#it's own longish post so
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i wonder if you have any thoughts about how marcille always seems to dislike it when falin wears men's clothing ( i bet she wears it out of its comfiness rather than because she prefers masc style tho, although i hope both lolol) and super short hairstyle
I wonder if it's just her interest in cute feminine fashion in general or maybe there's something more
For the clothes, at least, it's like... Marcille is probably more horrified by the clothing being actually made for and marketed to men than anything else. I bet she'd be fine if Falin wore the exact same things but they were in the women's section, or at least, branded unisex. She would be so so silly about arbitrary stuff like that in a modern setting.
The hair I think is a tangled issue of Falin's resemblance to Laios getting a little too obvious for Marcille's mental health, and Marcille's own very intense relationship with how (female) mages should treat their hair. Also, since it's mostly a joke doodle, I kind of took it as a flanderized Bad Taste Marcille being horrified by a woman with short hair because she buys into gender norms. Some people are... weird about what women do with their hair and unfortunately I can fully see how Marcille can be weird like that in a vacuum joke setting.
(there's also something to be said about how this kind of femininity policing could also be used as plausibly deniable homoerotic subtext. like, girl, why do you care that much about how cute another girl looks? hm?)
#farcille#dungeon meshi#marcille donato#falin touden#asks#i could really dig into why marcille is likely to buy into gender norms so hard but that's like#it's own longish post so#gist of it i think is that within every stifling ideology there is an autistic person who really and truly believes in it#and latches on with a passion without realizing how it harms other people who don't fit into it as neatly#conventional femininity has always been a positive and encouraging thing for marcille#so i think she doesn't actually understand that it's compulsory in a bad way for other people#and subsequently can be very pushy about it but like. completely sincerely and without bad intentions#which unfortunately doesn't make her comments less obnoxious#but! people grow and change and i think she does get a lot more mature by the end of the actual canon#marcilleposting
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i was a trans man until after a lot of build up of doubting myself, i finally realized that we are putting ourselves further into boxes by not accepting that we are the biological sex that we are and we can do WHATEVER we want at the same time.
clothes and makeup and certain interests do not equal gender.
and not liking being a woman is an unfortunately natural symptom of puberty and/or experiencing society’s deeply ingrained misogyny. and everyone deserves support for those problems.
but we can all fight together against gender social constructs in a healthy way without prescribing people hormones and invasive cosmetic surgery to make them more like the sex they “should” be according to… social constructs…. and help them be comfortable in who they are
Alright. Its been like 9 fucking months that I have been staring down this ask. What better time than to give TERFs some nuance than right in the middle of a fucking hate campaign going on where people (well... singular person probably) are calling me a TERF. This wont backfire.
This post arrived in my inbox shortly after I made another post about gender, and just how fucking weird it can be, and how I genuinely believed every single person on this planet has a fascinating relationship with gender, and so much nuance and personal identity in theirs. Even cis people. Even TERFs. In the tags, I even begrudgingly encouraged TERFs to talk about their gender on that post if they wanted. I genuinely think that TERFs do have really cool relationships with gender. As I mentioned in those tags, the quickest way to explode a group of TERFs is to get them to start talking about their own relationships with gender, and see how vastly different it is, and watching them stab each other in the back over it. So I told them to ramble away about how they view gender, as long as they stayed the fuck away from the rest of the blog WHICH THIS ANON CLEARLY FUCKING IGNORED.
But... this anon does bring up another topic I want to talk about.
Detransition.
Read More
I am a huge supporter of detransitioning. This is... surprisingly... not a very common stance in the trans community, and it breaks my fucking heart. Like, I get it. I understand why. A LOT of detransitioners, like the person in this ask, end up weaponizing their feelings of gender against other trans people.
My support of transition comes from the intersection of two very central beliefs of mine:
Everyone should explore their gender without feeling a need to commit! This is a pretty common belief in the trans community! Damn near universal in fact! We even have a fun little term we use for people who decide to play around with gender, only to end up a bit closer to where they started and being perfectly happy with that: Cis+. Someone who is cis, but at least put in the work to understand the trans experience, and actually CHOOSE to remain Cis instead of just defaulting to it with societal pressure. Many trans people are much more comfortable around 'Cis+' people, because they know these are people who have taken the time and put in the work of being an ally. Self examination isn't easy, especially not publicly, and doing so is genuinely one of the strongest ways a Cis person could ever show their support.
It is never too late to transition. This is also a pretty common belief in the trans community! It is... sadly not quite as universal though. But it is something very important that needs to be said. You could be 80 years old, sitting in a retirement home, and go "You know what? I think I'd rather wear a dress and be treated like a lady. I don't want to be buried as a man." And I think every single trans person should have that freedom!
I was discussing this with @thydungeongal the other day, far more paraphrased than this post, and she said something incredible that has been knocking around in my head ever since.
"Gender is an ongoing process"
Those five words they said to me sum up my feelings far more than this entire post could. Gender IS an ongoing process. My gender has changed SO MUCH over the past three decades. From the straightjacket of assigned gender that I was once forced into; to the very stylish and still lovable finely tailored suit of femininity that grew a little too stuffy to wear constantly, even though I do still enjoy it and try it on from time to time; to the wonderful and freeing losely fitting clothing of being aegogender, finally feeling free to be myself and just act naturally and feel natural without having to keep up an appearance!
And I think, there is no length of time you can try out being trans, and trying out new genders, before eventually coming to the realization you were cis all along. Even if you started HRT. Even if you got SRS. Heck, I don't even think you should have to call yourself trans to do either of those things in the first place, why would I be upset that someone did them and then realized they weren't trans? No single moment in your life should EVER lock your gender in place into some unchanging, set in stone thing.
So I support detransitioners completely, with my entire heart. They deserve just as much support as every other 'Cis+' person out there.
So anon, while many people may hate you and lash out at you for detransitioning, I want you to know, that I am not one of them. It sounds like your detransition might have been forced by peer pressure, which is heart breaking to hear. No one should ever force their own gender expectations on another. I hope that wasn't the case. I hope you came to the decision yourself, after realizing whats right for you. I will never give you hate for your detransition.
I WILL ABSOLUTELY GIVE YOU HATE FOR BEING A FUCKING TERF THOUGH. YOUR OWN EXPERIENCE WITH GENDER DOES NOT GIVE YOU THE RIGHT TO POLICE THE GENDER OF OTHERS, FUCK OFF. GET THE FUCK OFF MY BLOG, YOU PIECE OF SHIT!
#I think I'm gonna start doing that for Read Mores#so you can find your place easier after click it#since my 'style' in these long posts is like... a fairly longish NON-readmore post. followed by the actual readmore. Let me know if it work#text essay#gender#detransition#I uh... also have some more... complex feelings of detransitioning#that may be a LIIIIIIITTLE more controversial.........#none of it goes against what i said here#its more personal stuff with my own gender and how detransition specifically is something that exists not as gender itself#but as the societal perceptions of a persons gender#but thats a more complex topic that I'll add on to this at another date#also I am absolutely taking this ask at face value for the sake of this post#but I am not so naive as to believe that the blatant TERF that sent it was being genuine#this is ABSOLUTELY the kind of thing they send people to drive a wedge in the community#I'm not even going to fucking dignify that part of it with any mention in the body of this post#edit: ........... okay the readmore accidentally moved somehow#I fixed it now though
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Honey
Din Djarin x f!Reader
A Lovers' Crest one-shot (Here's its Masterlist)
Summary: You and the Mandalorian hatch a plan to trap an elusive bounty. And Din Djarin absolutely hates it. Until he doesn't.
[Or, the characters from Lovers' Crest have a little post-story adventure! Can be read standalone.]
Word count: 2.5k
Warnings: 18+ MDNI, pwp, unprotected piv (be safe), creampie, semi-public sex, (there's an unconscious guy in the room), established relationship, Din lifts you but damn he is a strong strong man, Reader described: wearing a dress, heels, having longish hair, does a lil pole dance. I know this isn't how a 'honey pot' situation works but oh well it's just a bit of fun.
A/N: What's this? It's the first fic I ever wrote. Posted to AO3 in June last year. No idea if it's anything anymore, but it dragged me out of a desperate writing slump - and led me to write the longer fic - so I will always feel affection for it.
--
‘No.’
‘Oh, come on!’
‘I said no!’
‘Why not?’
‘I don’t like it. It’s not a good idea.’
‘It’s a great idea. And… all we’ve got.’
So, Din Djarin sits in an upscale-style club sharing a table with Mythrol mobster Earl Gorstrik.
The crime boss has been an elusive target for months, and a royal headache for Greef Karga. Taking out shipments of essentials, extorting construction projects and all manner of agency rackets, Gorstrik’s activities had pushed poor old Greef into upping the reward to nearly double.
‘Just get this fucker out of my business, please,’ Greef had begged him last time they’d dropped into town.
Then you had proposed an idea that had set his blood to boil, a constant roll that continued to this very moment. He’d remained unconvinced by the whole plan, but especially by your assertion that you would be sure to ‘really make it worth his while’. Din is dubious.
He doesn’t even get to have Grogu for company. This is not a child-friendly mission.
Gorstrik is yammering in his ear.
‘Seriously, Mando,’ he slurs. ‘I’m so glad a man of your calibre recognises the value of partnering with my… endeavours…’
Din is barely taking it in. Why are these types always so verbose? He mutters something about ‘needing to expand prospects’ and that sets the mob boss off to wax lyrical about property scams.
Din swears he’s going to ditch this whole, terrible attempt, when the music pounding in every corner of the place transitions to one of heavy bass and soaring synths.
Earl Gorstrik slaps at Din’s shoulder. ‘Oh excellent! It’s starting. Ever been to one of these Mando? No, bet not. Haha! Sit back and enjoy!’
Lights dance on the raised catwalk that dominates the middle of the room. Long, shiny polls descend from above, dropping within arm’s reach of the stage. A tall, lovely twi’lek female struts into view. Skin-tight body suit and stratospheric pumps. She reaches up to a poll and spins, smiling at the whooping and hollering rising from the patronage.
A short, sultry routine ends as the poll she holds rises back toward the ceiling. Din follows it, and her, up to spy the lofted gang plank that vanishes into an upper area.
Gorstrik leans into Din’s space.
‘You like that?’ he breathes. ‘Best part? If you spot someone you really like, you can arrange your own little meeting. Heh, up there,’ he points to the disappearing legs of the performer. ‘Just wave down a tender.’
Two human males saunter to neighbouring polls. They look to be twins. A stunning display of athleticism and strength concludes as they too rise upwards. Din spots several hands frantically waving at the establishment’s staff.
Fed up, Din is about to take his leave – to go find you – when a vision walks onto the stage and sucks all the air from his lungs. He’s locked rigid in his seat and his cock swells so fast it’s almost painful.
An adept lighting droid starts with revealing a pair of black, luxurious stilettos that step with languid grace down the catwalk. Silhouetted legs are shown to be bare as they curve up, all the way up – impossibly far – to the hem of a scant black dress. Deliciously tight and hugging every single curve.
Reaching the pole at the very end of the stage, the vision twists to face away from the crowd and is lit up all at once. The Mandalorian’s eyes are wide and his mouth has fallen open behind his helmet, made utterly transfixed by what he’s seeing onstage.
Glossy hair cascades over bare shoulders, swishing gently as you turn back to the crowd with a flourish. Your glittering eyes lock onto Din’s visor for a split second and he fair nearly blows his load then and there.
You take hold of the pole and give a single lazy spin, letting Din’s eyes roam every inch of you. Then you slide down the pole some and spin again, extending your legs so the sides of your knees and shins skim the flooring.
A few of these rotations before you tuck your long legs under you to stand for a moment. You make one swaying motion to put momentum into the pole and swing yourself up, using a turn away from the audience to open your legs, kick up and cross them to lock over the pole.
With your lush thighs riding the cool metal, you lean back and extend an arm out to the audience, gazing upside down into the pulsing darkness.
You let the pole drift back to stillness, allowing every set of eyes in the place drink in your figure, bust heaving, hair falling below you and swaying. Then you swing your upper body upwards, grasp the pole and drop your hips so your legs release out into open air and propel it all into a renewed twist.
After a moment, you plant your heels and the pole lowers with you as you sink into a narrow squat, facing away from the audience, which is by this time splitting the air with pitched screams and shouts.
You look over your shoulder with mischief in your eyes and the whole place goes ballistic.
The pole begins to rise and you move with it to stand. You let it slip along your figure, waiting until it is moving past your head to slide your arms around it and lift from the floor. It is given to look as if you’re floating on air, still twirling and giving an exquisite 360 view of your legs.
As you vanish into the loft, Din’s reverie is interrupted by a waving hand next to him.
He turns, Gorstrik is beside himself. A frenzy of other hands bat at the air, but Din’s table companion always gets first flush.
‘God damn,’ he exerts. ‘What a show. You do not get enough of that type of cream around here anymore.’
Din fights to quell the incredible urge to rip this pig’s head clean off his shoulders. He channels it all into issuing the slightest shrug he can manage. Gorstrik scoffs.
‘Suit yourself, man,’ he stands. ‘I’m getting my ass a front row seat to the encore. M’sorry, Mando you understand. Particulars can be worked out with my second here.’ He gives a vague wave to the pinch-faced twit next to him and scurries toward the elevator.
Din seethes.
Your voice crackles in his helmet, whisper quiet.
‘Staff access is on the residential side, basic hatch code to get in. Stairs, then make a left. My booth is second along.’
He makes a grouchy show of ‘only doing business with the actual boss’ before leaving the irate lieutenant at the table.
He stalks onto the street and rounds the building to the alleyway that connects the red-light district to the high-density worker housing. Spotting the door you described, he makes short work and slips inside. Climbing the stairs two at a time, he’s trying to concentrate and stop his mind wandering to all the ways this could go wrong.
Could be going wrong.
Why has he let you be alone with this scumbag. That was incredible. What if you’re not quick enough. Hells, fuck! Where had you learned that? What if… So fucking sexy. Why didn’t he just… Maker but that was incredible. He follows your directions and slaps the booth’s open panel.
The door slides across to reveal the scene. A small, velvet-lined room. One long bench against the far wall with a floor to ceiling one-way window looking out over the club floor. Your back is to the door and you’re settled in that narrow squat again, heels spiked into the floor, nimbly cuffing the unconscious Gorstrik, who is sprawled out by a drinks stand.
‘Just in time,’ you say. You peak over your shoulder at Din and slowly, agonisingly, start to rise up. Knees straighten first, keeping yourself bent at the waist. Ass on full display, the hem of your dress has ridden up to show just a hint of cheek. Finally, you lift your torso and turn toward him, something droll to say on the tip of your tongue.
You don’t get the chance. Din has kicked the door hatch closed and barrelled into you. Hands grip your waist first, pushing you back into the wall, then reach down to lift your knees to lock them at his sides. Holding you up, he paws at your ass.
‘Where’d you get this dress,’ he growls into your ear, letting you loop your arms across his shoulders and use the purchase to grind yourself against his erection.
‘Boutique in the main square,’ you mutter, eyes already closed and focused on lust. ‘Only used some of the advance.’
‘It’s obscene.’
‘Mmm, I don’t have to keep it.’ You rub the front of the dress against his chest plate, pushing your breasts into the firm pressure. ‘Could turn it to scrap for engine cleaning,’ you tease.
‘Absolutely not,’ he grinds out. He rubs at your thighs until the dress inches up, exposing your soaking panties. ‘This dress,’ he grunts. ‘This dress is for me now. You’ll wear it for me.’
‘Fuh—Fuck,’ you huff. ‘Thought you’d like it.’
‘Mmm, so fucking divine,’ he keens. He leans back a little. ‘Help me out here, love. Get this cock out for me.’
You reach a hand down and fumble with buckles and garment until you can push his pants low enough for his screaming hard on to bounce free. You immediately move your hand and tug the edge of your underwear aside.
‘Now Din,’ you moan, looking down. ‘Fuck me n— ah!’ He sheaths himself home in one go, piercing you to the wall.
Hips sitting flush, Din trembles at your tight walls stretching and fluttering around him. He lets you adjust. ‘Oh fuck, so ready for me. That performance of yours get you just as worked up as me, did it?’
Humming an affirmative, you reach up to brace your elbows on top of each pauldron, locking your hands together behind his helmet and nuzzling your face into his neck. Like this, you can tilt your hips back and forth to grind into where you two are connected, his pelvis making a perfect surface to work at your aching clit.
It’s so goddamn sensual when you use him like this.
He holds onto your ass and helps you along by lifting you up with each one of your thrusts, creating a harsher connection each time. You writhe and work yourself against him, legs shaking with effort.
‘Din, Din,’ you lift your head with a gasp. He watches your eyes screw shut and your mouth fall open to release harsh, pained puffs of air. You’re so close, he can see it. You press your face into the sharp curve of his helmet and whisper, ‘Din, tell me t--’
‘Come for me, mesh’la,’ he snarls into your ear. ‘Do it, come now.’
You cry out and smack your head back against the wall. Din loses himself in your blissed out features. In the feel of your legs spasming around him, tightening muscles drawing aching throbs out of his cock. You push your hips in tiny little circles to suck down every drop of your climax. ‘That’s it, beautiful. That’s perfect,’ he murmurs to you. ‘You’re perfect.’
Huffing harsh breaths, you open your eyes and smile at him.
He pulls out of you and takes your quivering legs from around his middle, dropping them to plant your heels on the floor. Then he pushes off the wall, spinning you to face the bench and bending you over. A heavy boot nudges at your ankles to spread them apart. He’s back inside you in one intense thrust of his cock.
This position affords you the view through the one-way window, so you’re both looking down at the bustling bar floor.
Din begins to move, barely letting any room between your bodies as he grinds hard and deep. You shuffle your feet wider to give him even more. He chokes out a groan.
‘When you were on that stage,’ he hisses from behind, hands in a bruising grip on your hips. ‘Fuck, when you were up there, everyone down there wanted you.’ He sees your head turn to roam over the crowd, you look over your shoulder again at him, eyes unfocused and lustful.
‘Oh yeah?’ you say, hands sliding a little on the bench with your movements. ‘All of them?’
‘Every. Single. One.’ He punctuates each strangled word with a harsh, deep thrust. ‘Wishing they were here now. Wishing they could have you like this, know the feel of your clenching pussy. Sucking me in so hard, can- can barely pull myself- out…’
He grips a fistful of your dress and uses the leverage to drag himself back before pistoning into you again. The obscene sounds of your slick flesh pumping against each other fill the air.
He’s so deep he can feel the pressure building within you again right as you slam your fingers hard against your clit, letting the friction of his furious thrusts carry you over the edge into another orgasm.
‘Fuuuuck,’ you both groan in unison. He loops an arm across your front and slings you up, back flush to his chest as he drives up into you. His rhythm is starting to falter, the haze of pleasure reaching toward unbearable. You know what he needs and how to bring him over the edge with you. He trusts.
‘But none of them can have me,’ you gasp. ‘Only you. Only you- know- this- pussy, Din.’ The final words are accompanied by the last few slams of his hips as he spills inside you with another strangled moan. He feels, as always, like his soul is being sucked from him and drained into you. It goes on for an age, wave on wave as you squeeze and clench around him. He finally slows.
His hand moves from your chest up to cup your face, fingers sifting through the hair at your shoulder.
As he huffs deep breaths into his helmet, you squeeze again and he gasps in near pain.
‘N-n, please mesh’la, you’re gonna kill me.’
‘Mm, sorry, thought you liked “the feel of my clenching pussy”.’
‘Oh I do, I do. Hope you let me feel it again when we’ve actually finished this job.’
‘Admit it was a great idea,’ you clench one last time and at that he withdraws from you. Groaning a raspy sigh. He turns to your captured prize.
‘Honey pot,’ he mutters. ‘Ridiculous.’
--
Din tucks himself away and bends to hoist the limp quarry over a shoulder, readying to exit.
You adjust your dress, feeling delicious as Din’s seed slides past the hem. A job well executed and a fucking great time had by all. You grin to yourself. You’re going to walk down the street with this man’s spend slicking your thighs together. It’s filthy and you love it.
--
Thanks for reading! Have a great day and drink some water x
#din djarin x you#din djarin x reader#the mandalorian x you#the mandalorian x reader#the mandalorian#din djarin#din djarin/reader#din djarin/you#the mandaloria/reader#din djarin x f!reader#the mandalorian x f!reader
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fireworks - lcn
content : bf!chan x gn!reader ; tooth rotting fluff... ; 0.5k words
warnings : kissing !!! & small mention of reader having longish hair.
- chan is very much in love w u and wants to prove it !!
an : i have no idea if ill manage to make another new years post so heres dino because i miss him lots. also i literally love writing fluff i know this is like the only thing i post BUT I CANT HELP IT. i love svt fluff too much!!!
“you know y/n, i really love you.” his words were random, but random moments like these warmed your heart up the most.
you looked up from your phone after endlessly scrolling through social media without a goal, trying to fill in the space between now and midnight, when the fireworks outside the window would signify the new year. chan was sitting with you in bed, similarly viewing social media and occasionally looking at you, absolutely smitten with the way your hair was tucked behind your ears and how your cheeks were pink from the warmth of the room.
“hm? well… i really love you more,” you replied with that pretty grin he loved seeing, “more than you could ever imagine.”
“that’s not true, you can’t love me more…” he fell silent, thinking about a way to prove this statement to you even though he knew that you both loved each other just as much. “i love you more than words can say.”
