunch of characters and moments I'd love to hear your opinions on. I love writing this stuff for you guys, so please be sure to check it out. It's going to be 3.5k words of brand new content you won't be getting anywhere else! As for the other day next week, I'm undecided at the moment! It's either going to be Part 2 of the short story, or possibly an extra part of The Bureau Audiobook. Either way, you guys will be getting the regular scheduled content. 

With all that being said, thank you to new and old patrons that have started/continue to support me, it really means a lot!

If you are interested in supporting me, my Patreon link can be found HERE!

The link to the game's forum page can be found HERE!

The link to the demo of the game itself can be found HERE!

Stay Brilliant,

- Vi

New blog post is up! In honor of it being nearly Valentine's Day, a little post about romance in my writing! And maybe some hints as to what kind of writing I'll be doing for some of the romance prompt events soon--

Hope you enjoy!

Would y’all be interested in seeing the cover for my YA Fantasy novel?? (That I plan to self pub in 3 months) 👀👀

My Writing Journey

I'm still writing my NaNoWriMo Novel in late March, with April right around the corner. Almost 200,000 words now.

How did I get here?

I chose to be a writer when I was eleven. By the time I was eighteen, I had three incomplete novels, a thick packet of writing notes, and a long list of story ideas I wanted to write before I died. I also had a short attention span that I can blame on my ADHD and ASD, a declining love for reading due to required school reading, and competition with distractions like the internet/social media. I was able to devote a good deal of my spare time on my prize WIP, a unique fantasy titled The Keeper of Maralla. I didn't spend as much time writing as I should have. My writing confidence was low. After I earned my first bachelor's degree in Child Development, several amazing things happened. First, I worked briefly as a custodian (aka janitor or caretaker depending on what part of the world you're in) when I got the idea for my current primary WIP, The Blood Cleaners. At that time, I thought TBC would be an urban fantasy. A few years later, I realized the story worked best as a post-apocalyptic dystopia. I personally feel that you don’t find the stories; the stories find you. Such was the case with TBC. Then, in 2008, I won my first NaNoWriMo when I wrote the first draft of The Star House Club, an MG/YA urban fantasy. It meant the world to me when I finally had a complete novel in my hands, even if the writing was really bad. My next complete novel was finished in 2009, a Christian historical fiction novel called Miriam and Yosef. Then, from 2010 to 2011, I wrote my first really long novel, my sci-fi first contact story called Columbus Day. It was 170,000 words long! The best part was when I wrote my first complete second draft by rewriting Columbus Day. I saw how rewriting really can make things better, even if only a little better. It was also at this time that I earned my second bachelor's degree. I earned my post-baccalaureate degree in English. Then, things kind of shattered. I lost all of my confidence in my writing. I almost gave up completely. I also stopped reading. I've learned that the less you read, the worse your writing is. I went nearly a decade without reading and writing. There were some pluses that happened during that time, such as getting a technical writing job with my current employer. For the most part, I had little ambition and few goals. That was until early 2023, I experienced some epiphanies. I went through some religious/spiritual experiences that allowed me to realize I was meant to be a writer. I needed to get my ideas down on paper before I died or else the world would never know them. I opened up my old writing notes to get to work. I thought about which of my WIP's I would make my primary WIP. It was hard when I felt passionate about a half dozen of them, knowing I would regret failing to finish and publish either. I was hit hard with reality when insomnia hit me. I had been in denial about my need to read. Just as I had to get back to writing, I had to get back to reading. I wanted to say I had read enough and needed to spend time writing. When I discovered reading was the best medicine for insomnia, I realized what I needed to do for both my physical health and writing health. I read about 15 books in 2023. The more I read, the better my writing got. My best read was Scott Westerfeld’s Uglies, a book that reminded me of why I love the dystopia genre. By July, I made the decision to focus on The Blood Cleaners. I spent four months brainstorming and outlining. I began drafting in November for NaNoWriMo. I wrote 50,000 words in 30 days, but the story wasn't over. That brings me to where I am now. My manuscript is almost 200,000 words long. I hope to finish in the next few days. I can’t wait to rewrite and cut this thing. Writing is hard, but it's worth it. My journey isn't over, obviously. I can’t wait to see where this journey goes.

@agentbuggy

Do not get me started on my idea of what Phoenix looks like.

it's actually quite short and comprises of 2-3 things

oh to be a muse...