“then show me,” he glanced at you, his own smile now growing, a sight you were used to seeing everyday. his friends always teased him about it, the way you could make him melt by just looking at him or saying something that got his heart beating that little bit faster. you thought it was the cutest thing ever though.
rather than verbally responding, he simply nodded, placing his hand on your cheek and moving his face closer to yours. if you couldn’t feel the warmth before, you could definitely feel it now. his actions felt so gentle yet clearly deliberate, you couldn’t help but notice his features softening under the bedside light.
kissing chan was something you did often, you kissed him once he came back from work, you kissed him after he got you dinner, you kissed him when you wanted to wake him up from his heavy slumber. but you rarely kissed him like this, it wasn’t often you felt your heart palpitate, echoing the rhythm of love. you suddenly felt like a teenager again, feeling his lips on yours for the first time.
you were sure chan felt the same, the way his kiss was so effortlessly breathtaking, a seamless connection speaking volumes when your lips collided. you could feel his thumb tracing your cheek, a soft whisper of admiration of its own.
with a tender withdrawal, you felt your breath shorten. the silence between you was anything but awkward, you both acknowledged the subtle lingering gazes that chan planted on you quietly, appreciating the way you shyly avoided eye contact.
he opened his mouth to say something, but got quickly cut off by the loud sounds of the booms and bursts of the fireworks outside, chucking instead. “happy new years baby.” he added on, taking your hand and dragging you to the window.
“happy new years, chan.” you responded quietly, following him to the window to see the jittery flashes in the sky.
if you could describe chan, you would describe him using a firework. just like one, hes really pretty, beautifully spoken and a little loud - but it adds to the charm. hes also very random, like a firework exploding in irregular patterns. and like a firework, he illuminates the darkness with colour and joy, leaving a lasting impression on everyone around him.
for the new year, you know one thing - you want chan to stay by your side. and if hes a bright, loud firework, you’ll be his fuse, his bonfire.
#caratsland#dino fluff#lee chan#lee dino#svt dino#dino x reader#svt dinoi#dino#seventeen chan#seventeen#svt#seventeen fanfic#new years#laura : writing !#laura : drabbles !#laura : luv queue !#yoonsdoll
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😐💀Longish Post regarding Vivziepops Stans (POC Woman Speaks up)
TW: The following post mentions serious topics: S*icide, bullying, racism, and other topics, viewer discretion is advised (and No I do not know whom originally sat here and typed this post I don't want to know)
So I saw this image floating around and I as a Bisexual biracial Woman of color wanted to speak up about this because if y'all think it's hilarious or cool to say dumb shit on the Internet and not expect to get called out for your crap by reasonable people that you yourself put yourself out there for then your dead wrong.
Let's take a look amigos
Let's start from the beginning
This person who's an obvious biased boot licker who deliberately put themselves out there on the Internet ON PURPOSE said all of This!
Here's some things I completely disagree with because in their own words:
"You probably heard over and over again that Viv is a terrible person who's toxic that made all kinds of terrible things in the past but I assure you, (even if it's true) these stories are all "completely fake" and "made up" and that Viv is "flawed" and makes mistakes like all of us and that she "doesn't deserve" the "hate" and "bad faith" comments"
"I have decided to "fund" the "StopVivziepophate" train because poor ol Viv is sweet and innocent and we as fandom must stick it to these "critics" and express to vivziepop our eternal love and "actively convince" people (without any proof btw) that Vivziepop has done absolutely "nothing wrong" at all and we must defend her to the ends of the Earth because I said so and thats the Truth. You guys are liars and bigots and racist and are anti progressive"
Vivziepop has proved Time and Time again that she's a deliberately toxic shitty ass dumbass of person and has gotten much WORSE over the years! That is a FACT! She HAS made shitty, questionable, nasty things in her past artworks depicting minors, Nazi shit, racist shit and other stuff! This is a FACT and can be proven!
These Critical people on the Internet are All people who Used to LOOK UP to Viv because she was inspirational, saw right through her bullshit, and decided to call her out For said bullshit that she inflicted on herself especially nowadays seemingly on the daily. These Critical people who used to look up to Viv often back up their claims using pictures and evidence to Prove what they say! Vivziepop is a person who has proven that she is ass backwards on an absolute altitude of ways through thick and thin.
Viv refuses to back up her claims, do basic research on complicated topics regarding many things, weaponizes her fanbase to silence Anyone and Everyone regardless of who they are or what they identify as who speaks up or validly critiques her foolishness, never improves on herself as a person and chooses to carry herself in a negative way that affects her overall character and the people around her, bullies or judges anyone who chooses a different path, didn't call out her cult of a fanbase out for bullying Shay into suicide, and the list goes on.
What are you Stans going to prove huh? That we as a critical are right? There's an abundance of evidence against Viv yet your going to sit here and make a post like this?
Please tell me what you said is Bait!
Viv absolutely deserves EVERYTHING that people throw at her ESPECIALLY regarding the fact that Shay is no longer with us because Vivziepops cult of a fanbase brutally bullied Shay into s*icide over a fictional ship that these hypocritical Stans supported Before their new ship with Alastor came out with a different character
And Viv also absolutely deserves to be criticized for hiring a disgusting person with a r*pe fetish who's NOT a s*xual assault victim at All who also fetishizes r*pe and let this person illustrate and write their own sick fantasies into HER SHOW which she actively supported and still supports!
She's Shit All Around!
lastly...
"Most" of the "hate" comes from the "fact" that she's both *Checks notes* 🧐 "inserts identity politics here"
"Woman and Hispanic" ahh yes who Could've thought that poor ol Viv was being targeted simply because of her identity! Why as if I didn't hear that BS before as a fucking POC woman myself
People are "totally not" validly criticizing her for actual shit she does to herself on purpose
We critics are "totally" all just "making up" shit regardless of clear as day evidence, articles, or any picture evidence we have and are "totally jealous" over her success
We critics totally dunk on Viv because we're magically all racist, bigots, or istaphobes even though we're of varying backgrounds and identities and don't dunk on her for the bullshit you pulled out your ass because you decided to do what some far left thinking people would do. Blame the entire world for X, Y, Z using their identity as a shield even though vivziepop herself got caught! BY HER OWN POLITICAL PARTY which is the left.
Let me bring up a successful Black YouTuber who's indie for Black History Month whom I support and followed for years and bought his comics! Since you wanna blame the world for people criticizing Viv for her identity, I've decided to use an excellent example! He may not be a woman but he's Black so... :D let's begin
You wanna know who's Black and made millions of dollars because of his comics and is successful? Youngrippa59! Yes the Black Libertarian himself who made the Rippaverse, ISOM, and ALPHA CORE and made millions of dollars in short periods of time who also helped successfully dominated the comic book industry when it was dying! He's Not a conservative btw!
Heres one of his most recent successful projects ALPHACORE
Look at this! A Black person made this! He's successful! He didn't use his race as a shield. He ain't Viv but doesn't have to be! That's the beauty of him because he doesn't have to be the richest, or the most popular!
His message to everyone! Mr. Rippa also known as Eric July is one of my biggest inspirations to this day and this is why! People who were on the far left decided to attack him (it's been proven btw) but y'all say your for "diversity" and "inclusion" but when a black person becomes successful now it's an issue???
I Can't imagine what will fly outta your mouths when I become successful with my own shows behind the scenes... As diverse as I am as a biracial, bisexual, goth, God damn X, Y, Z, I Don't pander, I observe what everyone wants through multiple people!
Now,
Vivziepop is a woman who's a biracial Hispanic! I am ALSO a woman who's a biracial Hispanic
As a biracial Hispanic I'm more Puerto Rican looking IRL. Viv is a biracial Salvadoran Hispanic but looks more "white" because maybe she has more European family members. My family is made up of mainly Puerto Ricans on both sides of the family some European. I have dark eyes and dark naturally curly hair too. Few have said I can pass as "Indigenous" because of my features and tanned skin. Regardless my point still stands! I don't actively use my identity as a shield and neither should you!
I don't want to know who sat here and typed up that post! I as a woman of color of the brown community am still sick of this! Like who's saying they hate Viv because she's Hispanic? Huh? Who? Who's dunking on her for simply being a woman too???
Prove to me by providing solid concrete evidence by pictures or tweets or something else actually showing me people are dunking on Viv because she's both "Woman/Hispanic"! Well I tell you now that that shit Doesn't happen and if it does, it's a VERY SMALL minority that are saying shit for bait reasons or to be an asshole on purpose to get a reaction. The fact this person decided to say "Most hate comes from her race and being a woman" is BS because they cant even take the time to dig up evidence of this to prove it!
Show don't tell not TELL DONT SHOW goddamnit!
Legit you wanna play the race x woman card so badly then BACK IT UP with actual evidence or someone like me with more than two functioning brain cells will call you out.
I'm sorry but I agree with the critics on this one because they're not wrong for calling Viv out!
#I Stand With Shay#justice for shay#end suicide#anti vivziepop#vivziepop critical#vivziepop#vivziepop criticism#vivienne medrano#vivzmind#vivzipop critical#anti helluva boss#hazbin critical#hazbin hotel criticism#hazbin hotel critical#hazbin hotel critique#toxic fans#toxic fandom#anti hazbin hotel#helluva boss critical#helluva boss criticism#helluva boss critique#helluva critical
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Lite Brite Mini Set
happy (a bit early) solstice, ya'll <3
made a bright ass little set surrounding a jumper i frankenmeshed recently (carnaval mesh top and werewolves jumper) for my bby zander and wanted to share. if yer sick of socks, sorry. i really like socks. i will continue making socks.
the glowstick necklace was inspired by @occultradio (i couldn't fix the original one so i just made a whole new one lol).
There were a few swatches here and there i missed, sorry about that. i had so many friggin previews that i got confused
ANY ISSUES PLS LET ME KNOWWWW~
Longish post. info + swatches under the cut.
previews were taken without reshade~
brite jumper
Frame: Masc
Outfit Type: Everyday, Party, Hot Weather
Base Game Compatible
Swatches: 10
Disabled for Random
Poly Count: 6921
All LODs
brite socks
Frame: Masc
Outfit Type: Athletic, Everyday, Party, Hot Weather, Cold Weather
Base Game Compatible
Swatches: 16
Disabled for Random
Poly Count: 1
All LODs
brite necklace
New mesh!
Frame: Masc
Outfit Type: Everyday, Formal, Swimwear, Cold Weather, Party, Hot Weather
Base Game Compatible
Swatches: 11
Disabled for Random
Poly Count: 1524
All LODs
brite facepaint
Frame: Masc
Outfit Type: Athletic, Everyday, Party, Hot Weather
Base Game Compatible
Swatches: 12
Disabled for Random
Poly Count: N/A
Download
Everything in rar (SFS)
brite jumper (SFS)
brite socks (SFS)
brite necklace (SFS)
brite facepaint (SFS)
Terms of Use—
DO NOT re-upload for monetary gain (Early Access, CurseForge, TSR, Ad.Fly, Simsfind, etc. Do not put my CC on your shitty paywall sims. Do not claim as your own.
Feel free to recolor or modify my meshes, i really don't care what you do as long as you're not taking credit or selling them. If you use my cc feel free to tag me! I'd love to see it action <3
#ts4#sims4#ccfinds#sims 4#ts4cc#ts4ccfinds#ts4 cc free#the sims 4 cc#sims 4 cc#ts4 maxis match#ts4 custom content#the sims 4 custom content#ts4 femboys#ts4 makeup#gloomiecc#free cc
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Blockade Runner (redux)
I decided to edit and combine my old story Blockade Runner into a single (longish) one shot. I'm still working on ideas for my next long story in addition to posting some cool stuff to /r/HFY if you want to check me out and offer kudos there too.
The small group of K'laxi stood before the Captain.
Their fur was puffed out and their eyes were wide. They were trying to hide their fear, but the Human Captain saw through it. They had escaped from the Xenni attack on their starbase with only their lives. They were the lucky ones.
"W-what did you say?" the leader of the group, Tingmell, was trying his best to stand up to the tall human who frankly towered over them, but it was a losing battle.
"We're going to run the blockade and get you home." The Captain explained things- to Ting at least -entirely too matter-of-factly. "I put it to a vote with the crew and Dawnbreaker they were all in agreement. It's not right that you got caught up in the war, and we know what happens to K'laxi who get captured by the Xenni."
K'laxi who get captured by the Xenni get killed and turned into coats the Xenni wear, but only after they're tortured and any useful information is extracted.
It's not pleasant. It's not meant to be.
"Please don't misunderstand Captain Bennigan, we're very grateful, but we can't ask you to do this, it's too dangerous"
"Good thing you didn't ask then!" Captain Bennigan laughed at his own joke. "Now, we're going to be operating at the ragged edge of what's survivable for Humans. Dawnbreaker says that so long as you stay in the acceleration couches you'll survive too. Turns out K'kaxi are more durable than you let on, eh" He closed one eyelid quickly in a gesture that Tingmell's translator explained was 'complicated but like a joke. he's trying to set your mind at ease.'
Captain Bennigan turned to Ting and spoke to him directly. "If you want, you can sit up here with us, but everyone else should get into the couches now."
"Y-yes, okay, I'll stay up here." He turned to the group. He was the only one wearing a translator, so nobody could follow the conversation. He switched to Cali'mak, a northern K'laxi language that most everyone in the group understood. "Captain Bennigan is going to take us home-" There were gasps and noises of surprise "-but it's going to be a dangerous ride. Everyone into the acceleration couches now please. I'll stay up here and tell you how it goes." Wide eyed, but understanding, the K'laxi left the command deck and went down to the cargo deck, which was set up with K'laxi sized acceleration couches.
****
Ting had never worn a support frame before. It was - at the same time - clunky and awkward, but also powerful and fluid feeling. According to Dawnbreaker, it would enable him to survive the punishing gee forces that they were expecting while out of an acceleration couch.
It was extremely overbuilt like most things of Human design. Dawnbreaker interrupted his marveling at the support frame. "The K'laxi are secured in their couches and are waiting comfortably." Ting knew most starships were run by AI, but only the Humans gave theirs so much agency and let them give opinions on how things should be run. It was odd to hear the AI speak so... casually to him and everyone.
"Excellent." The captain adjusted his position in his command chair. When he did so, the vegan leather in the chair squeaked and rumbled. "Dawnbreaker, have our gifts to the Xenni finished printing?"
"Two more minutes Captain, and the missiles will be complete; we can proceed now."
"Good." Bennigan pressed a button and there was a two tone whistle that was heard all over the ship. "Crew, it's time to set off. I apologize, but as we are taking off near the end of the evening shift, please take your stimulant pill now." While Ting watched and tried to make sense of what was happening, everyone took out a small box from their pocket and swallowed a small green capsule. He caught the Captains eye but didn't say anything. "Going to be a long day, Tingmell. You're about to see some things that the Humans don't prefer the other races - especially the Xenni - know about us, so uh, keep it quiet, okay?" Wide eyed, Ting nodded.
With that acknowledgment, his seat molded around him and his support frame, and straps came across his chest which locked him tightly in the seat. He looked around and everyone was strapped into their seats too. The straps tightened automatically just to the point when they were too tight, and backed off just a bit. Ting had a moment wondering how they knew how tightly to strap him in.
"Dawnbreaker? As Captain on board, I authorize you to unleash War Emergency Power, and in the case I am incapacitated you are free to make your own decisions to continue the mission, save the crew and save your own life in that order. Acknowledge."
"Acknowledged Captain Bennigan. War Emergency Power authorized. All fuses and limiters removed. Operating time at WEP is estimated to be sixty three minutes before permanent damage occurs."
At that, the low thrumming of the ship that Ting felt at all times aboard a human starship changed. It became a steady roar of power, straining to be released.
Captain Bennigan turned and faced the crew on the command deck. " Lieutenant Richards? Proceed ahead, War Power. Commander Penn? Launch countermeasures, missiles, and drones. Lieutenant Commander Harrison? Prepare for wormhole generation." Everyone immediately busied themselves to complete the Captain's orders.
As the ship streaked towards the Xenni blockade Ting was able to notice the flashes of the Xenni firing at them. Most seemed to miss, but the roar of the ship was punctuated with hollow thumps of shots hitting the thick Human armor. Dawnbreaker seemed to shrug it all off without worry. While they were on the run, Ting's superior sense of balance was getting all turned around as Dawnbreaker dove and spun and turned, dodging the Xenni and trying to foil their systems from picking up a missile lock.
After a few minutes, Lieutenant Commander Harrison looked up from his console in the rear of the deck and shouted "Navigation solution found. K'lax coordinates locked in."
A different human at a front console called out. "Power output at 280 percent. Wormhole generation in 183 seconds."
"What?" Ting was utterly lost as to what was going on. "Captain Bennigan, what about the warp gate?"
"Oh, we're not going through the warp gate" Captain Bennigan turned to face Ting and he had a wicked grin. "I told you, you're going to see some stuff."
Ting could barely follow what was going on. The noise, the smells, the changes in orientation in his seat were all playing havoc with his perception of the scene. It seemed they were diving towards the Xenni blockade but also avoiding the warp gate - the main method of (non-human) transit between systems. It seems like the humans were buying time for something.
"Power output at 420 percent, nice!" cried the human at the front console. Even during this high stress environment, a few humans around Ting who heard the number chuckled, thought he had no idea why. Some Human thing.
Dawnbreaker called out, "Captain Bennigan, power output is sufficient for wormhole generation, and the navigation solution has been found. At your command."
"Thank you, Dawnbreaker." Captain Bennigan was calm and collected even with all the noise and stress and action around him. He signaled the ship. "Attention, Attention, Attention. Wormhole generation shall commence once this message has completed. Those of you who-" he paused a fleeting moment. "-have trouble with the process, please make sure you are secured. See you on the other side."
"Link us to K'lax."
Ting felt, rather than heard the change. It was a whole body vibration that started in his lower extremities and worked it way up until his whole body was vibrating. It was as if he was a bell that had been struck. The vibration grew in intensity and made even his fur vibrate. It felt like he was going to vibrate apart and then...
****
Tingmell awoke.
He was lying on soft moss, and the dappled orange-yellow light of home was shining down on him. With a start, he sat up and found himself in a forest at home. The very type of forest his kind came from.
About 3 meters away, were a small group of K'laxi, all wearing very old and traditional clothes. Some in the back had fashions that predated Contact even! The one closest to him tipped his head back and made the barking cough of K'laxi laughter.
"You did it! You actually did it!" He stopped to laugh again. "I have a wager with Himelli over there." He pointed to a K'laxi in the back in an exceedingly ancient garb. "Did they tell you what was going to happen, or did they just buckle you in and say something like - he affected a surprisingly good human impression - "This is gonna be so cool! Just wait and see!"
"W-what? No, they didn't tell me." Ting saw Himelli make a sour face and give a small satchel of what he assumed were coins to the elder he was speaking with. "They said they were going to generate a wormhole. What actually happened?"
"Oh, that happened. They did it. They actually learned how to do it before Contact, so they used it as their sole method of transit for a while before we showed them the warp gates. Most of the other sapient races know about it too, they're just not crazy enough to do it. This happens to about 1 in 100 of all sapients who try. The humans just decide that it's fine."
"But, please, honored elder, what happened?"
"Oh, you're dead."
"Dead?"
Ting must have misheard. He couldn't be dead. There was much too much to do!
"Oh yes, very." The eldest K'laxi flicked his tail, a nod. "Though," he continued. "Not for very long. Once the human ship leaves the wormhole and enters space again you'll go back to your body and 'be alive' again. Whole thing is a mess really." He scoffed. "And the humans think this is normal!." He laughed.
****
Ting came to in his support frame, belted to the seat on the command deck of Dawnbreaker. He glared at Captain Bennigan who was watching him carefully. The Captain locked eyes with Tingmell, nodded with a small grunt and said "We'll talk about it later." He turned forward. "Status!" he barked to the room.
"We've exited the wormhole in atmosphere of K'lax!" The human who shouted the update sounded like he was trying not to panic.
Dawnbreaker spoke right after. "Captain Bennigan, we have exited the wormhole much closer to the K'laxi homeworld than anticipated. We are deep in the atmosphere, tumbling towards the surface from a height of approximately seventy five kilometers."
When Ting heard Dawnbreaker's report, he was confused. When he saw Captain Bennigan's surprise he was terrified. It was then that Ting noticed the noise. In addition to the buzzing hum of the reatctors at WEP, he heard the howl.
The howl of air rushing around the hull.
Bennigan regained control over his features immediately and started barking orders. "Direct emergency power to the engines. We need to boost into a safe orbit. Fire the juke-charges to arrest our spin and orient us towards orbit"
Even Dawnbreaker sounded worried. "Aye Captain, firing juke charges. All-hands prepare for shock."
In space, there is no real way to change your direction quickly. Early human ships experimented with huge, heavy, fast spinning gyroscopes so that they could spin around quickly, but this only changed their orientation, not their direction of travel. Later, it was decided that since everyone was chained to the same laws of physics, space battles weren't going to be like air battles. Instead, the humans concentrated on thick armor to withstand attack.
In the case of a missile attack, human ships could launch small shaped charges which would detonate near the thick hull, and the shockwave of the explosion would cause the ship to slide or 'juke' out of the way of the incoming missile without changing their direction of flight. In atmosphere, tumbling towards the surface with no control surfaces, Dawnbreaker was using the juke charges to arrest the ships spin, and orient it back towards space.
Ting didn't know this. What he did know was suddenly there was a cacophony of double booms as the charges were launched and almost immediately detonated, the force of the explosion pushing against the ship, causing it to move.
The noise was incredible.
Ting could only describe it like being in a hailstorm inside a metal box. Mercifully, it only lasted a few seconds. After the spin was stopped and the ship was pointed back to space, Dawnbreaker's main drive fired. At war emergency power, everyone onboard was subjected to punishing gee forces to boost the ship back into orbit. Ting thought that his bones were going to snap from the weight, but Dawnbreaker knew the limits of his passengers and kept the thrust right at the edge of what he could take.
After a few minutes, the thrust eased and Dawnbreaker spoke. "Attention. We have entered a safe - though low - orbit around K'lax. I apologize for any discomfort you may have experienced. I report no Xenni presence. So as to maintain preservation of my systems, I request War Emergency Power be suspended."
Captain Bennigan nodded. "I concur. Suspend War Emergency Power, set systems to standard power."
The howl of this ship quieted to the low thrum Ting was more familiar with. Captain Bennigan sighed heavily and looked at Ting. "Well, we made it. How was your first trip through a wormhole?"
Now that the emergency was over, Ting could afford to be angry. "Captain Bennigan, it was fine except for the part where I died."
The captain looked at Ting with a soft, weary expression. "It happens to me too and I hate it every time. It may be a small consolation, but our philosophers keep arguing about whether it's actually death or just a hallucination as a side effect of cutting a hole through spacetime."
"That doesn't help."
"Yeah. Didn't help me first time I heard it too."
#humans are deathworlders#humans are space orcs#humans are space oddities#humans are space capybaras#humans and ai#humans are space australians#humans and aliens#sci fi writing#writing#the k’laxiverse
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((Definitely didn't rewrite this ask like 8 different times pshhhh u don't know what ur talking about-))
First things first, I'm 1000000% agreeing with your post about there not being enough platonic Spiderverse x Reader content. I am literally STARVING for platonic Spiderverse PLEASE,,,, there were only like 10 posts when I searched it up last and AO3 was so empty when I checked,,,,
Secondly, I rewatched the first Spiderverse two days ago ((& watched the new one earlier today)), but something about rewatching the original triggered some dormant part of me that has decided that Noir would be SUCH A GOOD PARENTAL / MENTOR FIGURE!!!
So, If you're cool with it, could I get some headcanons or a oneshot ((whatever you're feeling I'm starving here please-)) with him and a reader who's an older teen (like 17-19) and became Spiderman/woman/person when they were in their mid-teens (15/16)? It would probably work best with the context of the reader being a part of the events of the first movie, but in my head, reader has lived their entire life without close friends or anyone they could really talk to about their problems ((especially after they got bit)), so they closed themself off from others. Noir seems like the type that would be able to push someone like them to interact with others more, while also being entirely willing and eager to act as a support system. Maybe the oneshot/headcanon would involve reader getting hurt and Noir patching them up and letting them know that they do have other spider-people available to support them? Preferably gender-neutral but I don't mind either way! :]
((sorry but kinda not sorry for the kinda longish ask ((I did cut it down tho so hopefully it's a bit better)), rewatching Spiderverse triggered something in me that deeply desires parental! Noir so when I saw your post I immediately needed to send in an ask lol))
“You don’t have to shut everything out, you know.”
His words confused you for a moment, until you realized it was gonna be one of those sentimental, overly-emotional, trying to break your walls down, conversations.
“I don’t know what you mean.” You said, rather nonchalantly. You winced when he tightened the bandages around your arms.
You had insisted on going off on your own, resulting in you getting your ass beat- injured.
And apparently Noir was a doctor, so you got stuck with the black and white spiderman variant.
Everyone had tried to engage with you, the pig was very persistent in getting you to crack a smile with his cheesy, cartoony jokes. Their efforts proved to be fruitless.
You lived your entire like without needing anyone, and you weren’t about to change that. It was better that way. You were safer.
“You’re rather cut off for a kid?” It was said like a question, but you knew Noir knew it was a fact.
You acknowledged this was a huff as you cradled you injured arm.
“Could I, uh, see your hand?” Noir held out his own hand. You hesitated, looking between his hand and his masked face. You placed your hand in his.
He began to wrap your bruised hand in bandages that were provided by Mile’s universes Aunt May.
“I know being Spider-Man is hard, but it’s nice knowing there are other spider… people.”
You stayed silent, your answers coming out in hums or little noises, never taking your eyes off of his hands. You stiffened as his fingers touched one of the bruises.
“You’re allowed to talk, kid.” He said, looking you dead in the eye.
“I know that.” You replied, yanking your neatly bandaged hand away from him. “Just don’t see the need for it.”
Noir slightly tilted his head to the side. He hummed after hearing your answer.
“That’s a shame, I quite like the sound of your voice.
Now he was just trying to butter you up.
“Really?” Your tone of voice proved you didn’t believe him.
“Of course. I can only imagine the type of things you’ve got to say.” He leaned back in his chair in Aunt May’s living room. “What’s it like in your world? It’s obvious all our worlds are different.”
You sighed, a bit frustrated. “Look, I swing around, fight the bad guys, get bashed for it on the news, thats my life, nothing more to it.” You pulled your knees closer to your chest as you sat in an armchair.
“Well, if you ever wanna get more… in-depth about it, I haven’t quite lost my hearing yet.” He got up and sent two finger guns your way. It took everything in you not to let a small smile break free.
He left the room, leaving you by yourself. It was quiet and empty.
Suddenly, you didn’t like being alone.
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Writing Is The Loneliest Art...
A couple of days ago, this piece of art with a Neil Gaiman quote flickered across my desktop, and it made me think, so longish post about writing, mental health and human connection ahead..
The actual quote says:
The hardest part of being a writer is that you get lonely. It's just you and the stuff in your head and nobody else can do it for you.
I used to be a performer. I spent a good 10 years of my life in theatres and on stage. That can be lonely, too, but in very different ways. You find a "family" for a short while, and then the show is over, and you all disperse to heaven-knows-where again. Some of these friendships last, others don't, but even the ones that do are hard to maintain because of the nature of the job (if you a very lucky, your paths may cross again for another show).
But the difference, to me, was that I had a physical outlet. That's also stressful in many ways, and being a performer is hard and emotionally taxing (plus, the industry sometimes makes you want to vomit). But it is a very different feeling to channel creative energy into something that is physical.
When I write, I only have the words in my head and the blank page; if I am lucky, the words will come out in a way that stops the page from being blank. And although I wrote "Writing Is The Loneliest Art" as a headline, I imagine this must be quite similar for visual/graphic artists.
I was a writer before I was a performer. I came back to my first love, and I wouldn't want it any other way. Writing always was, and still is, the most truthful form of creative expression for me. I am also lucky enough not to have to earn an income with it (although I do) because I have a job that takes care of that (and thankfully one that comes in handy for character development and world building). But it is very easy to become trapped in your head and thoughts, to stop engaging with the life that is out there. And that life is important--for inspiration, for self-care, for human connection. To break these connections, knowingly or unknowingly, is a real issue for many writers. If I am not careful, it happens to me, too. I have a family, and I am constantly teetering on the edge of spending time in my head or with the blank page when I should be present with them. I can snap myself out of it, but it is not always easy to do, and most writers can probably relate. Because thoughts are thoughts and ideas are ideas. They don't care when they pop into your head, and they will try to claim space, whether the moment is "right" or not.
I have a self-care routine in place to prevent myself from getting trapped in my own head (that's maybe for another post), but it takes effort and constant reminders to get up from my desk, get out, get fresh air and move. Because I'd rather be in my head and write. I am an introvert, like many writers, but that's not a big blanket permission to stop connecting with life. Introversion and loneliness are not one and the same, and writers (everyone really) need to understand the difference. You need to pick up that phone, see people and surround yourself with humans from time to time for your own sake. Not just through your job. You need humans around you whom you truly connect with.
But back to different art forms: As a performer, I had the direct interaction with my fellow performers, and with my audience. I cannot stress enough how important the latter is, and I have said this on here many times: Art comes alive through interaction and communication. It connects us through shared humanity. And there are art forms out there that take care of that connection by default--I have felt the difference, and it is profound.
Yes, we can still write or create art as a form of processing emotions, and from a psychological viewpoint, this is healing and helpful.
But art needs to be both created and experienced. Every art ultimately becomes meaningless without the viewer/reader/audience. Art is never a one-way street.
Writers tell stories, but these stories don't exist in a vacuum. They exist because we can't help writing them, and we would always do it anyway, but they also exist because we want you to read them. And it means something to us to know they moved you, made you laugh, made you cry, made you find out something about yourself you didn't know yet, or they just helped you forget about the troubles you are going through for a little while.
So if you appreciate art forms that don't have direct audience interaction, let the artists know you did. It is not annoying us. We are happy about it. Most of us want that communication. And writers probably need it most...
#neil gaiman#writers#writing#writer life#writer problems#writerscommunity#writeblr#writers of tumblr#writer self-care#writers and poets#writing community#author#writers on tumblr#let your writers know what their stories mean to you#writers mental health#artist struggles#artist problems#artist mental health
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ok so this is my self indulgent request; the reader is black mask's girl and he gets jealous and annoyed when the riddler keeps flirting with her. i know that man would be seething lmao.
Easy To Lose
Black Mask/Reader/The Riddler, ≈900 words
A/N: You're speaking my language. Although, while I've been playing with some unpublished Riddler stuff, this is the first time I've posted him in sooooooo long, I hope I still do him justice - even if he is a little shit in this lmao. Also is HoH, I will die on that hill. Anyway, I really hope this scratches the right itch for you 💚
The Riddler takes his opportunity to chat you up when Roman is otherwise occupied. Rating: 18+
CWs: Swearing, name calling (freak, coward, pussy), unhealthy/toxic relationships, jealousy/possessiveness, allusions to (kinky) sex, allusions to violence. Reader is GN but hair longish hair.
Please remember: as long as you're trying, you're probably doing better than you think.
Alerted by the muffled sound of a familiar voice you cock your head up, greeted by the smiling face of Edward Nygma, sitting in the unoccupied side of your booth. Roman who is sitting beside you does not offer the same courtesy, too engrossed in sending an email on his phone. If he’d even noticed Ed at all. The thickness of his mask made Roman hard of hearing at the best of times. Combine that with the loud thrum of the club’s music, and Roman was often lost to the world if he wasn’t looking right at it.
“Huh?” You lean over the table, turning your head to the side, indicating for him to clarify.
“I said;” Ed follows your lead, leaning in until his lips are close enough to press to your ear. His breath is warm, and steeped with the sweet smell of alcohol, something with gin if you had to guess. “What is rarer, and more valuable than gold, but easier to lose?”
Tongue in cheek you glance back at Roman, who remains undisturbed, despite his passive hold on your back having been broken. You wonder how he’ll react when he finally realises what is going on, he’d never been a fan of The Riddler. Ed had never bothered you so much, yes, he could be egotistical and yes, he loved to patronise, but he was also fun, especially when there were drinks involved. Perhaps your time in the bed of Gotham’s underworld had tainted one too many red flags green.
Turning back to Ed you shrug and ask; “What?”
Without missing a beat Ed reaches a hand up and twirls a finger in a stray lock of your hair. He massages it between his thumb and forefinger bringing it to his nose, and inhaling the scent with his eyes closed. You don’t mind the anticipation, watching his coy smile as he eventually drops your hair, and taps his finger to your nose as he gives you your answer. “You, my dear.”
You laugh. You bat his shoulder playfully and laugh, and laugh, and laugh until you feel the smooth, hard press of leather cup the back of your neck. Your body freezes, all for your head which turns slowly to face Roman, who has finally clocked onto Ed's presence, his near-black eyes boring into you beneath the shadows of his mask’s sunken eyeholes.
“What is this?” Unlike Ed, his voice can be heard over the music, likely by anyone in a half mile radius. Although, it occurs to you now that he and Ed had very different intentions.
Before you can answer, Ed jumps in, always eager to hear the sound of his own voice, or to stir the pot. Probably both.
“I simply saw this poor dear looking neglected, and thought to myself, who better to offer them some much deserved attention than myself. You ought to be more careful Sionis, lots of people around who might want to steal this one away. Decent, meritorious people.”
Ed reaches up to your hair once more but before he can make contact, Roman pulls you back by the scruff of your neck until you’re snug beside him again, fingers still digging into your soft skin. He’d never pull or squeeze hard enough to really hurt you, at least not outside the bedroom, but there is enough force in it to offer you a warning, to tell you he’s not happy.
“I can’t hear a word that freak’s talkin’ about.” He informs you. He can tell he’s trying to act calm, but his duel grip on your neck and the wood of the table proves otherwise. His neck is taught and red as he juts his jaw back and forth. “So, I’m gonna ask you this once, you think real hard about what comes out of that pretty little mouth of yours alright? What’s he been sayin’ to you?”
You don’t need to think hard about it. You’re only going home with one of them tonight, and you want to stay on his good side, and if your confession fuels his fire, so be it. Ed wasn’t the only one who could stir a pot.
The wood of his mask is rigid and cool as you press your lips to the spot that covers his ear. “He said I’m rare, and valuable, and that he wanted to steal me away from you.”
“He fuckin’ what.” It’s not a question, it’s an expletive, a threat. In seconds Roman is on his feet ready for a fight, but when you both look over, Ed is gone. Swallowed amongst the sea of clubbers. His bright green attire blending in amongst the ever-changing lights of the club.
“Fuckin coward,” Roman yells, slamming his fists on the table. His chest heaves as he processes his next step, as he decides if he’s going to go after him or not. You help in his decision-making by resting your hand on his wrist and tugging until he looks at you. His eyes dart back and forth between you and the crowd before he gestures to the sea of people. “Is that the kinda man you want baby? A goddamn pussy? Tryin’ to move in on what’s mine and can’t even face me.”
“No…” You coo, shaking your head. When he settles back into the booth you shuffle close to him again. “You know I only want you.”
“Fuckin’ right you do.” He runs a firm hand through your hair until he finds the soft spot at the nap of your neck where he locks his fingers in, using it to pull you even closer. “Guess I’ll have to stake my claim another way. For tonight.”
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#the riddler#black mask#roman sionis#edward nygma#edward nigma#the riddler x reader#edward nygma x reader#roman sionis x reader#black mask x reader#gilverrwrites
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This is gonna be a longish analysis post but just walk with me for a bit. I don’t even know where I’m going with this, but I’m going to talk about Leon’s humanity and how important it is to his character.
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The topic of goodness, morality, and humanity when it comes to a zombie apocalypse is something I always find interesting. It’s huge when it comes to depicting what is defined as “good” in a universe where the living are amongst the dead and they are left to survive by any means necessary.
I’m currently rewatching The Walking Dead from the beginning, and I want to focus on Rick Grimes and use him as an example. When we first meet Rick, he’s a sheriff, a good man with a wife and a child (Carl) that he loves dearly. He has community, he has a life, and all of that gets taken away from him when he wakes up in a hospital alone in the middle of an apocalypse. Early on in the show, the first 2 seasons really, Rick is depicted as a man with a big moral compass, he does right by people, he protects who he loves and tries to save whoever he can.
Towards the end of S2 into S3 and beyond, Rick beings to change after he starts killing humans who pose a threat to his livelihood on top of killing the walkers (zombies) as a means of survival. He begins to lose himself the more he kills and the more losses he experiences, because he carries the burden of being the leader and has to protect what he currently has. Killing becomes second nature to him, and he’ll do it without hesitation because he has to.
Within every zombie or monster apocalypse franchise, like TWD, The Last of Us, and Resident Evil included, you quickly learn that zombies aren’t the only things you have to be scared of, but the people that are also surviving alongside you who become corrupt and are a threat to you.
Throughout TWD as the story progresses, Rick faces challenges with other leaders like The Governor and Negan who are seen as a modern depiction of “tyrannical dictators”. These people constantly fighting with Rick in particular, are intended to make the viewers question who is good, and who is evil, because all of these leaders in comparison to Rick are seen as “bad people”. Yet, when Rick goes batshit crazy in S5 and does the things he criticized his late best friend Shane of doing (before he kills him), you start to wonder whether or not Rick is still considered a “good man” or has any humanity left in him.
Why am I talking about this you ask? Well, it’s because the same questions you get when thinking about morally grey characters like Rick Grimes from TWD, it can be applied to perceiving Leon Kennedy’s character from RE. Rick has been through hell and had to do what he could to survive and protect those that he cared for, the same way Leon wanted to do from the beginning except of course it’s a bit different in his particular case.
When we first meet Leon Kennedy as a character, he’s a bright eyed rookie at the age of 21. He’s practically a baby with no proper life experience, and he carries a sense of innocence that he doesn’t really understand until he finds himself smack in the middle of a zombie apocalypse of his own. After experiencing Raccoon City and barely surviving, he gets blackmailed into military service and has to work alongside the corrupt government for years fighting against what essentially ruined his life. He was never meant to be a soldier, or a government lap dog, he was told that from the start of his military career. But he was essentially groomed and molded out to become one by force, and that would make anybody turn cold.
Leon at his core, is someone who is so selfless and heroic that it’s tragic to see how he’s changed as he gets older, of course none of it being his fault. His entire perception of the world gets flipped upside down, and he no longer believes that there is “good” in the world, that there is no justice and the reason why he joined the police force (to protect people) is a fallacy. He’s a good guy that gets thrown into the worst possible situation, and he grows numb and detached from reality because he doesn’t see a point in continuing to fight for a world that will destroy itself.
Despite his thoughts and his traumas, his humanity remains intact. Even when he’s been on so many missions knocking on death’s door, he continues to fight. Of course, a big reason being because of Sherry and because he has nothing else, but at the same time it’s because he still maintains some sense of his moral code after everything happens. He easily could’ve become corrupt with his bitterness and anger towards the government after all the trauma he experienced. If he wanted to he could’ve become like Krauser, or Jason, or even Dylan; trying to gain some power because there is no justice or morality. He also could’ve just ended everything a long time ago if he really didn’t want to live anymore. But he doesn’t. He still helps people, he still wants to save them, and he lives by his own personal mantra: If you don't try to save one life, you'll never save any. (In Degeneration)
And we see that in practice multiple times throughout the times we get to see Leon:
RE2 w/Sherry and Claire, and also trying to save Ada and Marvin
RE4 with Ashley (Luis is questionable but both his death and Krauser’s impacted Leon too)
Infinite Darkness with his team, Claire, and seen in how he treats Patrick
Damnation with how he tells Buddy that he shouldn’t kill himself because he owes it to the people who died to stay alive (kind of questionable cause the delivery was wrong but yeah)
RE6 in general trying to save everyone against Simmons
Vendetta helping Chris to fight against Arias despite being drunk and suicidal
Death Island trying to take down Dylan with everyone else
Leon’s humanity is so fundamental to his character that it’s the one thing that really makes him stand out (of course the main character have their humanity but I’m focusing on Leon in particular). The fact that no matter what happens or what he says or what he’s been through, he still somehow carries the same thinking he had when he became a rookie cop in the first place, and honestly it’s admirable. It’s one of the things that really makes me love him as a character. He’s just a good man with a heart of gold in a shitty situation, even though he doesn’t he’s a good person, and somehow underneath all that trauma, a part of him he still cares enough to keep fighting.
#ovaryacted thoughts#leon kennedy#leon scott kennedy#leon s kennedy#resident evil#resident evil leon kennedy#idek what I was talking about but I hope it makes some sense LMFAO#I just get on here and start yapping geez#I made this at like 4 am last night okay#ignore me#I just be thinking
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How to Outline a Novel
Hi there, Darlings! I'm excited to dive into the fascinating world of outlining a novel with you today. Don't worry, we won't be here as long as you might think. So, let's get started and have some fun!
Note: this is a longish post and relies on my preferences and experience.
When it comes to outlining your story, you may hear some people insist that the more detail, the better. However, let's be real, we don't want to get bogged down with trivial details like how the trash is being disposed of in our fantasy world, right?
No way, we're all too busy to devote that much time and energy to it! Personally, I have two versions of an outline that I like to use. The first is a basic outline, which works well for stories set in a world similar to our own, or stories that draw from existing myths or legends like Supernatural, Paranormal or Greek Mythology.
The second outline is a bit more detailed, but don't worry, it's not as complicated as some people make it out to be. Since creating a unique Fantasy or Sci-Fi world requires a bit more thought, this outline helps you add in those extra details without overwhelming you. To use it, you'll start with the basic outline, and then add some additional information to create the more detailed version.
In this blog post, I'll be sharing some insights into why certain elements are essential in your outline (for those who love to write but don't know all the 'why's' when it comes to certain things), and how they can make a huge impact on both your writing process and the readers who pick up your book. And don't worry, I've got you covered at the end with a summarized version of each outline - minus all the extra details - so you can simply copy and paste it for your own use.
Without further ado, let's dive in and start with the basics of outlining your novel!
I hope you've got a tiny inkling of what your story might be about - whether it's a character with a vague purpose, an antagonist with an unclear hero, or even just a cool world with no plot in mind yet. Whatever it may be, it's totally okay to start with just a little dot of information. The important thing is that you've got something to work with!
Book Information.
Starting a novel can be a daunting task, but having the right information can make a world of difference. Let's go over the three key aspects you should consider before diving in: Genre, Trope, and Target Audience.
First up is Genre, which is the category or type of book your story fits into. Once you've picked your genre, you can explore the different tropes that are commonly used within it. A trope is a recurring literary device or theme that helps readers understand the story and its themes.