I once saw a quote saying “to be written. to be the subject of a poetry. oh, to be loved by a writer”. I find it endearing and amusing for someone as I who writes but has not been written for. It made me think of who I am writing for and what of it that I am writing to them still now.

So I wrote, scrambled some words I might say to satisfy my amusing with the quote and I say:

“To be my muse means to be someone who is courageous enough to break my brittle heart, to dance and stomp all over it 'til those pieces make something so bright and so beautiful like broken glasses pieced together making a wonderful composition; or someone undeniably handsome enough to stir my mind, wooing me with the words his lips utter—bewitching me; or perhaps someone ordinarily pursuing me with best foot forward and all the love a person can offer that it would be unfair to not give back the same amount of love for I cannot love so much even for myself.

However it is that a man must do, surely I could write something about them; but to be both someone I love and be my muse, is extraordinary for I will exude my greatest skill and passion for writing—all because there is a man worthy of the thoughts I throw onto the paper, all because there is someone I truly wish to give my all even if all I left with are just words…”

Dear fellow writers,

‘Said’ is beautiful. Please use it more. It isn’t anything to be feared of hated. It’s not boring or overused. It makes all the other dialogue tags more special when they’re used on occasion.

‘Said’ makes your writing less cluttered. It can be a simple way of reminding the reader who is talking without bombarding them with synonyms.

“Use it along with action to make it more interesting,” she said, picking up her pencil.

He smirked, and said, “Or with expressions and body language.”

“Or,” she said, “just as a quick reminder of who is talking.”

“And if you know who is talking, a dialogue isn’t always necessary.”

Of course you can use other dialogue tags, but please don’t exclude ‘said’. It’s heartbroken from being ignored.

‘Said’ is beautiful.

📌 Pin Post 📌

This is my main account! (@queer-ghosts)

personal blog: @ghosts-of-ghost

art blog: @percys-ghost (rarely active)

poetry blog: @poems-of-a-ghost

paintings: @painting-ghost

vampire/goth blog: @vampiric-bitch (i forget this exists sometimes)

pagan/worship blog: @worship-roses-sun-wine

book blog: @the-dragons-gem

blog where i write about topics: @ghost-rambles

furry blog: @ghost-cat-furry-blog

rotumblr blog: @trainer-ty

‼️commissions open!

(i also do furry commissions)

EXCUUUUUUSE MEEEEEEE TUMBLR?

WHEN WERE YOU GOING TO TELL ME I HIT 200 FOLLOWERS????

WHAT

Holy Shit this is amazing!

Um... Thank you all so much for this!

I don't have much to give you... But um...

Here's my 200 (*3) Follower Special I guess!

@goodluckclove @danielleitloudernow @aestheic-writer18 @justalittlebuddy @kia-is-poisoned @deluluriddhi @jeremy-no @nkikio @sunnyjustice @latay7 @darkandstormydolls @ryahisbored @phoenixradiant @willtheweaver @somethingclevermahogony @illarian-rambling @thepeculiarbird @agirlandherquill @baconandeggs-25 @jesusfreakspeaks @supersoakerfullofblood @sl-vega @ajgrey9647 @smudged-red-ink @pastellbg @clever-naming-convention

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TCOT Prologue Sneak Peek

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The hidden caves remained dark save for moonlight as Sokuna’s scaly hand set the sparkling vial against her daughter’s lips. The Shade steadied her uncertain emotions as the last of the silvery contents left the glass. She rubbed her thumb over a drop that fell onto her daughter’s compressed wing to erase the remaining evidence. The door creaked open behind her and she stood. “It is done,”

The figure in the doorway folded Sokuna in an embrace and brushed the tears from her face, his feathers swishing softly against her skin.

“Reon, what will we do if she doesn’t remember us?”

Reon squeezed his wife’s shoulders. “We’ll raise her just like we did the first time, but safer.”  He lifted her hands and brushed his lips gently over her knuckles. “Ready? 

“To be rid of this cursed place?” Sokuna squeezed her husband’s hands. “Never more so.”

“Then let us hope to the stars this works my love.” Reon cradled his daughter with his wings, her weight heavy yet soft against his arms. He paused for a moment, looking back at the room. “This is the only home I’ve ever had. It feels strange to leave it behind.”

Sokuna gave her husband an encouraging smile. “Home is what we’ll build together.”

Reon shifted his daughter’s weight as they snuck through the winding hallways, a sinister weight in the air pressing down on them as voices echoed in the back of Sokuna’s head. Traitor. Liar. Enemy. Betrayer.