By combining your chosen genre and tropes, you can begin to define your Target Audience. This is the group of readers who are most likely to enjoy your story based on its genre and themes. It's important to remember that you don't have to stick to just one genre or trope, and that exploring multiple options can help you find the perfect combination for your story.
Genre:
Choosing the right genre for a book is super important because it gives readers a sense of what to expect in terms of plot, themes, tone, and style. Think of genres as categories that books fall into based on their subject matter, writing style, and intended audience. For instance, a mystery novel is all about solving a crime or puzzle, while a romance novel is all about lovey-dovey relationships.
Knowing a book's genre can be helpful for readers who are searching for stories that interest them. Plus, it can help publishers and booksellers market and sell books to the right audience. For writers, it's helpful to stick within the conventions of a genre while still adding their own unique perspective.
All in all, genres make life easier for everyone involved in the book world, from writers to readers to publishers. They help us understand the style and content of a book and make communication and engagement between authors and audiences so much smoother!
With so many genres to choose from, it can be overwhelming to decide which one is right for your story. But don't worry, I'm here to help! Let me give you a quick rundown of some of the most popular genres out there and how they can shape your story:
Romance
Plot: Focuses on the development of a romantic relationship between two characters.
Theme: Love, passion, and relationships.
Tone: Emotionally charged, often with elements of humor or drama.
Style: Emphasizes character development and emotional depth.
Mystery
Plot: Involves a crime or puzzle that needs to be solved.
Theme: Crime, justice, and the human psyche.
Tone: Suspenseful and atmospheric, often with a dark or gritty tone.
Style: Tightly plotted, with clues and red herrings that keep readers guessing.
Science Fiction
Plot: Often involves futuristic or speculative elements, such as space travel, aliens, or advanced technology.
Theme: Exploration, innovation, and the impact of technology on society.
Tone: Can be serious or lighthearted, depending on the focus of the story.
Style: Imaginative and creative, with an emphasis on world-building and scientific accuracy.
Fantasy
Plot: Often involves a magical or supernatural world, with mythical creatures and/or magical powers.
Theme: Good versus evil, heroism, and the power of imagination.
Tone: Can be dark or lighthearted, depending on the focus of the story.
Style: Richly detailed and descriptive, with an emphasis on world-building and creating a sense of wonder.
Historical Fiction
Plot: Set in a specific time period in history, often with real historical figures and events.
Theme: The human experience and the impact of history on individuals and society.
Tone: Often serious and thought-provoking, with an emphasis on authenticity.
Style: Meticulously researched and detailed, with an emphasis on historical accuracy and atmosphere.
Thriller
Plot: Typically involves high stakes, danger, and tension, with a focus on action and suspense.
Theme: Danger, survival, and morality.
Tone: Tense and exciting, with a sense of urgency and danger.
Style: Fast-paced and plot-driven, with a focus on action and suspense.
Horror
Plot: Focuses on creating a sense of fear, dread, or terror in the reader.
Theme: Fear, darkness, and the unknown.
Tone: Dark and ominous, with elements of terror and suspense.
Style: Often graphic and unsettling, with a focus on atmospheric setting and vivid descriptions of gore or violence.
Young Adult (YA)
Plot: Typically features teenage protagonists dealing with coming-of-age issues, such as identity, relationships, and personal growth.
Theme: Identity, belonging, and the transition to adulthood.
Tone: Often earnest and emotional, with a focus on relatable characters and experiences.
Style: Accessible and engaging, with a focus on character development and relatable themes.
Literary Fiction
Plot: Emphasizes character development and exploration of ideas, often without a clear plot-driven structure.
Theme: Human experience, social issues, and the complexities of life.
Tone: Serious and contemplative, with an emphasis on emotional depth and complexity.
Style: Often stylistically experimental or unconventional, with a focus on character psychology and introspection.
Comedy
Plot: Emphasizes humor and satire, often with a focus on exaggerated characters and situations.
Theme: Laughter, joy, and the absurdity of life.
Tone: Light and comedic, with an emphasis on humor and wit.
Style: Often fast-paced and filled with witty banter and humorous observations.
Western
Plot: Set in the American West during the 19th century, often with a focus on cowboys, outlaws, and frontier life.
Theme: Courage, survival, and rugged individualism.
Tone: Rustic and tough, with an emphasis on adventure and action.
Style: Often descriptive and atmospheric, with a focus on the unique landscape and culture of the American West.
Dystopian
Plot: Set in a society or world that has become dark, oppressive, or dysfunctional, often as a result of a catastrophic event.
Theme: Freedom, rebellion, and the dangers of totalitarianism.
Tone: Bleak and pessimistic, with an emphasis on the dangers of conformity and control.
Style: Often atmospheric and descriptive, with a focus on world-building and the exploration of dystopian themes.
Sub-Genre:
As a writer, you've probably heard of sub-genres before. They're like categories or subcategories within a broader genre, based on specific themes, settings, plot elements, or writing style. These sub-genres help to further define and categorize works of literature within a broader genre, making it easier for readers to find books that align with their interests.
For example, in the broad genre of science fiction, there are many different sub-genres like cyberpunk, space opera, hard science fiction, and more. Each sub-genre has its own unique characteristics and themes that differentiate it from other types of science fiction. Likewise, in the genre of mystery, there are sub-genres like cozy mysteries, police procedurals, and psychological thrillers, each with its distinct elements and themes.
Romance
Historical romance: These stories are set in the past and often explore themes of social norms and historical events. They can be sweeping epics or more intimate love stories, and the writing style can be more formal or descriptive.
Contemporary romance: Set in the present day, these stories often explore modern relationships, dating, and career aspirations. They can be light and funny or emotional and dramatic, with a more conversational and informal writing style.
Paranormal romance: These stories feature supernatural elements like vampires, werewolves, and witches. They can explore forbidden love, good versus evil, and the challenges of having supernatural abilities. The tone can be dark and moody or romantic and sexy, and the writing style often includes descriptive world-building.
Romantic suspense: Combining romance and suspense, these stories often involve a heroine in danger who is protected by a hero. They can be fast-paced and action-packed, with a tense and dramatic tone and a plot-driven writing style.
Inspirational romance: These stories often explore themes of faith, redemption, and personal growth. They can involve characters overcoming obstacles and finding hope in their beliefs, with an uplifting and hopeful tone and a focus on character development and inner dialogue.
Erotic romance: These stories feature explicit sexual content and explore themes of passion and desire. They can involve characters exploring their sexuality and forming intense emotional connections, with a sensual and steamy tone and a descriptive and graphic writing style.
LGBTQ+ romance: These stories feature same-sex or non-binary relationships and explore themes of identity, acceptance, and overcoming societal norms. They can be heartfelt and emotional, with a writing style that varies depending on the sub-genre (like historical, contemporary, or paranormal).
Western romance: These stories are set in the American West and often involve cowboys, ranchers, and outlaws. They can explore themes of rugged individualism, adventure, and romance, with a rugged and outdoorsy tone and a writing style that includes descriptive landscapes and dialect.
Fantasy romance: These stories combine elements of fantasy and romance and often involve mythical creatures, magic, and epic journeys. They can explore forbidden love, quests, and battles between good and evil, with a sweeping and grand tone and a writing style that includes descriptive world-building.
Multicultural romance: These stories feature characters from diverse cultural backgrounds and explore themes of identity, family, and tradition. They can involve characters navigating cultural differences and forming deep connections, with a sensitive and heartfelt tone and a writing style that varies depending on the sub-genre (like historical or contemporary).
Mystery
Cozy Mystery: Cozy mysteries are often set in small, quaint towns or villages, and feature an amateur sleuth who solves a murder or series of murders. The tone is light and often humorous, with a focus on character and relationships rather than graphic violence or sex.
Police Procedural: Police procedurals focus on the investigation process of a crime, and often feature a professional law enforcement detective as the main character. The plot is driven by the methods used to solve the crime, and the tone is often gritty and realistic.
Hard-Boiled Mystery: Hard-boiled mysteries feature tough, cynical detectives who operate outside of the law to solve crimes. The tone is dark and gritty, with a focus on violence and corruption.
Historical Mystery: Historical mysteries are set in the past and often feature famous historical figures or events as part of the plot. The tone is often atmospheric, with a focus on the historical setting and culture.
Amateur Sleuth: Amateur sleuth mysteries feature a non-professional detective as the main character, such as a journalist, librarian, or chef. The tone is often lighthearted and cozy, with a focus on the amateur detective's unique skills and abilities.
Legal Thriller: Legal thrillers often involve legal proceedings or courtroom drama as part of the plot. The main character is often a lawyer or judge, and the tone is often intense and suspenseful.
Noir: Noir mysteries are characterized by their dark and pessimistic tone, with flawed characters and morally ambiguous situations. The focus is on the psychological aspects of crime, rather than the procedural.
Romantic Suspense: Romantic suspense combines elements of both romance and mystery, with a focus on the relationship between the main characters as well as the suspenseful plot.
Whodunit: Whodunit mysteries are characterized by their focus on the puzzle-like aspect of solving a crime, with a twist ending revealing the identity of the culprit. The tone is often light and playful, with a focus on the clues and red herrings that lead up to the solution.
Science Fiction.
Cyberpunk: This sub-genre typically features a near-future, dystopian setting in which advanced technology has both empowered and oppressed society. The tone is often gritty and dark, with a focus on the impact of technology on human identity.
Space Opera: This sub-genre is characterized by grand-scale adventures and space battles set in a future where humanity has colonized the galaxy. The tone is often adventurous and heroic, with an emphasis on world-building and exploration.
Post-Apocalyptic: This sub-genre is set in a world after a major catastrophe or disaster, and focuses on the struggle for survival and rebuilding of society. The tone is often bleak and pessimistic, with themes of isolation, desperation, and survival.
Alternate History: This sub-genre explores what would happen if key historical events had played out differently, resulting in a different present-day world. The tone and themes can vary widely depending on the point of divergence in history.
Hard Science Fiction: This sub-genre emphasizes scientific accuracy and plausibility in its exploration of speculative concepts and technologies. The tone can vary, but often has a focus on problem-solving and logical deduction.
Time Travel: This sub-genre involves characters traveling through time to alter the course of history or prevent a catastrophic event. The tone can vary widely depending on the consequences of altering history.
Alien Invasion: This sub-genre typically features humans struggling to defend Earth from an alien invasion. The tone is often action-packed and suspenseful, with a focus on survival and overcoming seemingly insurmountable odds.
Steampunk: This sub-genre is set in a world where steam power is the dominant technology, often featuring Victorian-era settings and aesthetics. The tone is often adventurous and fantastical, with an emphasis on creativity and innovation.
Military Science Fiction: This sub-genre typically involves soldiers and military units in futuristic settings, often featuring advanced technology and alien races. The tone is often action-packed and focused on combat and strategy.
Biopunk: This sub-genre explores the implications of biotechnology and genetic engineering, often featuring genetic modification of organisms or humans. The tone can be dark and cautionary, with themes of ethics and control.
Cyberprep: This sub-genre is a hybrid of cyberpunk and preppy fashion, featuring high-tech and high-fashion elements in a futuristic setting. The tone can be lighthearted and satirical, with a focus on fashion and style.
Space Western: This sub-genre combines science fiction and Western themes, often featuring space cowboys and frontier settlements on distant planets. The tone is often adventurous and action-packed, with a focus on individualism and freedom.
Slipstream: This sub-genre blends elements of science fiction with surrealism, often featuring strange or unexplained phenomena. The tone can be dreamlike and ambiguous, with a focus on atmosphere and mood.
New Wave: This sub-genre emerged in the 1960s and 1970s, featuring experimental and avant-garde styles and themes. The tone can be unconventional and challenging, with a focus on literary techniques and subversion of traditional science fiction tropes.
Mundane Science Fiction: This sub-genre emphasizes realism and plausibility in its exploration of near-future technology and societal developments. The tone is often introspective and critical, with a focus on the impact of technology on everyday life.
Fantasy
High Fantasy/Epic Fantasy: This sub-genre is characterized by a richly developed fictional world, often with its own history, geography, and mythology. The plot often centers on a hero's journey or quest to save the world or defeat evil. The tone is often grand and epic, with a focus on magic, destiny, and larger-than-life conflicts.
Urban Fantasy: This sub-genre is set in a contemporary, urban setting, often featuring supernatural elements like vampires, werewolves, and witches. The tone can be dark and gritty, with a focus on action, suspense, and the clash between the supernatural and the mundane.
Historical Fantasy: This sub-genre is set in a historical period, often featuring elements of magic and the supernatural. The tone can be romantic and atmospheric, with a focus on historical accuracy as well as fantastical elements.
Fairy Tale Retellings: This sub-genre reimagines classic fairy tales with new twists and perspectives. The tone can range from whimsical to dark and brooding, with a focus on themes of transformation and the power of storytelling.
Mythic Fantasy: This sub-genre draws on elements of myth and folklore, often featuring gods, goddesses, and other supernatural beings. The tone can be mystical and spiritual, with a focus on themes of destiny, fate, and the search for meaning.
Dark Fantasy: This sub-genre often features supernatural or horror elements, and may have a bleak or nihilistic tone. The plot can involve antiheroes or morally ambiguous characters, and may explore themes of power, corruption, and redemption.
Portal Fantasy: This sub-genre involves characters who travel between different worlds or dimensions, often featuring a contrast between the magical and the mundane. The tone can be adventurous and whimsical, with a focus on exploration and discovery.
Sword and Sorcery: This sub-genre features heroes who are skilled with weapons and magic, often set in a medieval-inspired world. The tone can be action-packed and swashbuckling, with a focus on adventure, combat, and daring exploits.
Comic Fantasy: This sub-genre combines elements of fantasy and humor, often featuring absurd or satirical elements. The tone is often lighthearted and comedic, with a focus on wordplay, satire, and parody.
Paranormal Romance: This sub-genre combines elements of romance and fantasy, often featuring supernatural love interests like vampires or werewolves. The tone can be romantic and steamy, with a focus on passion, desire, and forbidden love.
Steampunk Fantasy: This sub-genre is set in a world where steam power and clockwork technology are the norm. The plot often involves a mix of adventure, science fiction, and fantasy elements. The tone is often gritty and industrial, and the style is characterized by a Victorian aesthetic and the use of intricate machinery.
Contemporary Fantasy: This sub-genre takes place in the present day and features magic and fantastical elements that coexist with the mundane world. The plot often involves characters discovering or coming to terms with their magical abilities. The tone is often lighthearted, and the style is characterized by blending magic and realism.
Magical Realism: This sub-genre blends elements of the fantastical with the ordinary, creating a world where magic is a natural part of everyday life. The plot often explores the intersection between the magical and the real, with characters struggling to make sense of their extraordinary experiences. The tone is often dreamlike, and the style is characterized by richly descriptive prose.
Historical Fiction.
Historical romance: Set in a specific historical period, the plot centers on a romantic relationship between characters. The theme may focus on societal expectations, class differences, or political intrigue. The tone is usually romantic, with elements of drama and tension. The style emphasizes historical accuracy and details, such as costumes, settings, and dialogue.
Alternate history: The plot imagines an alternate version of history, where events unfold differently from what actually happened. The theme may explore the consequences of different choices or highlight how different societies might have evolved. The tone can range from serious to playful, depending on the author's intent. The style often emphasizes world-building, creating a detailed and believable alternate reality.
Historical fantasy: Combining elements of historical fiction and fantasy, this subgenre often involves magical or supernatural elements. The plot may center on a quest or adventure set in a specific historical period, with magical or mythical creatures and events. The theme often explores the intersection of history and fantasy, highlighting how beliefs and legends shape society. The tone can be fantastical or historical, depending on the balance of elements. The style often emphasizes world-building, creating a fully realized alternate reality.
Historical mystery: Set in a specific historical period, the plot centers on a mystery that must be solved by the protagonist. The theme may explore social or political issues of the time, and the tone is often suspenseful and dramatic. The style often emphasizes historical accuracy, highlighting the details of daily life and societal norms of the period.
Historical adventure: The plot centers on a thrilling adventure set in a specific historical period, often involving exploration, battles, or other daring escapades. The theme may explore themes of heroism, duty, or sacrifice, and the tone is often action-packed and exciting. The style emphasizes historical accuracy, highlighting the details of weapons, clothing, and other cultural aspects of the period.
Historical drama: The plot centers on the emotional and personal struggles of characters living in a specific historical period. The theme may explore issues of social justice, morality, or individualism, and the tone is often serious and introspective. The style emphasizes historical accuracy, highlighting the details of the characters' lives and the period's cultural norms.
Biographical historical fiction: The plot is based on the life of a historical figure, often imagining details that are not known or not recorded. The theme may explore the motivations and struggles of the individual or highlight the cultural and political context of the time. The tone can be serious or light-hearted, depending on the focus of the story. The style emphasizes historical accuracy, often using primary sources to create a realistic portrayal of the individual's life and times.
Historical horror: Combining elements of horror and historical fiction, this subgenre often involves supernatural or mystical elements set in a specific historical period. The plot may center on a curse or a haunted location, with the theme often exploring how historical beliefs and legends shape modern fears. The tone is often eerie and unsettling, and the style emphasizes historical accuracy and the use of atmospheric details to create a sense of dread.
Historical romance mystery: This subgenre combines elements of historical romance and historical mystery, often involving a romantic relationship that is threatened or complicated by a mystery or crime. The theme may explore social or political issues of the time, and the tone is often suspenseful and romantic. The style emphasizes historical accuracy, highlighting the details of daily life and societal norms of the period.
War fiction: Set during a specific historical conflict, the plot centers on the experiences of soldiers, civilians, or others affected by the war. The theme may explore issues of sacrifice, duty, and morality, and the tone is often gritty and realistic. The style emphasizes historical accuracy, highlighting the details of weaponry, battles,
Thriller
Psychological thriller - The plot revolves around the mental and emotional states of the characters, often featuring unreliable narrators, unexpected plot twists, and intense psychological tension. Themes may include mental illness, trauma, and the dark side of human nature. The tone is usually suspenseful and ominous.
Crime thriller - These stories focus on a crime, often a murder, and the investigation that follows. The plot typically involves a detective or law enforcement officer trying to solve the crime and bring the perpetrator to justice. Themes may include corruption, justice, and morality. The tone can range from gritty and dark to fast-paced and action-packed.
Spy thriller - The plot involves espionage, secret agents, and international intrigue. The themes may include politics, espionage, and espionage. The tone is usually suspenseful and fast-paced, with high stakes and intense action scenes.
Legal thriller - These stories focus on lawyers and legal proceedings, often involving a courtroom drama. The plot typically involves a lawyer working to uncover the truth and bring justice to a case. Themes may include justice, ethics, and the law. The tone is usually suspenseful and dramatic.
Techno-thriller - This sub-genre combines elements of science fiction and thriller, often featuring technology as a major plot point. The plot typically involves a threat to society or the world that can only be resolved through the use of advanced technology. Themes may include artificial intelligence, cyber warfare, and technological advancement. The tone is usually fast-paced and action-packed.
Action thriller - These stories are heavy on action and may include elements of crime, espionage, or terrorism. The plot typically involves a protagonist fighting against a powerful antagonist or organization. Themes may include heroism, justice, and revenge. The tone is usually fast-paced and full of action scenes.
Historical thriller - The plot is set in a historical period and involves mystery, intrigue, and danger. Themes may include historical events, social issues, and politics. The tone is usually atmospheric and suspenseful.
Disaster thriller - The plot typically involves a natural disaster or catastrophic event, and the characters must fight to survive. Themes may include survival, human nature, and the fragility of society. The tone is usually tense and suspenseful.
Medical thriller - These stories involve medical professionals, diseases, and medical research. The plot typically involves a medical crisis that threatens the lives of many people. Themes may include medical ethics, science, and the nature of life and death. The tone can range from intense and suspenseful to thoughtful and introspective.
Horror thriller - This sub-genre combines elements of horror and thriller, often featuring supernatural or paranormal elements. The plot typically involves a protagonist facing off against a powerful and evil force. Themes may include fear, death, and the supernatural. The tone is usually dark and terrifying.
Horror
Supernatural horror - This sub-genre involves supernatural elements such as ghosts, demons, and witches. The plot typically revolves around an evil presence that haunts or possesses individuals or places. Themes often involve the struggle between good and evil, the afterlife, and the supernatural world. The tone can be eerie, unsettling, or frightening. The style can include vivid descriptions of supernatural events or paranormal activity.
Psychological horror - This sub-genre focuses on the psychological aspects of fear, anxiety, and mental breakdowns. The plot may involve a character's descent into madness, paranoia, or obsession. Themes can explore the limits of the human mind, the duality of human nature, and the fragility of sanity. The tone can be disturbing, disorienting, or unsettling. The style can include introspective narration, unreliable narrators, or surreal imagery.
Slasher horror - This sub-genre involves a serial killer or a group of killers who hunt down and murder their victims. The plot often revolves around a group of people who are trapped or isolated with the killer, such as a group of teenagers in a cabin in the woods. Themes can explore the fear of death, survival instincts, and the consequences of violence. The tone can be intense, gory, or suspenseful. The style can include graphic violence, jump scares, and tense chase scenes.
Gothic horror - This sub-genre is characterized by dark, atmospheric settings, such as abandoned castles, haunted mansions, and ancient ruins. The plot typically involves supernatural or mysterious occurrences, such as curses, ghosts, or ancient evils. Themes can explore the corruption of power, the dangers of obsession, and the struggle between rationality and superstition. The tone can be melancholic, oppressive, or ominous. The style can include ornate language, archaic settings, and romanticized descriptions.
Body horror - This sub-genre focuses on the physical horror of bodily transformation or mutilation. The plot may involve diseases, mutations, or body horror caused by technology. Themes can explore the limits of the human body, the dangers of scientific progress, and the horror of physical transformation. The tone can be grotesque, revolting, or terrifying. The style can include vivid descriptions of bodily horror, visceral imagery, and medical terminology.
Literary Fiction
Historical Literary Fiction: This sub-genre is characterized by a focus on historical events and figures, with an emphasis on the emotions and inner lives of the characters. The plot is often driven by the characters' personal struggles and relationships, rather than by external events. Themes in historical literary fiction often explore the impact of history on the individual and the human condition. The tone can be reflective, nostalgic, and introspective, and the style is often lyrical and descriptive.
Contemporary Literary Fiction: This sub-genre focuses on the present-day world, with a focus on realistic and complex characters and their relationships. The plot often centers around the characters' struggles with personal issues and societal problems, with an emphasis on character development and introspection. Themes can vary widely but often explore the human experience in contemporary society. The tone can be serious, contemplative, or satirical, and the style is often characterized by literary devices such as metaphor, symbolism, and stream of consciousness.
Experimental Literary Fiction: This sub-genre is characterized by an unconventional approach to narrative structure, language, and form. The plot can be non-linear or fragmented, and the themes may be abstract or philosophical. The tone and style can vary widely but often aim to challenge the reader's expectations and push the boundaries of traditional storytelling.
Multi-Cultural Literary Fiction: This sub-genre explores the experiences and perspectives of characters from diverse cultural backgrounds. The plot may focus on the challenges of living between cultures or on the intersection of different cultural identities. Themes often explore issues of identity, belonging, and cultural heritage. The tone can be serious, humorous, or satirical, and the style is often characterized by rich descriptions of cultural traditions and practices.
Metafiction: This sub-genre is characterized by a self-referential approach to storytelling, with the author drawing attention to the construction of the narrative itself. The plot may involve characters who are aware of their existence within a fictional world or who interact with the author. Themes often explore the nature of fiction, reality, and the relationship between author and reader. The tone and style can be playful, ironic, or philosophical.
Psychological Literary Fiction: This sub-genre focuses on the psychological development and inner lives of the characters. The plot may center around the characters' struggles with mental illness, trauma, or personal crises. Themes often explore the nature of the human mind and emotions, and the impact of past experiences on the present. The tone can be introspective, haunting, or disturbing, and the style is often characterized by vivid descriptions of the characters' psychological states.
Postmodern Literary Fiction: This sub-genre is characterized by a skeptical attitude toward grand narratives and an interest in the fragmentation and deconstruction of meaning. The plot may be non-linear or fragmented, and the themes may explore the breakdown of societal norms and values. The tone and style can be playful, ironic, or satirical, and the style often incorporates elements of popular culture and intertextuality.
Comedy
Romantic Comedy: A humorous story focused on a romantic relationship between the main characters. The plot often includes obstacles that the couple must overcome in order to be together. The tone is light-hearted and the style is witty and charming.
Satire: A story that uses humor to criticize social or political issues. The plot often involves exaggerated or absurd situations and characters. The theme is often social commentary or critique of certain practices. The tone can be biting or ironic, and the style is often sharp and clever.
Farce: A comedic story that relies heavily on physical humor, improbable situations, and mistaken identities. The plot is often fast-paced and chaotic, and the tone is over-the-top and exaggerated. The style is often slapstick and absurd.
Parody: A story that imitates the style or conventions of another work in order to make fun of it. The plot is often a tongue-in-cheek version of the original story, with exaggerated or nonsensical elements. The tone can be mocking or affectionate, and the style often mimics the original work.
Dark Comedy: A story that uses humor to address serious or taboo subjects, such as death, disease, or crime. The plot often involves characters in bleak or macabre situations, and the humor is often edgy and uncomfortable. The tone is often ironic or sardonic, and the style can be morbid or irreverent.
Comedy of Manners: A story that satirizes the social behavior and customs of a particular group or class of people. The plot often involves witty banter and subtle social cues, and the humor is often sophisticated and intellectual. The tone is often dry or understated, and the style is elegant and refined.
Comic Fantasy: A story that combines humor with elements of fantasy or science fiction. The plot often involves fantastical or absurd elements, and the humor can be whimsical or silly. The tone is often light-hearted and playful, and the style can be fanciful or imaginative.
Black Comedy: A story that uses humor to explore dark or taboo subjects, such as death, crime, or mental illness. The plot often involves characters in extreme or disturbing situations, and the humor is often irreverent or gallows. The tone can be bleak or nihilistic, and the style is often daring or provocative.
Absurdist Comedy: A story that uses humor to explore the meaninglessness or irrationality of human existence. The plot often involves surreal or absurd situations, and the humor can be nonsensical or absurd. The tone is often detached or alienated, and the style can be experimental or avant-garde.
Western
Classic Western: The plot usually revolves around a conflict between good and evil, often involving cowboys, Native Americans, and lawmen. The themes are typically centered around justice, honor, and self-reliance. The tone is often serious and gritty, and the style is straightforward and unadorned.
Western Romance: The plot revolves around a romantic relationship between two main characters set against the backdrop of the American West. The themes typically involve love, commitment, and the challenges of living in a rugged and unpredictable environment. The tone is often romantic and sentimental, and the style is descriptive and emotionally expressive.
Western Adventure: The plot involves an exciting and dangerous journey or quest undertaken by the main characters, often set in the wilderness or on the frontier. The themes are usually centered around courage, perseverance, and survival. The tone is often action-packed and suspenseful, and the style is fast-paced and visually descriptive.
Weird West: This sub-genre blends elements of Western fiction with supernatural or science-fiction elements, often set in an alternative or fantastical version of the American West. The themes typically involve the clash between the natural and the supernatural, as well as the exploration of the human psyche. The tone is often dark and unsettling, and the style is imaginative and evocative.
Western Noir: This sub-genre features the classic noir elements such as crime, corruption, and moral ambiguity, set in a Western setting. The themes often explore the dark side of human nature, including greed, violence, and betrayal. The tone is typically bleak and cynical, and the style is atmospheric and evocative.
Spaghetti Western: This sub-genre originated in Italy and is characterized by its stylized and exaggerated depictions of violence and action, often set in the American West. The themes typically involve revenge, justice, and survival, and the tone is often highly dramatic and operatic. The style is visually stunning, with striking landscapes, vivid colors, and innovative camera work.
Dystopian
Post-Apocalyptic Dystopia: In this sub-genre, the world as we know it has ended, and society has collapsed. The plot often centers around the characters' struggle for survival in a world where resources are scarce and danger lurks around every corner. Themes include the consequences of environmental disaster, the dangers of unchecked technology, and the importance of community in times of crisis. Tone is often bleak, but there can also be moments of hope and resilience. Style can be gritty and realistic or more imaginative and surreal.
Utopian/Dystopian Hybrid: This sub-genre features a world that appears to be a utopia on the surface but hides a darker side. The plot often revolves around a protagonist who uncovers the dark underbelly of the supposedly perfect society. Themes include the dangers of conformity, the corrupting influence of power, and the importance of individuality. Tone can be both optimistic and pessimistic, with a sense of tension and unease permeating the story. Style can be both realistic and fantastical.
Political Dystopia: In this sub-genre, the world is ruled by an oppressive government or dictator. The plot often revolves around a protagonist or group of protagonists who rebel against the ruling powers. Themes include the dangers of totalitarianism, the importance of personal freedom and democracy, and the corrupting influence of power. Tone can be dark and somber, with a sense of urgency and danger. Style can be both realistic and fantastical.
Technological Dystopia: This sub-genre features a world where technology has become a threat to humanity. The plot often centers around the unintended consequences of technological advancement and the struggle to regain control. Themes include the dangers of artificial intelligence, the loss of privacy, and the importance of human connection. Tone can be both pessimistic and optimistic, with a sense of wonder and awe mixed with fear and uncertainty. Style can be both realistic and fantastical.
Environmental Dystopia: In this sub-genre, the world is suffering from ecological collapse. The plot often centers around the struggle to survive in a world where natural resources are scarce and the environment is toxic. Themes include the consequences of climate change, the importance of sustainable living, and the dangers of greed and short-sightedness. Tone can be both somber and hopeful, with a sense of urgency and the need for action. Style can be both realistic and fantastical.
Medical Dystopia: In this sub-genre, society is threatened by a deadly disease or virus. The plot often revolves around the search for a cure or vaccine and the struggle to contain the outbreak. Themes include the dangers of biological warfare, the importance of medical research and innovation, and the importance of global cooperation in times of crisis. Tone can be both tense and suspenseful, with a sense of urgency and the need for quick action. Style can be both realistic and fantastical.
Cyberpunk: This sub-genre features a dystopian future where technology has become the dominant force in society. The plot often centers around characters who are marginalized or oppressed by the ruling powers and who use technology to fight back. Themes include the dangers of unchecked capitalism, the loss of privacy, and the importance of personal freedom. Tone is often dark and gritty, with a sense of danger and rebellion. Style can be both futuristic and retro.
Steampunk: This sub-genre features a dystopian world where technology has taken a different form, with steam-powered machines and Victorian-era aesthetics. The plot often revolves around characters who are struggling against a corrupt ruling class or using technology to achieve their goals. Themes include the dangers of industrialization, the importance of individuality and creativity, and the need for social reform. Tone can be both
Tropes
Let me break down the importance of tropes in storytelling for you. Tropes are literary or storytelling devices that are commonly used in a specific genre or type of story. They can help readers identify and understand the story's themes, providing them with a sense of familiarity and expectations about the plot and characters.
For instance, in fantasy and adventure stories, the "hero's journey" is a popular trope where the protagonist embarks on a quest, faces challenges, and eventually triumphs over adversity. When used effectively, tropes can create a sense of comfort and connection between the reader and the story, while also allowing authors to explore new ideas and variations on established themes.
Tropes can also be used to subvert or challenge reader expectations, which can create a sense of surprise or intrigue. For example, a romance story that plays with the "enemies to lovers" trope by having the two characters come from opposing sides of a political conflict can create a fresh and unexpected twist on a familiar theme.
Overall, despite sometimes being viewed as cliché or overused, tropes serve an important purpose in storytelling by helping readers engage with and understand the story. Plus, they offer authors a useful framework for exploring new ideas and themes.
Romance
Enemies to Lovers - two characters who start out as adversaries or even enemies, but eventually fall in love.
Friends to Lovers - two characters who have been friends for a long time, but eventually realize their feelings for each other go beyond friendship.
Second Chance Romance - two characters who have a history together, but for various reasons, didn't work out. They get a second chance at love.
Forbidden Love - two characters who are attracted to each other but are prevented from being together due to societal or cultural constraints, such as a workplace romance or a relationship between a boss and an employee.
Fake Relationship - two characters who enter into a fake relationship for various reasons, but eventually develop real feelings for each other.
Love Triangle - two characters who compete for the affection of a third character.
Billionaire Romance - a wealthy character falls in love with someone from a different social class, creating a conflict between money and love.
Small Town Romance - two characters fall in love in a close-knit community or small town setting.
Alpha Hero - a strong, dominant male character who falls in love with a strong, independent female character.
Marriage of Convenience - two characters agree to marry for practical reasons, such as financial stability or immigration purposes, but end up falling in love.
Single Parent Romance - a character falls in love with someone who already has a child, creating a family dynamic.
Time Travel Romance - a character travels through time and falls in love with someone from a different era.
Bodyguard Romance - a character falls in love with their bodyguard, creating a dynamic of danger and protection.
Sports Romance - two characters fall in love in the context of a sports team or competition.
Beauty and the Beast - a physically unattractive character falls in love with someone who sees beyond their appearance.
Amnesia Romance - a character loses their memory and falls in love with someone who helps them regain it.
Opposites Attract - two characters who are very different fall in love, creating a dynamic of contrast.
Office Romance - two characters fall in love in the context of a workplace or office setting.
Vacation Romance - two characters fall in love while on vacation, creating a dynamic of escape and adventure.
Royalty Romance - a character falls in love with someone from a royal or aristocratic family, creating a conflict between love and social status.
Mystery
Whodunit - the main focus of the story is to discover who committed a crime.
Detective Protagonist - a detective or investigator is the main character, who solves the mystery.
Amateur Sleuth - a non-professional character who is drawn into the mystery and works to solve it.
Closed Circle - a group of people is trapped in a confined space with a murderer, forcing them to solve the mystery before they become the next victim.
Cozy Mystery - a lighthearted and humorous mystery featuring an amateur sleuth in a small town setting.
Police Procedural - a detailed look at the inner workings of a police investigation, from collecting evidence to solving the crime.
Locked Room Mystery - a murder occurs in a room that appears to be locked from the inside, leaving investigators to solve how the killer could have escaped.
Serial Killer - a story centered around a killer who has committed multiple murders and is being pursued by law enforcement.
Noir - a dark and gritty mystery with a bleak outlook, often featuring an anti-hero protagonist.
Hard-boiled - similar to noir, featuring a tough, cynical protagonist who operates outside the law to solve the mystery.
Amateur Detective Team - a group of amateur sleuths work together to solve the mystery.
Red Herring - a misleading clue or character that is intended to distract the reader and throw them off the scent of the real culprit.
Femme Fatale - a mysterious and seductive woman who often plays a central role in the mystery.
Plant - a seemingly innocuous detail or character that is later revealed to be a crucial piece of evidence.
MacGuffin - an object or concept that drives the plot, but ultimately has little importance in the resolution of the mystery.
Culprit POV - the story is told from the perspective of the killer or the criminal, creating a unique twist on the traditional mystery formula.
Protagonist Framed - the main character is framed for a crime they did not commit, forcing them to clear their name and solve the mystery.
Covert Ops - a mystery that involves espionage or intelligence gathering.
Unreliable Narrator - the story is told from the perspective of a character who may not be telling the truth, creating uncertainty and confusion for the reader.
Supernatural Mystery - a mystery that involves supernatural or paranormal elements, such as ghosts, werewolves, or vampires.
Science Fiction
Space Opera - a story that takes place in a vast and complex universe with epic battles and larger-than-life characters.
Time Travel - the ability to travel through time, either to the past or the future.
Alien Invasion - a story that revolves around an extraterrestrial invasion of Earth.
Post-Apocalyptic - a story that takes place after a catastrophic event has destroyed civilization as we know it.
Cyberpunk - a subgenre of science fiction that features a dystopian future where advanced technology has led to a breakdown of society.
Artificial Intelligence - the creation of intelligent machines that can think and reason like humans.
Colonization - a story that explores the colonization of a new planet or the colonization of Earth by extraterrestrial beings.
Galactic Empire - a vast empire that spans across multiple planets and galaxies.
Genetic Engineering - the modification of DNA to create new forms of life or enhance existing ones.
Interstellar Travel - the ability to travel between star systems and explore the vastness of space.
Parallel Universes - the concept of multiple universes or realities existing simultaneously.
Cybernetics - the integration of machines and technology with the human body to enhance abilities or extend lifespan.
Post-Human - the evolution of humanity beyond its current form, either through technology or genetic modification.
Utopia/Dystopia - a society that is either a perfect utopia or a nightmarish dystopia.
Transhumanism - the belief in the ability of humans to evolve beyond their biological limitations.
Hard Science Fiction - a subgenre of science fiction that focuses on the scientific accuracy and realism of the story.
Soft Science Fiction - a subgenre of science fiction that focuses on the social, cultural, and philosophical aspects of the story.
Space Western - a story that combines elements of science fiction with the themes and tropes of a Western.
First Contact - a story that explores the initial meeting between humans and an extraterrestrial species.
Singularity - the point at which artificial intelligence becomes more advanced than human intelligence, leading to a transformation of society.
Fantasy
Epic Quest - a story that revolves around a hero or group of heroes on a perilous journey to achieve a great goal.
Magic - the use of supernatural forces to achieve extraordinary feats or solve problems.
Swords and Sorcery - a subgenre of fantasy that features action-packed adventures with battles and magic.
High Fantasy - a subgenre of fantasy that takes place in an alternate world with its own history, culture, and mythology.
Dark Fantasy - a subgenre of fantasy that incorporates horror elements and a darker tone.
Prophecy - a prediction or foretelling of future events that drives the plot.
Chosen One - a hero or heroine with a special destiny or purpose.
Magical Creatures - the inclusion of fantastical creatures such as dragons, unicorns, or griffins.
Medieval Setting - a story that takes place in a time period similar to the Middle Ages, with knights, castles, and kings.
Fairy Tales - the retelling or reimagining of classic fairy tales such as Cinderella, Snow White, or Beauty and the Beast.
Parallel Worlds - the concept of multiple worlds or dimensions existing simultaneously.
Coming-of-Age - a story that focuses on a character's growth and development as they transition from childhood to adulthood.
Hero's Journey - a story structure that follows a hero or heroine through a series of trials and challenges.
Mythology - the inclusion of gods and goddesses, myths, and legends from various cultures.
Quest Objects - a magical or mythical object that serves as the goal of the hero's journey.
Underworld - a mysterious and often dangerous realm that exists beneath the surface of the world.
Romance - a romantic subplot or love interest that drives the plot.
Time Travel - the ability to travel through time, either to the past or the future.
Folklore - the inclusion of traditional stories, beliefs, and customs of a particular culture.
Elemental Magic - the use of magic that is connected to the elements such as fire, water, earth, or air.
Historical Fiction
Time Period - a story that takes place in a specific historical time period, such as the Middle Ages, Renaissance, or Victorian era.
Historical Figures - the inclusion of real-life historical figures, such as kings, queens, politicians, or artists, as characters in the story.
Political Intrigue - a plot that involves political maneuvering, conspiracy, and power struggles.
War and Conflict - a story that focuses on a historical war or conflict and its impact on individuals or society.
Romance - a romantic subplot or love interest that is set against the backdrop of a historical event or time period.
Social Commentary - a story that explores social issues and injustices of a specific historical time period, such as class, gender, or race.
Court Intrigue - a plot that takes place in a royal court, with its politics, gossip, and drama.
Historical Mystery - a mystery story that takes place in a specific historical time period, often featuring real-life historical events or figures.
Historical Adventure - an adventure story that takes place in a specific historical time period, often featuring exploration, discovery, and danger.
Family Saga - a multi-generational story that spans a significant period of time and follows a family's history and relationships.
Historical Biographical Fiction - a fictionalized account of a real-life historical figure's life and experiences.
Secret Societies - a plot that involves secret organizations or societies, often with historical significance.
Historical Romance - a romantic story set in a specific historical time period, often with themes of social class, duty, and tradition.
Historical Fantasy - a blend of historical fiction and fantasy elements, such as magic, mythical creatures, or alternative history.
Historical Horror - a blend of historical fiction and horror elements, often exploring the darker aspects of a specific historical time period.
Time Travel - the ability to travel through time to experience different historical time periods.
Historical Crime - a crime story that takes place in a specific historical time period, often featuring real-life historical crimes or criminals.
Historical Epic - a grand, sweeping story that covers a significant period of time and multiple characters.
Historical Drama - a dramatic story that takes place in a specific historical time period, often featuring conflict, struggle, and personal growth.
Historical Fictionalization - a fictional story that takes place in a specific historical time period, often featuring real-life historical events or figures.
Thriller
High Stakes - a story where the protagonist is facing extreme danger or risk to their life or the lives of others.
Psychological Thriller - a story that focuses on the psychological and emotional state of the characters, often involving mind games and manipulation.
Serial Killer - a plot that involves a murderer who kills multiple victims over a period of time, often with a specific motive or pattern.
Conspiracy - a plot that involves a secret organization or group that is working against the protagonist and their goals.
Race Against Time - a story where the protagonist has a limited amount of time to achieve their goal before a catastrophic event occurs.
Action-Packed - a story with plenty of fast-paced action scenes, often featuring chases, fights, and explosions.
Law Enforcement - a plot that involves law enforcement agencies or officers investigating a crime or trying to stop a criminal.
Revenge - a plot that involves a character seeking revenge against those who have wronged them or their loved ones.
International Intrigue - a story that takes place across multiple countries and involves espionage, international conflicts, or political intrigue.
Kidnapping - a plot that involves the abduction of a character or characters, often for ransom or other nefarious purposes.
Spy Thriller - a story that features a spy or secret agent working to stop a dangerous threat to national security.
Cat-and-Mouse - a plot that involves a game of cat-and-mouse between the protagonist and their enemy, often with each trying to outsmart the other.
Betrayal - a plot that involves a character being betrayed by someone they thought they could trust.
Technological Threat - a story that involves a dangerous technological threat, such as a computer virus or rogue AI.
Locked Room Mystery - a mystery where the crime or danger takes place in a confined space, such as a locked room or an isolated location.
Political Thriller - a story that involves political power struggles, corruption, or conspiracies.
Survival - a story where the protagonist is fighting for survival in a dangerous or hostile environment.
Medical Thriller - a story that involves a medical mystery, such as a virus or disease outbreak, or a medical conspiracy.
Heist - a plot that involves a group of characters planning and executing a high-stakes theft or robbery.
Paranormal Thriller - a story that involves paranormal or supernatural elements, such as ghosts or psychic abilities, in a thriller setting.
Horror
Haunted House - a story that takes place in a house or building that is haunted by ghosts or other supernatural entities.