Sokuna crept past her battalion’s quarters, wincing each time her talons clicked against the stone.  She shuddered. The screams behind closed doors, the crimson stains of a friend scrubbed cleanly from old stone. No, they would make it out. They had to.

Light from the First Lieutenant’s open door caught her eye, and a voice muttered within. She poised to run. But after a moment, the shade allowed herself a small sigh of relief— he had been known to talk in his sleep. She held up an open palm and Reon stopped. Sokuna peeked inside.

The Lieutenant sat on a tall, stiff wooden stool, his massive wings hanging behind him so they touched the floor while the Lieutenant’s face pressed into the very same papers he’d been working on, a small splash of ink smudged on his cheek as he mumbled a few incoherent words and shifted his arms, hiding most of his face. She waited a moment and then waved Reon forward. 

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I hope y'all are just as excited for TCOT as I am!

I love you guys <3

Hello everyone! I just wanted to give you something of a heads up/state of the author thing for anyone wondering! I have spent a few weeks just... chilling, goofing off, reading some of the stories in my Marked to Read Later, obsessing over various cultivation-type video games (thanks @roxiusagi for getting me into both Yi Xian and Immortal Life... This is me +1ing those as recommendations, btw! Yi Xian is officially free-to-play now, so you too can get obsessed!), dealing with holidays/irl and so on!

I'm about to start getting back on track with fandom, which starts with queuing some lovely art that's been posted in the last few weeks and then starting on AO3 replies!

❣❣❣ That's your warning: Anyone who's posted AO3 comments, please expect replies starting soon! ❣❣❣

After I've made a reasonable dent in those, I get to start working on Joint Custody! Yay! I'm sure someone is out there going, "Wait, it's been months... you've not even started yet?" And the answer is ✨No!✨ I've been goofing off, as I said! 🙃 TBH, I've been worried about burnout and didn't want to just go through the motions - I wanted to write with my whole heart. But I'm starting to get the itch again, which means it's about time.

I'll post a progress report once I have a better idea of how I'm going with Joint Custody, but you may get a couple of Cultivate extras before then. I imagine replying to everyone's comments will send me running to Scrivener.

Thank you for being patient with me! I hope you are all well! 🥰

Another blog post is up! This week, I have a short personal narrative about my love of lists and how it has both hurt and helped my struggle to put less emphasis on productivity in my life.

Hope you enjoy!

Ten Dos And Don’ts Of World Building (From a YA Fantasy Author)

World building is a skill every writer has to master at one point. Many authors perceive world building as a skill SFF (sci-fi and fantasy) authors need to master, but this couldn’t be further from the truth. World building is necessary for every book or story, and helps set the scene for your tale. 

Unsure where to start with your story’s world building? Here are ten worldbuilding dos and don’ts every author needs to know! 

#1 DO Develop A Concrete Backstory 

If writing was like construction, then world building would be when you set the foundation. It’s when you place the building blocks of your story and establish a proper setting for you to work with. This might look like a complex world with several different realms for a SFF writer, or the layout of a haunted hotel for a horror writer. 

The magnitude of your world building isn’t important. It’s the quality that matters. This is where you answer all those unnecessary questions you need to know in order to write your story. 

What does the layout of the building your story centres in look like? What do your characters look like? Why do your characters act the way they act? Why does that one character have a burn mark behind their ear? Where do the mythical creatures in your story come from? Where do humans come from? 

These details might feel redundant and annoying for an author ready to jump into their WIP, but they will help you create a consistent story in the long run. 

Need help figuring out how to get started with your world building? One good technique is writing down everything you know and then moving forward. 

For example, my YA fantasy WIP The Traitor’s Throne takes place in a realm of mages, so my first step for world building was establishing the different countries/areas in the realm, what the realm looks like, what special thing makes it the realm of mages, what are the other realms (this can be anything between a simple name to detailed worlds) and any lore. 

This can look a lot simpler for a non-SFF author. A high school rom-com would like just need a bit of background information about the school, a concrete map of the school’s layout that you can follow during the story, and maybe fun facts about different teachers, students, or classrooms. 

The art classroom could be allegedly haunted by the ghost of a local painter who went to the school, or the principal could be a funny looking fellow who wears bright socks. 

Keep in mind your world-building doesn’t have to ‘be relevant’. It doesn’t matter if your readers are never going to know about that ghost or the principal’s bright socks, the only thing that matters is that you establish a concrete image of your world in your head. 