Supernatural Forces - a plot that involves supernatural entities or forces, such as demons, witches, or monsters.
Psychological Horror - a story that focuses on the mental and emotional state of the characters, often involving fears, phobias, or psychological trauma.
Body Horror - a plot that involves grotesque or horrifying physical transformations or deformities, often caused by disease or experimentation.
Gore - a story that involves graphic and bloody violence, often featuring mutilation or dismemberment.
Slasher - a plot that involves a killer who stalks and murders their victims, often with a signature weapon or method.
Survival Horror - a story where the characters are fighting for survival against a threat that is overwhelming and seemingly unstoppable.
Found Footage - a plot that involves footage or recordings of an event or situation, often presented as a documentary or amateur recording.
Creepy Children - a plot that involves creepy or malevolent children, often with supernatural abilities or knowledge.
Possession - a plot that involves a character being possessed by a demon or other supernatural entity.
Monster - a plot that involves a monstrous creature, often with a unique or terrifying design.
Ghost Story - a plot that involves ghosts or spirits, often seeking revenge or trying to communicate with the living.
Curses - a plot that involves a character or location being cursed, often with a deadly or horrific consequence.
Urban Legend - a plot that involves a well-known urban legend or myth, often with a dark or gruesome twist.
Religious Horror - a story that involves religious or cult themes, often with a sinister or demonic presence.
Vampires - a plot that involves vampires, often with unique or interesting twists on the classic vampire lore.
Demonic Possession - a plot that involves a character being possessed by a demon, often with terrifying consequences.
Body Snatchers - a plot that involves aliens or other entities that take over human bodies, often with the goal of domination or destruction.
Cult Horror - a story that involves a cult or secret society, often with dark or violent rituals.
Cosmic Horror - a story that involves vast, unknowable entities or forces that are beyond human comprehension.
Young Adult (YA)
Coming of age - a plot that focuses on a character's journey from adolescence to adulthood, often involving self-discovery and personal growth.
Love Triangle - a plot that involves a character choosing between two potential love interests, often causing conflict and tension.
High School Drama - a story that takes place in a high school setting, often involving cliques, popularity contests, and social hierarchies.
Dystopian - a plot that takes place in a futuristic or alternate world where society has become corrupted or oppressive.
Superpowers - a plot that involves characters with supernatural abilities, often exploring themes of responsibility and identity.
Forbidden Romance - a plot that involves characters who are not allowed to be together due to social, cultural, or familial reasons.
Identity Crisis - a plot that involves a character questioning their identity, often exploring themes of race, gender, or sexuality.
Fish out of Water - a plot that involves a character being placed in a new and unfamiliar environment, often leading to culture shock and personal growth.
Rebellion - a plot that involves characters fighting against authority or oppressive forces, often with themes of social justice and empowerment.
Time Travel - a plot that involves characters traveling through time, often exploring themes of consequences and destiny.
Survival - a plot that involves characters fighting for survival in a hostile environment or situation.
Fantasy - a plot that takes place in a fantastical world, often involving mythical creatures and magical powers.
Mystery - a plot that involves a character solving a puzzle or unraveling a mystery, often with a twist ending.
Apocalyptic - a plot that involves characters trying to survive in a world that has been destroyed by a catastrophic event, often exploring themes of hope and resilience.
Boarding School - a story that takes place in a boarding school setting, often involving themes of independence and friendship.
Road Trip - a plot that involves characters going on a journey, often exploring themes of self-discovery and adventure.
Sports - a story that involves characters participating in a sports team or competition, often exploring themes of teamwork and perseverance.
Rich vs. Poor - a plot that involves characters from different socioeconomic backgrounds, often exploring themes of inequality and privilege.
Friendship - a plot that explores the relationships and bonds between characters, often with themes of loyalty and trust.
Teenage Rebellion - a plot that involves characters rebelling against their parents or society, often exploring themes of independence and self-expression.
Literary Fiction
Character study - a plot that focuses on the inner workings of a character's psyche and emotions.
Family drama - a story that involves familial relationships, often exploring themes of love, loss, and identity.
Coming of age - a plot that focuses on a character's journey from adolescence to adulthood, often involving self-discovery and personal growth.
Memory and nostalgia - a plot that explores the past and memories, often with themes of loss, regret, and longing.
Art and creativity - a plot that explores the creative process and the artist's relationship with their art, often with themes of inspiration and obsession.
Existentialism - a plot that explores the meaning of life and existence, often with themes of identity and purpose.
Love and relationships - a plot that explores the complexities of romantic relationships and the human condition.
Social commentary - a plot that uses characters and their stories to comment on societal issues and concerns.
Loss and grief - a plot that explores the themes of loss and grief, often with themes of redemption and acceptance.
Mental health - a plot that explores the struggles and experiences of characters with mental health issues, often with themes of stigma and acceptance.
Nature and environment - a plot that explores the relationship between humans and nature, often with themes of conservation and preservation.
Historical fiction - a plot that takes place in a historical setting, often with themes of nostalgia and nostalgia.
Travel and adventure - a plot that involves characters traveling to new and unfamiliar places, often with themes of self-discovery and adventure.
Mystery - a plot that involves a character solving a puzzle or unraveling a mystery, often with a twist ending.
Philosophy - a plot that explores philosophical concepts and ideas, often with themes of morality and ethics.
Politics and power - a plot that explores the dynamics of power and politics, often with themes of corruption and morality.
Religion and spirituality - a plot that explores the themes of religion and spirituality, often with themes of faith and doubt.
Aging and mortality - a plot that explores the themes of aging and mortality, often with themes of acceptance and legacy.
Experimental fiction - a plot that plays with narrative structure, language, and form, often with themes of innovation and creativity.
Identity and culture - a plot that explores the themes of identity and culture, often with themes of belonging and alienation.
Comedy
Fish out of water - a plot that involves a character being thrust into an unfamiliar or absurd situation.
Screwball comedy - a plot that involves absurd or zany situations, often with fast-paced dialogue and physical humor.
Satire - a plot that uses humor to mock or criticize societal norms or institutions.
Parody - a plot that mimics or exaggerates the tropes and conventions of a particular genre or story.
Romantic comedy - a plot that involves a romantic relationship, often with humorous misunderstandings and obstacles.
Workplace comedy - a plot that takes place in a workplace setting, often with exaggerated or quirky characters and situations.
Farce - a plot that involves chaotic or ridiculous situations, often with mistaken identities and physical humor.
Slapstick - a plot that involves physical humor and exaggerated movements and actions.
Black comedy - a plot that uses humor to address dark or taboo subjects, often with themes of mortality and existentialism.
Situational comedy - a plot that involves humorous situations or misunderstandings.
Spoof - a plot that parodies a particular movie or TV show, often with exaggerated and absurd humor.
Gross-out comedy - a plot that involves bodily humor and gross or taboo subjects.
Buddy comedy - a plot that involves two characters with contrasting personalities who become friends, often with humorous results.
Surreal humor - a plot that involves absurd or dreamlike situations, often with a philosophical or satirical edge.
Comedic irony - a plot that uses irony to create humor, often with unexpected twists and turns.
Stand-up comedy - a plot that involves a comedian's experiences and observations, often with humorous anecdotes and jokes.
Comedic monologue - a plot that involves a character delivering a humorous speech or monologue, often with satire or parody.
Prankster comedy - a plot that involves practical jokes and humor at the expense of others.
Wit and banter - a plot that involves clever and witty dialogue, often with wordplay and sarcasm.
Running gags - a plot that involves recurring jokes or situations, often with escalating humor.
Western
Gunslinger - a plot that involves a skilled shooter or outlaw seeking redemption or justice.
Lawman - a plot that involves a law enforcement officer pursuing criminals and bringing them to justice.
Cattle drive - a plot that involves a group of cowboys driving a herd of cattle across long distances.
Revenge - a plot that involves a character seeking revenge against those who wronged them or their family.
Outlaw with a heart of gold - a plot that involves an outlaw with a moral code who takes on a noble cause.
Homesteader - a plot that involves a character settling and cultivating land in the frontier.
Duel - a plot that involves a one-on-one confrontation between two characters, often with guns or knives.
Train robbery - a plot that involves a group of bandits robbing a train of its cargo or passengers.
Gold rush - a plot that involves characters seeking wealth and fortune in the frontier, often through mining.
Indian wars - a plot that involves conflict between settlers and Native Americans, often with themes of racism and colonialism.
Saloon - a plot that involves characters gathering in a western-style bar, often with gambling and drinking.
Bounty hunter - a plot that involves a character pursuing and capturing fugitives for a reward.
Stagecoach - a plot that involves a group of characters traveling by stagecoach, often with danger and excitement along the way.
Showdown - a plot that involves a final confrontation between the hero and villain, often with high stakes.
Frontier justice - a plot that involves characters taking the law into their own hands, often with themes of vigilante justice.
Lone wanderer - a plot that involves a character traveling alone through the frontier, often with themes of isolation and survival.
Land conflict - a plot that involves characters fighting for ownership or control of land in the frontier.
Old west town - a plot that involves a character navigating life in a wild and lawless western town.
Rancher - a plot that involves a character managing a large ranch, often with themes of family and legacy.
Horseback chase - a plot that involves a chase scene on horseback, often with themes of pursuit and escape.
Dystopian.
Totalitarian government - a plot that involves a government or ruling power that has complete control over society and its citizens.
Oppressive society - a plot that involves a society that enforces strict rules and regulations on its citizens, often with extreme punishments for disobedience.
Rebel uprising - a plot that involves a group of rebels or revolutionaries who rise up against the ruling power.
Propaganda - a plot that involves the use of media and messaging to manipulate and control the population.
Social hierarchy - a plot that involves a society divided into social classes or castes, often with those at the bottom suffering the most.
Surveillance state - a plot that involves constant surveillance and monitoring of citizens by the ruling power.
Lack of personal freedom - a plot that involves citizens having limited or no personal freedoms, often with restrictions on speech, movement, and expression.
Environmental disaster - a plot that involves a society struggling to survive in the aftermath of an environmental catastrophe.
Post-apocalyptic world - a plot that involves a society trying to survive after a global disaster, such as a nuclear war or pandemic.
Dystopian love story - a plot that involves a romance set in a dystopian world, often with themes of forbidden love and societal restrictions.
Totalitarian leader - a plot that involves a single leader who holds absolute power over society.
Brainwashing - a plot that involves the use of psychological manipulation to control the population.
Genetic engineering - a plot that involves the manipulation of genetics and biology to create a new type of human or animal.
Rebellion leader - a plot that involves a charismatic leader who inspires and leads the rebellion against the ruling power.
Resistance movement - a plot that involves a group of individuals fighting against the ruling power, often through acts of sabotage and rebellion.
Corrupt government - a plot that involves a government that is corrupt and self-serving, often at the expense of the citizens.
Apocalyptic event - a plot that involves a catastrophic event that threatens the survival of humanity.
Oppressive technology - a plot that involves the use of advanced technology to control and manipulate citizens.
Civil war - a plot that involves a society torn apart by a conflict between factions or groups.
Protagonist as symbol of hope - a plot that involves a protagonist who becomes a symbol of hope for the oppressed and downtrodden citizens.
While I've only listed 20 common tropes found in these genres, there are actually many more out there waiting for you to discover! A quick Google search can help you track down all sorts of interesting and unique tropes to use in your writing.
Target Audience
It's important to understand who your book's target audience is, as it allows you to write a book that connects with them on a deeper level. Your target audience is the group of people who are most likely to enjoy your book, find it valuable, and recommend it to others. By writing with your target audience in mind, you can ensure that your book is relevant to their interests, speaks to their needs, and is more likely to be successful. After all, when you connect with your readers, you create a powerful bond that can make them lifelong fans of your work.
If you've already decided on your genres, sub-genres, and tropes, finding your target audience is a breeze. All you have to do is a quick Google search and voila! However, to help you out, I can provide you with some general information on target audiences. Do keep in mind that this information is not set in stone, as everyone's interests differ. For instance, plenty women enjoy thrillers, action stories, or horror. Nonetheless, this outline can serve as a starting point for your research.
Young Adult:
Genres: Fantasy, dystopian, contemporary, romance
Tropes: Coming-of-age, love triangles, chosen one, forbidden love, adventure
Themes: Identity, self-discovery, social justice, belonging, family, friendship, first love, mental health
Needs: Relatable characters, emotional resonance, accessible language, diverse representation, empowerment
Adult:
Genres: Mystery, thriller, romance, historical fiction, literary fiction
Tropes: Second chance at love, redemption, suspense, revenge, secrets and lies, unreliable narrators, twists and turns, complex relationships
Themes: Love and relationships, societal issues, personal growth, identity, history, culture, family dynamics, Love and loss
Needs: Engaging plot, well-developed characters, nuanced themes, evocative language, diverse representation
Middle-grade:
Genres: Adventure, fantasy, science fiction, historical fiction, humor, contemporary
Tropes: Overcoming obstacles, friendship, finding one's place, underdogs, magic
Themes: Family, friendship, self-discovery, perseverance, identity, problem-solving, Self-acceptance, courage, teamwork
Needs: Engaging plot, relatable characters, age-appropriate language, adventure and humor, positive messaging
Children:
Genres: Picture books, early readers, chapter books
Tropes: Animals as main characters, imaginative worlds, humor, adventure, family relationships, lessons learned
Themes: Family, friendship, growing up, learning new things, self-expression, empathy, problem-solving, diversity, kindness
Needs: Simple language, colorful illustrations, engaging storytelling, relatable characters, age-appropriate messaging
Women:
Genres: Romance, mystery, historical fiction, women's fiction, contemporary fiction, literary fiction
Tropes: Second chance at love, forbidden love, strong female lead, enemies-to-lovers, happily-ever-after, family secrets
Themes: Love and relationships, family, personal growth, empowerment, sisterhood, identity
Needs: Emotional resonance, well-rounded characters, diverse representation, nuanced themes, satisfying endings
Men:
Genres: Thriller, science fiction, fantasy, action/adventure, historical fiction
Tropes: Action-packed, gritty, hero's journey, good vs. evil, moral dilemmas, Tough-guy heroes, high stakes, intricate plots, historical accuracy
Themes: Honor, justice, redemption, brotherhood, duty, perseverance
Needs: Engaging plot, well-researched historical details, realistic action, diverse representation, nuanced themes
LGBTQ+:
Genres: LGBTQ+ romance, coming-of-age, drama, contemporary fiction, young adult, literary fiction, speculative fiction
Tropes: Coming out, forbidden love, self-acceptance, exploring sexuality, found family, overcoming prejudice, love conquers all
Themes: Identity, discrimination, love and relationships, acceptance, self-discovery, community
Needs: Authentic representation, diverse characters and experiences, nuanced portrayal of LGBTQ+ issues, positive messaging, happy endings
Seniors:
Genres: Historical fiction, literary fiction, memoir, mystery, romance
Tropes: Second chance at love, reflection on past mistakes, family drama, secrets and lies
Themes: Aging, family, legacy, life lessons, reflection, personal growth.
Needs: Thoughtful themes, well-rounded characters, evocative language, diverse representation, positive messaging
Note: "Nuanced" means that something is complex and has many different parts or aspects that make it unique. It's not just one simple thing, but has layers and details that make it more interesting and complicated. For example, a nuanced character in a book might have both good and bad qualities, and their personality and behavior might change depending on the situation they're in.
Here are some example's of nuanced themes:
Love and loss: exploring the complex emotions surrounding love and loss, such as grief, regret, and nostalgia.
Identity and belonging: examining the struggle to find one's place in the world and how our sense of self is shaped by our experiences and relationships.
Power and corruption: exploring the abuse of power and how it can corrupt individuals and institutions.
Morality and ethics: examining the gray areas of morality and the difficult choices we face when navigating right and wrong.
Mental health: exploring the complexities of mental health and how it impacts individuals and their relationships.
Social justice: examining issues of inequality, discrimination, and systemic oppression, and the need for change.
Cultural differences: exploring the nuances of different cultures and the challenges and benefits of navigating those differences.
Nature and the environment: examining the relationship between humans and nature, and the impact of human behavior on the environment.
Family and relationships: exploring the complexities of family dynamics and relationships, including love, loyalty, and betrayal.
Aging and mortality: examining the process of aging and the impact of mortality on individuals and their loved ones.
Starting to plot your novel is an exciting step, and choosing your genre, trope, and target audience are vital for laying the groundwork of your story. But it's important not to overlook other essential elements that can elevate your story to the next level. For example, have you thought about how you want your readers to feel when they read your book, or what you want them to learn? These questions can help you create a more impactful and meaningful story that resonates with your readers.
As an author, you likely have a specific purpose in mind when crafting your story. Whether you aim to entertain, convey a message, or educate your readers, it's important to consider the intended impact on your audience. To achieve your creative goals, you'll need to pay attention to key elements like plot, characters, setting, and themes, and ensure they work cohesively to create an engaging and immersive experience.
For readers, understanding the author's intent can enhance their appreciation of the story and lead to a more fulfilling reading experience. By recognizing the impact and meaning behind the words on the page, you can fully immerse yourself in the story and gain a deeper understanding of the author's message. So whether you're a writer or a reader, don't forget to consider the impact of your words and how they can connect with your audience.
Authors can convey various messages, lessons, and ideas through fictional writing. Here are a few examples:
Moral lessons: Fictional stories often have a moral lesson or message that the author wants to convey to the reader. The story may illustrate the consequences of certain actions or behaviors, and the characters may learn a valuable lesson by the end of the story.
Social commentary: Fictional stories can also be used to comment on social issues such as inequality, discrimination, or injustice. By using characters and situations that are relatable to readers, authors can help readers better understand and empathize with these issues.
Emotional connections: Through fictional writing, authors can help readers connect emotionally with the characters and situations in the story. This can help readers develop greater empathy and understanding of others in real life.
Imagination and creativity: Fictional writing can inspire readers to use their imagination and think creatively. Through vivid descriptions and imaginative storytelling, authors can transport readers to new and exciting worlds.
Personal growth: Fictional writing can also help readers learn more about themselves and their own values and beliefs. By exploring different characters and situations, readers can gain new perspectives and insights that can help them grow and develop as individuals.
I understand that all of this might sound a bit overwhelming and challenging, but please don't worry! If you're writing solely for the purpose of entertaining your readers and don't have any specific message to convey, you can simply skip this part when creating your novel outline. Don't feel obligated to include elements that you're not comfortable with, and focus on creating a story that you enjoy telling.
By the way, I'd like to share with you some examples of popular stories and their authors that effectively convey certain messages or teach valuable lessons through their fictional writing:
"To Kill a Mockingbird" by Harper Lee - This story teaches the importance of empathy, justice, and standing up for what is right.
"1984" by George Orwell - This dystopian novel warns about the dangers of totalitarianism and the importance of preserving individual freedom.
"The Handmaid's Tale" by Margaret Atwood - This dystopian novel warns about the dangers of patriarchal oppression and the importance of women's rights.
"The Lord of the Rings" by J.R.R. Tolkien - This epic fantasy novel teaches the importance of courage, loyalty, and sacrifice in the face of great evil.
"The Great Gatsby" by F. Scott Fitzgerald - This story critiques the superficiality and moral decay of the wealthy during the Roaring Twenties.
"Animal Farm" by George Orwell - This allegorical novel satirizes the rise of Soviet communism and warns about the dangers of political corruption and propaganda.
"Brave New World" by Aldous Huxley - This dystopian novel warns about the dangers of technological advancement and the dehumanization of society.
"The Catcher in the Rye" by J.D. Salinger - This story explores the themes of alienation, identity, and the struggle to find meaning in a world that can often seem cold and indifferent.
"The Color Purple" by Alice Walker - This story explores themes of race, gender, and the struggle for personal autonomy and self-determination in a society that seeks to deny these things.
"The Hunger Games" by Suzanne Collins - This dystopian novel critiques the excesses of consumer culture and warns about the dangers of totalitarianism and oppression.
Plot
Great job! We've completed the first part of outlining a basic novel. Now, let's move on to plotting. But wait a minute! Before you start plotting, there's some information we need first - your intended word count. This may sound like a small detail, but it's actually quite important. Knowing the total word count of your story can affect many things. For instance, publishers often have guidelines for the length of novels they will accept, so if your manuscript is too long or too short, it may be rejected. Additionally, readers may have certain expectations for the length of a novel in a specific genre, and if your book is significantly shorter or longer than expected, it may not be well-received. Lastly, the word count can influence the pacing and structure of your novel, with longer novels potentially allowing for more complex plot and character development, but requiring more attention to pacing and structure to avoid losing the reader's interest.
You might be thinking, "Hey, Taytjie, what if I want to post a web novel with over 1000 chapters? Do I have to plot everything in advance?" Well, my answer is no! However, I do recommend thinking of a web novel as a series of books, each with its own volume, rather than a single, massive work. So when plotting your web novel, it's best to approach each volume individually. This will make it easier to organize your ideas and create a cohesive story that engages your readers. Each 'Arc' of your web novel can be an individual volume of around 10 to 30 chapters or more, it's up to your preference.
Let me offer you a general guideline for word counts, but keep in mind that variations may exist based on factors such as sub-genre, target audience, and publishing goals. If traditional publishing is what you're aiming for, then different publishers may have different expectations. However, it's worth noting that while you don't have to stick to these word counts, readers typically expect them in the genres I've discussed in this post. Ultimately, what matters most is that your story is engaging and well-crafted, and if you achieve that, your readers will be hooked no matter the word count.
Romance: 50,000 to 90,000 words
Mystery: 70,000 to 100,000 words
Science fiction: 80,000 to 120,000 words
Fantasy: 80,000 to 120,000 words
Historical fiction: 80,000 to 120,000 words
Thriller: 80,000 to 100,000 words
Horror: 70,000 to 100,000 words
Young adult: 50,000 to 80,000 words
Literary fiction: 80,000 to 120,000 words
Comedy: 70,000 to 100,000 words
Western: 50,000 to 80,000 words
Dystopian: 80,000 to 120,000 words
You might be wondering why we're discussing word count under the 'plot' section instead of the 'book information' section. Well, it's because knowing your intended word count will help you figure out how many chapters your story will have. This, in turn, will affect your plot, as it gives you an idea of how much time you have to tell your story and how much you'll need to stretch it out.
Now it's time to decide on the number of chapters and the length of each chapter for your novel. To determine the chapter length, think about how many words you want to include in each chapter and use that to calculate the total number of chapters required to reach your desired word count for the whole story.
After figuring out the number of chapters, it's time to work on the plot. Don't worry, it doesn't have to be a lengthy essay, just a brief two-sentence summary will do. The main thing is to have a clear idea of what your story will be about.
Here's an example:
In a world of magic and intrigue, a young wizard falls in love with a powerful sorceress from a rival clan. Together, they must navigate the dangerous politics of their respective societies while discovering the true depth of their feelings for each other.
Alright, great job so far! Now let's dig a little deeper and focus on the beginning, middle, and end of your story. What's going to happen at the start to draw your readers in? What twists and turns will take place in the middle? And finally, how do you want it all to wrap up in the end?
Start: The story begins in a magical world filled with warring clans and powerful sorcerers. Our protagonist, a young wizard, is training at the academy of his clan when he meets a beautiful sorceress from a rival clan. Despite the tensions between their clans, they are drawn to each other and begin to secretly meet.
Middle: As their relationship deepens, our young couple finds themselves caught up in the dangerous politics of their respective societies. They struggle to keep their love a secret, while also trying to navigate the treacherous waters of their clans' rivalries. Along the way, they uncover a plot by a dark force that threatens both their clans and must work together to stop it.
End: In the climax of the story, our young wizard and sorceress face their greatest challenge yet. They must put aside their differences and unite their clans to defeat the dark force that threatens them all. Through their bravery and dedication, they prove that love can conquer even the most formidable foes. In the end, our young couple is able to come together openly and publicly, ushering in a new era of peace and prosperity for their people.
Congratulations, we've made progress! Now it's time to take our plot and start breaking it down into individual chapters. Think about the key events that need to happen in each chapter to move the story forward and write them down.
Chapter 1: Our young wizard protagonist meets the powerful sorceress from a rival clan and is immediately drawn to her.
Chapter 2: Our couple shares their first magical moment together, but the looming threat of their clans' rivalry casts a shadow over their happiness.
Chapter 3: Our wizard protagonist confides in his best friend about his feelings for the sorceress, but is warned about the dangers of falling in love with someone from a rival clan.
Chapter 4: The sorceress reveals that she feels the same way, and the couple begins to meet in secret.
Chapter 5: The first major conflict arises when our wizard protagonist's clan discovers his relationship with the sorceress and forbids him from seeing her.
Chapter 6: The sorceress' clan also discovers their relationship and the two clans begin to escalate their hostility towards each other.
Chapter 7: The couple's secret meetings become riskier as they try to find a way to be together without causing a war between their clans.
Chapter 8: A powerful sorcerer from our wizard protagonist's clan threatens the couple and warns them to end their relationship.
Chapter 9: Our protagonist turns to an older, wiser wizard for advice on how to navigate the dangerous politics of their clans.
Chapter 10: Our couple is caught in a dangerous ambush by members of the sorceress' clan who disapprove of their relationship.
Chapter 11: The sorceress' clan accuses our wizard protagonist of using dark magic to seduce her and threatens to retaliate.
Chapter 12: The couple decides to seek refuge in a neutral territory and try to find a way to resolve the conflict peacefully.
Chapter 13: Our protagonist discovers a sinister plot by a dark force that threatens both clans and realizes that they must work together to stop it.
Chapter 14: The couple's efforts to bring their clans together are met with resistance and suspicion from both sides.
Chapter 15: Our wizard protagonist and the sorceress embark on a dangerous mission to uncover the dark force's plans.
Chapter 16: The couple faces their greatest challenge yet as they confront the dark force and its powerful minions.
Chapter 17: Our couple must fight for their lives as they face overwhelming odds, but their love gives them the strength to prevail.
Chapter 18: The couple is hailed as heroes for saving their clans from the dark force, but their victory comes at a great cost.
Chapter 19: Our couple is finally able to publicly declare their love for each other, and their clans agree to a truce.
Chapter 20: The novel ends with our couple looking forward to a future together, as they embark on a new journey filled with hope and promise.
Great job! Now, for the final step: take each chapter and create a bullet-pointed outline of what you want to happen in it. This will help make your life easier when you begin writing the actual story because you'll already know what you need to write, and you just need to turn it into beautiful prose. But, Yes there is a but, If you just like to let the creative juices flow and don't want to write so rigidly, like I do, skip it. I personally just write the one or two sentences for my chapter when I build an outline, and then I just go for it.
Chapter One: A Meeting of Hearts
The chapter opens with our young wizard protagonist, whose name is Aaron, attending his morning training session at the wizard academy.
During a break, Aaron wanders off into the forest for some quiet reflection and stumbles upon a clearing filled with glowing mushrooms.
As he investigates the mushrooms, Aaron is startled by a rustling in the nearby bushes and turns to see a young woman emerge.
The young woman introduces herself as Lyra, a powerful sorceress from a rival clan.
Despite the tensions between their clans, Aaron and Lyra are immediately drawn to each other and begin to chat.
Aaron discovers that Lyra is at the academy to research a powerful spell that could help her clan in their ongoing conflict with Aaron's clan.
Aaron offers to help Lyra with her research, and they agree to meet secretly to work on the spell together.
As Aaron leaves the clearing, he realizes that he is falling for Lyra and wonders how he will be able to reconcile his feelings with his loyalty to his clan.
The chapter ends with Aaron returning to the academy, his thoughts consumed by thoughts of Lyra and the dangerous path they are embarking on.
By the way, in case you were wondering, the story we've been working on is a fantasy romance. Once you've completed outlining each chapter, congratulations, you've successfully outlined your novel! Now, let's move on to the next step: creating characters. You might be wondering why I saved this for after the plot section instead of before, but everyone has their own approach. Personally, I like to create my characters as I'm outlining my novel and really flesh them out while writing my first draft. Then, I use my second draft to make sure that the characters remain consistent throughout the book.
Characters
We've made it to the last section of our basic outline! As a writer, I prefer to develop my characters alongside my plot rather than before it. I start with some basic character details and adjust them as needed to fit the story. Sometimes, characters I initially thought were essential end up being cut, while others I created on a whim end up becoming integral to the plot. For example, in my current work in progress, I created a childhood friend of the main character on a whim, but he ended up becoming an antagonist who will go through a redemption arc and a friends-to-enemies-to-friends trope.
When it comes to creating your characters, there are some essential details you'll want to have nailed down. But don't worry, it's not necessary to have everything figured out until you finish your first draft. Just make sure you have all the important information for your main characters sorted out by the time you start working on your second draft. It's crucial to make sure your characters remain consistent throughout the story and that their actions and thoughts align with their established traits. After all, you don't want to project your own desires onto them - that's not good writing.
When it comes to creating your characters, there are some basic details you'll want to include, like their name and a brief history that matches their personality. For example, it might not make sense for a character with a tragic past to be overly optimistic and carefree all the time, not unless they're pretending.
List a few key traits that define your character's personality, such as being gruff yet secretly caring or sarcastic and cold. You don't need to create a whole resume, just a few words will do. As you write, you might find yourself adding more details to your character's personality, habits, or preferences, so make sure to jot them down.
Another important aspect is their appearance. Decide on this early on and make sure to note it down. You don't want to have to search through all your chapters to remember what your own character looks like! These are the basics, but there are three more things I want to mention that can help flesh out your character even more.
Outer conflict
Outer conflict is basically the challenges and hurdles that a character faces in their environment. It plays a significant role in the story as it generates suspense and propels the plot forward. The external obstacles that a character can encounter are diverse and varied, like dealing with natural disasters, social norms, cultural differences, achieving goals, or fighting against an adversary.
Moreover, the outer conflict can help to shape a character's personality and traits. As the character copes with and conquers obstacles, readers get to know their strengths, weaknesses, and motivations. This allows readers to form a deeper connection with the character and become more invested in their journey.
Furthermore, external conflicts can also symbolize inner turmoil. The external obstacles that a character faces can be a representation of the internal struggles they are going through, like battling fears or doubts. This creates a powerful emotional impact on readers and helps to convey crucial themes and messages.
Here are twenty examples of outer conflict:
A character struggling to survive in a post-apocalyptic world.
A character facing a physical illness or disability that limits their abilities.
A character fighting for justice against a corrupt system or organization.
A character facing discrimination or prejudice based on their race, gender, or other identity.
A character trying to escape a dangerous situation or person.
A character facing environmental or natural disasters.
A character navigating a war or political conflict.
A character struggling with addiction or substance abuse.
A character facing financial ruin or bankruptcy.
A character dealing with the aftermath of a traumatic event.
A character struggling to balance their personal and professional lives.
A character facing a difficult decision that could have major consequences.
A character in a survival situation in the wilderness or at sea.
A character trying to break free from a toxic relationship.
A character dealing with the consequences of a mistake or poor decision.
A character facing a physical or mental challenge or disability.
A character struggling to protect their family or loved ones from harm.
A character trying to survive in a hostile or unfamiliar environment.
A character dealing with the loss of a loved one or grieving.
A character facing betrayal or deception from someone they trust.
Inner Conflict
Inner conflict is a crucial element of a story that delves into the psychological and emotional struggles that a character experiences. It's the battle between their desires and their values, their fears and aspirations, or what they want versus what they know is right. This struggle is what creates tension, complexity, and depth in a character, making them more relatable and interesting to readers. By exploring the character's inner conflict, readers gain insights into their motives, thoughts, and emotions, allowing for character development and growth.
Take J.D. Salinger's "The Catcher in the Rye" for instance, where Holden Caulfield grapples with an inner conflict of wanting to preserve the innocence of childhood and yet desiring to mature and grow up. This conflict leads to his erratic behavior and search for meaning and purpose.
Similarly, in F. Scott Fitzgerald's "The Great Gatsby," Jay Gatsby faces an inner conflict of wanting to win back his lost love, Daisy, while also grappling with the fact that she is married to someone else. This inner conflict ultimately leads to his downfall and tragic end.
As demonstrated in these examples, inner conflict drives the plot, develops characters, and adds depth to their motivations and struggles.
Here are 20 examples of inner conflict:
Fear of failure
Insecurity
Lack of self-confidence
Difficulty making decisions
Guilt over past actions
Jealousy or envy
Grief over loss or trauma
Difficulty with vulnerability or trust
Struggle with addiction or temptation
Confusion over personal identity or purpose
Struggle with one's own morality or ethics
Difficulty with forgiveness or letting go
Shame over past actions or experiences
Struggle with self-acceptance or self-love
Difficulty with emotional intimacy or connection
Conflict with personal beliefs or values
Struggle with one's own mortality or purpose in life
Difficulty with facing the truth or reality of a situation
Struggle with balancing personal desires with the needs of others
Conflict between personal ambition and loyalty to others.
As a writer, it's important to understand how to weave outer and inner conflict together to create a compelling and multidimensional character in your story. Outer conflict provides the external challenges and obstacles that the character must face and overcome, driving the plot forward. On the other hand, inner conflict gives readers a window into the character's thoughts, feelings, and motivations.
The two types of conflict can also inform and influence each other. Inner conflict can affect how a character responds to outer conflict, and vice versa. For instance, if a character is struggling with self-doubt, this may make it harder for them to face a physical challenge presented as an outer conflict. Similarly, if a character is facing an outer conflict like a life-threatening situation, this may trigger an inner conflict related to their deepest fears and desires. The interplay between inner and outer conflict can lead to character growth, as the character learns to face their fears, confront their weaknesses, and achieve their goals.
By using both types of conflict effectively, you can create a character that is not only relatable and interesting, but also one that readers can root for as they navigate the challenges of your story.
Here is a list of 28 ways outer and inner conflict can interplay with each other:
A character with a fear of failure (inner conflict) must overcome obstacles to achieve their goal (outer conflict).
A character struggling with addiction (inner conflict) must face consequences of their behavior that endanger their loved ones (outer conflict).
A character dealing with trust issues (inner conflict) must work with a partner they don't trust (outer conflict).
A character struggling with guilt (inner conflict) must clear their name and prove their innocence (outer conflict).
A character struggling with self-doubt (inner conflict) must take on a leadership role to save their community (outer conflict).
A character who is closed-off emotionally (inner conflict) must learn to trust and open up to their love interest (outer conflict).
A character with a tendency to control others (inner conflict) must learn to work in a team and share responsibility (outer conflict).
A character struggling with their identity (inner conflict) must navigate a world that doesn't accept their identity (outer conflict).
A character dealing with trauma (inner conflict) must confront the source of their trauma to overcome it (outer conflict).
A character struggling with commitment issues (inner conflict) must make a difficult decision that affects their relationship (outer conflict).
A character with a lack of self-worth (inner conflict) must prove to themselves and others that they are capable (outer conflict).
A character struggling with loss (inner conflict) must learn to move on and find purpose in life again (outer conflict).
A character with a need for control (inner conflict) must learn to let go and trust others (outer conflict).
A character dealing with past mistakes (inner conflict) must confront those they have wronged and seek redemption (outer conflict).
A character struggling with their beliefs (inner conflict) must stand up for what they believe in despite opposition (outer conflict).
A character who is closed off from the world (inner conflict) must open up and make new connections to achieve their goal (outer conflict).
A character struggling with a lack of direction (inner conflict) must find purpose in their life and pursue it (outer conflict).
A character with a history of abuse (inner conflict) must confront their abuser to achieve closure (outer conflict).
A character struggling with their sexuality (inner conflict) must come out and face the social consequences of their identity (outer conflict).
A character with a need for revenge (inner conflict) must overcome their desire for revenge to achieve a greater goal (outer conflict).
A character struggling with their family history (inner conflict) must confront the past to move forward (outer conflict).
A character with a fear of the unknown (inner conflict) must step out of their comfort zone to achieve their goal (outer conflict).
A character struggling with their past (inner conflict) must come to terms with it in order to move forward (outer conflict).
A character with a lack of trust in others (inner conflict) must work with a team to achieve their goal (outer conflict).
A character struggling with their identity (inner conflict) must confront the expectations of others to find their true self (outer conflict).
A character with a tendency to self-sabotage (inner conflict) must overcome their negative patterns to achieve success (outer conflict).
A character struggling with mental illness (inner conflict) must overcome the stigma associated with their illness (outer conflict).
A character with a need for control (inner conflict) must learn to accept and adapt to unforeseen circumstances (outer conflict).
Character Growth
As a story progresses, the characters within it can undergo a significant transformation that we refer to as character growth. This growth can manifest itself in various ways, including changes in beliefs, values, behaviors, or relationships.
By portraying a character's growth, a writer can create a sense of depth and nuance that makes them more relatable and interesting to the reader. Furthermore, character growth is instrumental in driving the plot forward, as the changes experienced by the character often create new conflicts and challenges that must be addressed.
Witnessing a character's growth can be satisfying to the reader, providing them with a sense of catharsis as they watch the character overcome their obstacles and achieve their goals.
Character growth is crucial to the success of a story, and as a writer, it's important to ensure that your main characters evolve and change over the course of the narrative. People naturally experience growth and change in real life, whether it's positive or negative, as they navigate through life's challenges. The same principle applies to your characters.
When you're editing your second or third draft, take a close look at your characters and ensure that their development is evident. Keeping your characters stagnant and unchanged throughout the story isn't realistic and can hinder your reader's connection with them. By allowing your characters to evolve, you create a more relatable and believable story, one that resonates with readers and keeps them engaged until the end.
Here are some examples of good character growth in stories:
Katniss Everdeen in "The Hunger Games" by Suzanne Collins learns to trust others and become a leader.
Elizabeth Bennet in "Pride and Prejudice" by Jane Austen learns to let go of her prejudices and pride and become more empathetic towards others.
Harry Potter in "Harry Potter" series by J.K. Rowling learns to face his fears and take responsibility for his actions.
Frodo Baggins in "The Lord of the Rings" by J.R.R. Tolkien learns to sacrifice his own desires for the greater good.
Elinor Dashwood in "Sense and Sensibility" by Jane Austen learns to express her emotions and become more open.
Holden Caulfield in "The Catcher in the Rye" by J.D. Salinger learns to let go of his cynicism and find a sense of hope.
Ponyboy Curtis in "The Outsiders" by S.E. Hinton learns to appreciate the value of family and friends.
Scout Finch in "To Kill a Mockingbird" by Harper Lee learns to see the world from other people's perspectives and become more tolerant.
Andy Dufresne in "The Shawshank Redemption" by Stephen King learns to never give up hope and find redemption.
Hester Prynne in "The Scarlet Letter" by Nathaniel Hawthorne learns to stand up for herself and live on her own terms.
Jean Valjean in "Les Misérables" by Victor Hugo learns to find forgiveness and redemption through selflessness.
Atticus Finch in "To Kill a Mockingbird" by Harper Lee learns to fight for justice and become a role model for his children.
Bilbo Baggins in "The Hobbit" by J.R.R. Tolkien learns to step out of his comfort zone and embrace adventure.
Sydney Carton in "A Tale of Two Cities" by Charles Dickens learns to find a sense of purpose and redemption through self-sacrifice.
John Proctor in "The Crucible" by Arthur Miller learns to stand up for his beliefs and fight for what is right.
Scarlett O'Hara in "Gone with the Wind" by Margaret Mitchell learns to become more self-reliant and resourceful.
Charles Ryder in "Brideshead Revisited" by Evelyn Waugh learns to find a sense of meaning and purpose in life.
Captain Ahab in "Moby-Dick" by Herman Melville learns to confront his own obsession and find a sense of closure.
Marianne Dashwood in "Sense and Sensibility" by Jane Austen learns to find a balance between emotional and rational thinking.
Scout in "Go Set a Watchman" by Harper Lee learns to see her father, Atticus Finch, as a human being and understand his flaws.
Great news, you made it to the end of the basic novel outline! This is all you need to get started on writing your novel, and I'm excited for you to begin. Let's quickly recap what you'll need for your outline: a genre and sub-genre, a trope, a target audience, a word count, a chapter count, a two-sentence plot description, a more detailed plot description that covers the beginning, middle, and end of your story, and a chapter-by-chapter outline. For your characters, you'll need to include their names, brief histories, physical descriptions, personalities, outer conflicts, inner conflicts, and character growth. Once you have all of this information, you'll be ready to start writing your novel. Congratulations again, and happy writing!
Next up we'll be going into a bit more detail that focuses on world-building for fantasy or science fiction stories, anything that requires deeper world-building than a romance or regular modern paranormal fiction.
Going on from here, I won't be as detailed with explanations, what I'll be providing is mostly just information you need to get and it doesn't involve much hard research.
Races
Physical Traits:
Physical traits can play a huge role in creating unique and memorable fantasy races. By giving a race its own set of distinctive physical features, an author can make it stand out from other races and help it come to life within the story.
But physical traits aren't just about making a race look cool or interesting - they can also inform other aspects of a race's culture and history, making the story even more immersive and engaging. For example, a race with wings might have a rich history of flight, while a race with a natural resistance to fire might have developed unique technologies or traditions to harness that ability.
Religion:
Have you ever thought about the role of religion in a fantasy world? In many cases, it can provide a sense of depth and purpose to a race's way of life. Religion can shape everything from their beliefs and values to their traditions and customs, and even affect their interactions with other races and their environment.
By incorporating religion into your world-building, you can create a rich tapestry of different beliefs and practices that can help to shape the personalities of your characters. Whether it's through the way they approach challenges or the values they hold dear, religion can be a powerful tool for creating a unique and engaging fantasy race.
Here are something to think on while creating religions:
Deities and Mythology
A. Different gods and goddesses
B. Creation myths and legends
C. Supernatural forces and entities
Religious Institutions
A. Temples, shrines, and other holy sites
B. Religious leaders and hierarchies
C. Religious ceremonies and rituals
Beliefs and Values
A. Moral and ethical codes
B. Attitudes towards magic and other supernatural elements
C. Relationship between religion and politics, culture, and society
Religious Conflict and Cooperation
A. Religious differences and conflicts
B. Religious tolerance and cooperation
C. How religion impacts relationships and diplomacy between different societies
Culture:
Do you love exploring imaginary worlds filled with magic and wonder? If so, you'll know that culture plays a huge role in bringing these fantastic places to life. In a fantasy world, culture encompasses everything from shared beliefs and customs to art and social practices. By creating unique and vibrant cultures for each race and society, we can make these worlds feel alive and believable.
To craft a compelling culture for a fantasy world, we need to take into account many factors, such as the geography and climate of the world, the history and mythology of its inhabitants, and their level of technology. For example, if a society lives in a cold, mountainous region, they might have adapted their clothing and transportation to suit their environment.