This might seem like an overwhelming process, but it can actually be a fun way to get the ball rolling for a WIP you want to work on, and allows you to let your imagination run free without worrying about ‘what will my reader/editor think’. 

#2 DON’T Tell Your Reader Everything

Is world building important in order to establish a proper setting for your world? Yes! Do your readers need to know everything about your world? No! 

When introducing your world building to your WIP, it’s important to follow the iceberg rule. Just like an iceberg, a fraction of what you know about your world should make it into your story. Did I take the time to create names for every different country in the realm of mages? Yes! But do my readers need to know about those countries, even if the story is set in the capital? No. 

One easy way to understand whether or not an aspect of your world building needs to be introduced to your readers is by following the three onlys mentioned in this blog. 

Your world is only a backdrop to your story—if a detail doesn’t help further your story or benefit your character, you don’t need to mention it. 

Give details on a need-to-know basis—don’t info dump about unnecessary aspects of your world! This is the easiest way to ruin your reader’s immersion. 

Deliver your information only in scenes—show, don’t tell. Nobody wants to read long passages about a certain aspect of your world. Instead, show them those details. A small example of this from my WIP, The Traitor’s Throne: 

Tell—“The children of the twelve families were the most powerful mages in Redina. They were trained in both magic and war strategies ever since the ripe age of five and spent their entire lives slaughtering the evil Yokai tormenting Redina’s people, yet her grandmother thought it was a good idea to send Amaya off to contend against them for the throne.” 

Show—”She was to compete against the children of the twelve families for the throne. Mizuki excitedly hugged Amaya at the declaration, but her grandmother’s warm embrace wasn’t enough to thaw the cold fear Amaya felt. The children of the queen’s court were the most powerful mages in Redina, and Amaya was just a traitor’s daughter with a Puppeteer’s gift. So how in Amida’s name could she contend against them for the throne?”

#3 DO Create Laws And Boundaries 

Whether you’re writing a cute romance or scary science-fiction, it’s important to establish some laws and boundaries in your world. This can be anything from ‘he can’t meet her from 10 to 12 on Fridays because they have different classes’ to ‘the cyborgs can function and reattach severed parts of their body so long as that part’s chips aren’t damaged’.  

Your readers don’t necessarily have to know about these rules, they just exist to establish boundaries for you as a writer. If you do ever mention these rules, try to casually drop them in conversations or connect your rule with your protagonist’s short term goals. 

Remember not to overdo your laws or rules. Establishing boundaries is important, but you also need to consider whether or not this law/rule is relevant to your story and whether it really needs to be there. 

Using the previous examples, you really need to consider why it’s relevant that he can’t meet her during that time on Fridays. Maybe she sits beside someone he doesn’t like during that class, maybe there’s an urgent thing he needs to tell her but he can’t because she’s in class. 

And remember, knowing your limitations are important, to know what your characters can or can’t do, but it also helps you establish realistic loopholes that work for your story. 

He pretended that their homeroom teacher wanted to speak to both of them to get her out of class.  

#4 DON’T Info-Dump Unrealistically 

This sort of ties into the first don’t, but outside of flooding your readers with information about your world they don’t really need to know, it’s also important to consider whether the information you do tell them is relevant. 

For example, the previous experts from my novel both established a certain piece of information—Amaya’s going to compete against mages who are stronger and more skilled than her, and this terrifies her but excites her grandmother. However, the first expert also established information my readers could do without, like the mention of evil Yokai, the age the others started training, and their accomplishments. 

Including relevant information is important, but you also need to consider whether or not your character would actually have access to this information, and how would they know about it. For example, how on Earth could Amaya know that her competitors started training at the age of five? 

There’s always more than one side to a story, and it's important to keep this in mind while worldbuilding. Establish what your character does or doesn’t know about a certain scene before you write it, and then think about how this information would impact the scene you’re working on. 

If you want to make things interesting, you could also mention another character’s take on the situation in another chapter. 

#5 DO Paint A Detailed Image Of Your Character 

It’s important to establish a clear image of what your character looks like throughout the book, but try to make your descriptions realistic. A vivid description of how your character’s eyes looked like the ocean will definitely get your point across to your readers, but would your protagonist really notice their eyes from across the room? 

When writing about your character’s physical features, always try to be subtle. Your readers are more likely to recall a simple feature of theirs that is mentioned casually throughout the book than that one long passage you wrote about their eyes.  

Keep in mind that it’s important to avoid info-dumping your character’s features while writing. If your focus is on their eyes during one scene, don’t describe their entire face right after that. The goal is to paint an image in your reader’s head, not create a list. 

#6 DON’T Be Afraid Of The Cliches 

Writers will often shy away from certain elements of world building because they consider them ‘cliche’. While I understand the need to make your story and world stick out amongst the sea of books your readers might read, it’s also important to consider whether or not your readers will really care about the cliches. 

For genres like romance and horror, readers often love a good cliche trope that’s done right. Sure, there might be a hundred different books with a nerdy protagonist and popular love interest or a masked killer who is targeting a group of friends. But it’s important to consider what makes your book stand out in these cliches. 

Maybe the protagonist works as a part-time model at the lover interest’s father’s company, or maybe the masked killer used to be part of the friend group and threatens to expose them for a crime they committed. 

Cliches can be boring, but they can also be very exciting when you use them the right way. 

Don’t be afraid to employ a few cliches in your book, especially if you know how to use that trope to draw your readers in. 

#7 DO Have Familiar Aspects 

It’s important to establish a unique world for your book, but it's also just as important to create familiar aspects of your world. For example, SFF readers are more likely to get excited by your world when you casually mention that regular humans exist in your book. 

A great example of this would be Harry Potter, and how J.K Rowling created a world of magic that regular humans could have access to. 

Draw inspiration from the world around you. I saw a post by @thewritersgarden on Instagram recently that mentioned something about caterpillars not knowing that they’re going to be reborn into butterflies when they’re in the cacoon, and my mind immediately went to why people didn’t think to use this as pixie lore yet. 

A few writers on bookstagram agreed with my thoughts and mentioned how peculiar it was that we didn’t think to draw inspiration from things that actually occur in real life.  

Readers get excited at the prospect of being able to experience your story in real life, even if they know it’s not possible. Most children are clever enough to know they’re never going to get a Hogwarts letter, but that didn’t stop us from waiting for a letter on our eleventh birthday. 

#8 DON’T Restrict Your Imagination 

It’s good to have familiar aspects in your story, but it’s also important to let your imagination run free. Especially if you’re writing SFF. 

Create the most bizarre creatures, give your characters unique powers people have never seen before, and make your cliche tropes have a spin so unique it inspires other writers. Let your imagination run free because that is the essence of world building. 

In order to create laws, prevent info-dumping, and establish familiar aspects you first need to create a unique landscape to work with. An easy way to do this is by jotting down any random ideas you get for your story, and then surfing through them to see what fits your WIP and what doesn’t.  

#9 DO Save Things For Later 

Pacing is one of the most important aspects of world building. Once you have established what your reader needs to know for them to have a clear image of your world and its backstory (or at least the backstory that is relevant to the plot) it’s then important to establish when you’re going to reveal what information. 

An example of this from my WIP, The Traitor’s Throne, would be: as mentioned above, Amaya finds out that she needs to compete against the children of the queen’s court for the throne, but I refrained from mentioning what the competition will look like, how many stages it will have, etc. 

This is because it helps build tension and suspense, but also allows me to fledge out my worldbuilding and pace it in a way that draws the reader in. 

Once you’ve established your world building, consider making a quick layout of when you reveal what aspect of your world. 

#10 DON’T Forget The Basics

When world building it is important to take the basics into consideration. Writers often don’t realise that things they consider obvious can actually be confusing to their readers. This can be something as simple as the weather or scenery or as complex as why your character has a certain power/skill. 

Your readers don’t know your world as well as you do, so it’s your job to teach them everything they need to know to have a clear image of your world, its scenery, and the characters. 

One easy way to establish the basics without sounding redundant is by taking your names into consideration. When people think of Leigh Bardugo’s Ice Court or Elfhaem in A Cruel Prince, the first thing that comes to mind is a cold court, or a place full of elves or mythical creatures. 

The same can be said for your character names. While a character named Layla could be represented as Arab, a name like Nazeera would easily paint an image of an Arab or Middle Eastern woman in your reader’s heads. 

When establishing the complex aspects of your world building, remember to take some time to flesh out the basics as well. 

#11 DO Have Fun With Your World Building! 

One thing to always remember when world building is to let your imagination run free! Create the most bizarre worlds, shape your characters into unique cliches, use weird place names that get stuck in your reader’s heads. Remember, your first goal as a writer is to create a story that you enjoy. So have fun with your world building! 

Want to learn more about me and my writing journey? Visit my social media pages under the handle @hayatheauthor where I post content about my WIP and life as a teenage author.