In a well-crafted fantasy world, each race and society should have its own distinct culture that enriches the story and makes it more immersive. From the way they view concepts like honor and loyalty to the way they celebrate holidays and mark significant life events
Things to think on while creating cultures:
Beliefs and Values
A. Religious and spiritual beliefs
B. Moral and ethical values
C. Attitudes towards magic and other supernatural elements
Social Structure
A. Different classes and social groups
B. Power dynamics and hierarchies
C. Customs and traditions related to marriage, family, and social interaction
Art and Aesthetics
A. Literature, music, and art
B. Fashion and clothing styles
C. Architectural and design styles
Technology and Industry
A. Tools and weapons
B. Transportation and communication
C. Economic systems and trade
Language:
Language plays a crucial role in creating immersive and believable worlds. Language shapes the way people interact with each other and their environment, and can reflect the history, mythology, and values of a particular race or society.
In a well-crafted fantasy world, each race or society should have its own unique language or languages. This adds depth and complexity to the world, with the creation of new words, phrases, and even alphabets to reflect each race's unique linguistic characteristics.
Language can also be used to explore themes and ideas central to the story. For instance, the language used by those in power may reflect the power dynamic and make it difficult for the commoners to understand. In addition, language can create a sense of mystery and otherness. A completely invented language can make a fantasy race feel alien and distinct.
Furthermore, language can be used as a storytelling device, with characters translating between languages or struggling to communicate with other races. This can create tension, conflict, and opportunities for characters to learn about different cultures and deepen their understanding of the world around them.
Keep in mind that not every fantasy world or story needs detailed languages. If you prefer not to include them, that's okay too! However, if you're interested in exploring languages in your story, here are some factors to consider.
Language Families
A. Different language families and their characteristics
B. Historical and cultural factors influencing language development
C. How languages relate to one another
Written and Spoken Languages
A. Different writing systems and their evolution
B. Spoken language and dialects
C. How language shapes communication and relationships
Language Acquisition and Learning
A. How characters learn new languages
B. Cultural attitudes towards language learning
C. The role of language in education and society
Translation and Interpretation
A. How characters translate and interpret languages
B. The challenges of language barriers
C. The importance of accurate translation in diplomacy and trade
Magic
Having mystical abilities such as magic, mana, or superpowers can add excitement and intrigue to your story, but it's important to be mindful of how you use them. Many writers fall into the trap of creating limitless magical powers for their characters, which can make the story feel unrealistic and unsatisfying. To avoid this, it's helpful to answer a few questions about your magic system.
First, how does it work? It's important to understand the ins and outs of your magic system so that you can write your characters using it realistically. Knowing the mechanics of your magic system will prevent you from simply having your character magically power up in a crucial moment to get out of a tough situation.
Second, who can have it? Is there a criteria for who can use the magic or powers? Understanding why certain characters have magical abilities will prevent you from creating random characters that have the ability, and will also give your readers more information about your characters.
Third, what are the rules and limitations? Are there rules in your world about how the magic system should and should not be used? Are there physical limitations to what your characters can do? Setting rules and limitations will stop you from overpowering your character and will add conflict and tension to your story.
Additionally, it's important to consider how the general population feels about magic. Are there people who are against it, who hunt or experiment on those who possess it? Are magical individuals adored or seen as gods? Understanding how your world views magic will add depth and complexity to your story and create opportunities for conflict and tension. By considering these factors, you can create a well-rounded and engaging magic system that adds to the richness of your fantasy world.
Here is a summery and some additional facts to think on when creating a magic system:
Types of Magic
A. Elemental magic
B. Divine magic
C. Necromancy and dark magic
D. Witchcraft and sorcery
Magic Mechanics
A. How magic works in the world
B. Limits and drawbacks to using magic
C. How magic can be learned or inherited
D. How magic can be controlled or regulated
Magic Users
A. Different types of magic users
B. Training and education for magic users
C. Magic user communities and organizations
Magic in Society
A. How magic impacts society and culture
B. Magic in law and politics
C. Magic in economics and trade
Magic in Conflict and Cooperation
A. How magic can cause conflicts and tensions
B. How magic can be used for diplomacy and alliances
C. How magic can be used to resolve conflicts
History
Incorporating a world history into your story is an excellent way to add depth and richness to your world-building. By establishing a history, you can develop your world's cultures and religions, and intertwine it with your plot for added complexity. However, it's not necessary to have a history for the entire world's creation - just a basic overview of the setting where your story takes place is sufficient.
Another helpful aspect to include in your world-building is myths, lore, and major events that have shaped festivals or important days in your world. Additionally, highlighting significant historical figures can also provide valuable context for your story.
While it's not essential to introduce this information at the beginning of your story, it's a good idea to flesh out these details during revisions to ensure a cohesive and well-rounded world. This can help maintain consistency throughout your story and enhance the overall reading experience for your audience.
If you are creating an entire world history. Here are some things to think on:
Creation Myth and Cosmology
A. Explanation of the world's creation myth
B. Introduction of the cosmology of the world
Early Civilizations and Kingdoms
A. The rise of early civilizations and kingdoms
B. Development of early cultures and their impact on the world
Major Historical Events
A. Wars and conflicts
B. Great discoveries and inventions
C. Natural disasters and calamities
Key Figures in History
A. Heroes and heroines
B. Villains and antagonists
C. Leaders and rulers
Religion and Spirituality
A. Explanation of the major religions and spiritual beliefs in the world
B. Impact of religion and spirituality on world events and culture
Technology and Advancements
A. Advancements in science and technology
B. Development of new magic and spells
Current State of the World
A. The current political and social situation in the world
B. Ongoing conflicts and challenges
C. Future possibilities for the world
Geography
Understanding the visual aspects of your story's setting is a valuable tool for crafting a rich and immersive world. By knowing the geography, you can better visualize how your characters will interact with their surroundings, what they'll wear, and what they'll eat. It can also play a major role in shaping the culture of the people inhabiting your world.
The geography of your world can even influence the physical characteristics of certain races, like those living near a volcano who may have tough, scaly skin to resist heat. Some key factors to consider when developing the geography of your world include the landscape, climate, weather patterns, natural resources, and the types of food available to your characters. These details can all work together to bring your world to life and make it feel like a fully-realized place with a unique identity.
Things to think on while creating your world geography:
Physical Features
A. Landforms such as mountains, forests, and rivers
B. Climate and weather patterns
C. Natural resources and their distribution
Political Boundaries
A. Different regions and territories
B. Borders, boundaries, and conflicts
C. How politics and culture influence geography
Cultural Landscapes
A. Architecture and building styles
B. Cultural and religious sites
C. Impact of culture and history on the physical landscape
Mystical and Supernatural Features
A. Magic and other supernatural elements
B. Divine or cursed locations
C. How these features shape the world
Politics
In the world of writing, it's easy to think that politics don't matter, especially when you're starting out. However, this is far from the truth. As you craft your story, there will come a point where your character will need to make a decision that affects the people around them. When others either agree or disagree with that decision, you're entering the realm of politics. In its simplest form, politics is all about how groups of people work together to make decisions and get things done. This can involve everything from choosing leaders and making laws to deciding how to use resources. In a fantasy world, politics can take on a different flavor. Different races and groups of creatures might be vying for control of territory or trying to gain power or fight for their rights.
The Players
A. Different races and societies
B. Leaders and powerful figures
C. Factions, alliances, and conflicts
The Systems
A. Government and governance
B. Laws and regulations
C. Use of magic and supernatural powers
The Issues
A. Resource allocation
B. Territorial disputes
C. Power struggles and control
There are a lot of different factors that can affect politics in your fantasy world, and it's important to consider how your characters and societies will respond to them. Whether they're fighting for their rights, negotiating deals, or making compromises, the decisions they make will shape the world you're creating. So take some time to think about these things and how they'll impact your story
Technology
It's important to consider the level of advancement in your fantasy world. For example, if you're writing an old world fantasy kingdom, but there is technology present, your readers will likely be curious about where it came from, how it was developed, and who created it. Make sure to address these questions in your world-building
Here are some things to think on while working on technology for your world:
Types of Technology
A. Explanation of various types of technology in the world
B. Magic and technology: their relationship and interaction
Evolution of Technology
A. The history of technology in the world
B. Key figures and events that drove technological progress
The Creation and Distribution of Technology
A. Who creates technology in the world
B. How technology is distributed throughout the world
C. Economic and social factors that impact technology development
The Impacts of Technology
A. Positive and negative impacts of technology on society and culture
B. Environmental impacts of technology
Limitations of Technology
A. Constraints on technology development
B. Limitations on the use of technology
Future of Technology
A. Speculation on the future of technology in the world
B. Potential implications for the world and its inhabitants
That's it! We are done! Cheers everyone! Great job on completing your detailed outline! Here's a recap of all the elements you should include: First, choose your genre, trope, target audience, and set a word and chapter count. Define your plot in 2-3 sentences, then expand it and break it down into beginning, middle, and end. Then create a chapter-by-chapter outline. For your characters, give them names, a brief history, physical descriptions, personality traits, conflicts, and character growth.
When it comes to world building, describe the geography and how it affects culture, politics, and history. Provide an overview of the various cultures, their practices and beliefs, and how they impact character interactions. Explain the political landscape, the systems, structures, and how they affect characters. Develop the world's history, including key events and figures that shaped it and how it affects the current state of the world.
Include an overview of the magical and technological systems in the world, how they interact, and their limitations and implications. Discuss the various religions, their beliefs and practices, and how they impact characters. Provide an overview of the languages spoken in the world and how they affect interactions between characters. Lastly, describe the various creatures and races in the world, their physical characteristics, cultural practices, and how they interact with each other and with humans.
For convenience, here is a scrivener template created with this style in mind and all the research is included in the template's resource folder. It's free, so don't stress and Download. Note that this is a google drive link. Simply Download and import into scrivener as a template.
Looking forward to seeing you again in the future! If you love fantasy, check out my free novel! HERE.
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So recently I’ve been seeing a lot of people (mainly on HOTD tick-tock) say that one of the reasons they are ‘team Black’ in the show is because those characters such as Daemon, Rhaenyra and Corleys tend to be more in touch with and happy to embrace there Valyrian customs and heritage. While characters like Aegon, Aemond and Helaena are just blond Hightowers who don’t know what it means to be ‘true Targaryens’ or have been ‘raised wrong’ in terms of there Targaryen heritage.
(Please note that this is going to be a longish post that will be discussing lore from ASOIAF found in books and other material such as the world of ice and fire but because most of this discourse is happening around the show I’ll be discussing the characters as they are displayed in the show.)
Now there is so much to unpack in that but I think the most import thing to talk about is what Valyria and that culture truly was. Because yeah the dragon riding and blood magic is very cool but on the flip side Valyria was an empire that conquered the known world through bloody conquest. Then enslaved there new and unwilling subjects and put them to work in mines and in a hundred other horrible places. These mines were death sentences for the slaves who worked there as they were forced to dig for gold and jewels beneath volcanos such as the fourteen flames, where the Valyrian built there capital city’s on top of those fourteen volcanoes. And it’s suspected that they kept them from erupting by using blood magic and sorcery which was fed by there slaves who were unwilling sacrifice in those rituals.
In the books and show itself the Roynar who are the ancestors of much of Dorne and House Martell itself came to Westeros because they were fleeing Valyrian conquest. The free city of Braavos was founded by slaves who escaped Valyria, it’s the main reason the city is one of the few places in Essos that is staunchly opposed to slavery.
Now while this is technically unconfirmed (this is info given to Arya from a Faceless man) it’s believed that the cult of the Faceless Men was founded in the Valyrian slave mines because each slave was praying for death, so as a kindness the first Faceless Men gave it to them.
Then we have the incest. Believed to have been practiced to keep the dragon riding bloodlines strong, controlled and kept in certain families. Now I don’t think this is a hot take but incest is bad. In any context it’s bad. Please don’t go around snogging your relatives.
The blood magic is interesting as it appears that in ASOIAF most of the magic systems whether they be Green seeing and tied to the Old Gods or fire magic and tied to Valyria are based in blood. For example a prevalent theory is that the early Valyrian’s tampered with there blood so that it was easier for them to bond with dragons. Personally I don’t think there’s anything special in Valyrian blood. I think they probably did mess with it as we can see through some Targ stillborn come out having dragon like features, but at the end of the day anyone in ASOIAF can do some level of magic as displayed in characters like Marwin the Mage (who is most likely half Hightower btw) and even Jaime Lannister who had a prophetic dream but only around a magical thing which was a weirwood stump. And the Targs (particularly the early ones) were always around dragons which in this case are the magical objects along with having messed up blood magic blood. Which is cool but can’t be good for them. Also Green Seer magic seems to involve cannibalism which again is bad!
Also the doom of Valyria occurred because these people decided to build there major city atop 14 active super volcanos and then dug into the super volcanoes thinking everything would be fine and dandy. They were killed because of there own hubris.
Which is how we get onto the idea that the Hightower’s somehow ‘infected’ and ‘poisoned’ the Targaryen bloodline and ruined everything for everyone. Which is a very dangerous line of thinking even when we’re just discussing a book series. It leads into ideas of blood purity which again are disgusting and horrible and should never be considered good. Ever.
The Hightowers are not the reason the Tags rotted away. They were always rotting. Also Viserys made the choice to marry into the Nobel House with the most ties to the Faith of the Seven. We can argue about how much influence Otto had on the matter and obviously he did but at the end of the day Viserys still made that decision. He could have put his foot down and said no but he didn’t. Like he married a fantasy catholic and now everyone is shocked that the fantasy catholic is serious about her religion.
Also the reason Aegon, Aemond, Daeron and Helaena ‘act like Hightowers’ is because Alicent raised those kids not Viserys. Whatever you think about Alicents parenting she at the bare minimum parented. Viserys ignored his children from his second marriage in favour of trying to sooth his guilt over murdering Aemma and he focused his efforts on Rhaenyra and her children. So yes ‘the Green’ kids act like Hightowers because guess what Alicent was the only one who put any effort into raising them and raised them the only way she knew how, as Hightower. But like also her kids all ride dragons, Alicents grandkids are bonded to dragons. They are Targaryens. Even without the dragons they would still be Targaryens. And if we followed that logic than every Targ born after the dance wouldn’t be a ‘True Targaryen’ because they didn’t have dragons or were half Martell or Blackwood and those families have ‘poisoned’ the Targ bloodline. I cannot stress enough how gross that line of thinking is even when we’re using it to discuss a book series.
And the characters in the story who are the most fascinated by the lost glories of Valyria such as Viserys and Daemon are focusing on the lost prestige of there ancestors dead empire. They either don’t think about the horrors of what that place was, or there fine with them which says a lot about there characters and the way they view themselves and the people they rule.
I repeat Valyria was not a nice place. It was not a good place. It’s an interesting place and it’s affects on the Targaryens are fascinating and I would love to learn more about it but it was an evil empire.
The closest thing we have to Valyria remaining in the books is the free city of Volantis. Which is an old colony of Valyria, still has none dragon riding descendants of Valyria living there and is the biggest slave city outside of slavers bay. Volantis is a horrible place.
My point is placing Valyrian and in a sense Targaryen customs and heritage on a pedestal means that we ignore all the dodgey and horrifying stuff that entails or at the very least don’t look at it critically and that’s not good.
And yes this is only a book series so we don’t need to be so serious, but I would make the argument that when one of your major reasons for supporting one side in a conflict is because there more ‘pure anything’ than another then you need to take a step back and reevaluate.
#house of the dragon#asoiaf#doom of valyria#a song of ice and fire#daemon targaryen#asoiaf discourse
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Y'all... I have another AU ToT Bill got to be a human so naturally I made a completely different universe in which Ford is a demon. The brainrot is real and I wanna post stuff here soooooo
What I love about this AU is that I’ve put the twins in a world where their skill sets are valued at opposite levels than they were on earth. But I will say, this AU has developed so much that it's barely recognizable as having started from GF.
TW for death of a pregnant woman, spousal abuse/toxic relationships
Zeph's Demon Ford AU
Part I: Mortality
Stan is the leader of a thieving crew in an apocalyptic world called Scadrial. (I've based this part off of the world in Brandon Sanderson's Mistborn trilogy, but although I recommend it highly, I'll describe all of this so nobody has to have read it to understand.) As for Ford... He and Stan aren’t identical. Ford never bulks up like he does in canon. He likes to read and write but doesn't have much of an outlet for that - he’s just constantly journaling. He’s very quiet, but very spiteful. He doesn’t speak much and is very sickly and awkward. He also doesn’t sleep much so he’s got really sunken dark eyes behind longish dirty hair.
Stan obviously loves Ford very much, but the crew members are kinda pissed that he’s there because they feel like he doesn’t do anything and yet he gets paid for their work. At one point his journal gets stolen and he’s outed for his crush on one of the (male) crew members. This really weakens Stan’s reputation and the crew pulls a coup.
The twins end up on the streets and Ford just feels awful; he was utterly humiliated and the crew members really roughed him up. He hated feeling so weak. He also starts having awful nightmares; he's being targeted by a dream demon. The demon repeatedly asks Ford to make a deal with it, but Ford refuses again and again. Ford ends up killing a nobleman; for his pocket change, but really to prove something to himself. The noble's murder attracts the attention of law enforcement and he and Stan are captured. Before they're executed, Ford decides to take the demon's deal.
Part II: Fiddleford
Ford and Stan spend years as the demon's servant, until Ford is able to overthrow it, taking its power for himself. He received the powers of the dream demon and Stan received the power of a shapeshifting illusionist. They were left with a problem, however: if Sixer didn’t get enough worship, both he and Stan would die. Taking the name Sixer to separate himself from his younger, weaker self, he devised a strategy where he would find a mortal to seduce, squeeze all the worship he could out of them, kill them, and live off of the power until he needed to find someone else.
Eventually, Sixer started conning Fiddleford McGucket, a newly wed cattle driver in 1880s Texas. He preyed on Fiddleford’s closeted sexuality and faith, posing as an angel sent from god to help cure his sexual deviance. Fiddleford, however, took longer to con than most and Sixer was forced to spend more time with the man. Out of jealousy, he poisoned a pregnant EmmaMay, getting Fiddleford all to himself.
Sixer decided he had spent far too much time and energy on Fiddleford to murder him like the others - and growing up with very little as a child had made Sixer VERY territorial. Before Fiddleford could find out that Sixer had lied about being an angel, he convinced Fiddleford to give him his soul and make him immortal, gifting him the power to control memory and a body made of vegetation.
Fiddleford would spend the next century trying to justify…. Everything. Sure Sixer had lied and had been trying to con him, but he was clearly being given special treatment compared to Sixer's other victims. Sure he only admitted he loved him when he was intoxicated but he did love him! Sixer's drunken rants about his childhood and peeks into his memory only made him seem more redeemable.
(Stan, in case you’re curious, just eventually learned to do his own thing. He talked to Fiddleford one on one a lot but Sixer had changed so much, any interaction he had with him usually ended in a shouting match. Unable to leave, Stan just tries to keep his head down and enjoy what little he can)
Part III: Bill
While Sixer grew resentful of Fiddleford’s clinginess, Fiddleford grew resentful of Sixer’s unfair treatment. Eventually, he murdered one of Sixer’s targets, cutting off his worship supply. In retaliation, Sixer picked up a recently reincarnated Bill Cipher (from after the canon Weirdmageddon events) to make Fidds jealous.
Excited about the prospect of winning over a different Stanford with sticking it to a different Fiddleford as an added bonus, Bill agreed to the hook up and ended up convincing Sixer to get rid of Fiddleford entirely. Sixer hated the fact that his soft spot for Fidds had made him weak and Bill offered to fix the problem of his worship supply's connection to his mortality so it seemed a fair trade.
Sixer's regret for killing his unofficial consort was strong, but he tried his hardest to push it down. The regret grew, however, into resentment for Bill and Sixer decided to overthrow Bill the same way he did his old demon master. Bill figured out early that Sixer was planning something like this, but - unwilling to accept the idea of losing Ford a second time - denial prevented him from taking any course of action against Sixer's machinations. Until, that is, they grew too hard to ignore and Sixer exploded about how killing Fiddleford was the worst mistake he ever made.
Enraged by a second betrayal, Sixer met the same fate by Bill's hand that Fiddleford had met by Sixer's own.
(And Stan lived happily ever after)
#gravity falls#stanford pines#fiddleford mcgucket#bill cipher#fiddauthor#demon ford au#billford#emma may dixon#stanley pines#stan twins#gravity falls au
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Howdy all!
I've not posted in forever, but I want you to know I am writing. I've just hit a wall with Saving Simon Snow and The Heart in the Well, so I'm rereading those to figure out where I'm going. But I've made significant progress on my other three, just not enough to post a chapter. I think a chapter of Snow Fox will be up in a week. I don't want too many WIPs on the archive, so I'll wait till one is finished to start posting Stars, Flowers and Children, which I've already got ten chapters done on.
Thank you to these folks for continuing to tag me even when I go silent: @larkral, @blackberrysummerblog, @bookish-bogwitch, @nausikaaa, @artsyunderstudy, @nightimedreamersghost, @prettygoododds, @rimeswithpurple, @ic3-que3n, @j-nipper-95 and @shrekgogurt
From: Stars, Flowers, and Children:
One moment Simon’s staring, open-mouthed at Davy’s corpse, and the next he’s folded himself into my chest, sobbing. “I killed him,” he whispers, between sobs. “Baz…I killed him.”
I want to argue with Simon, tell him that he couldn’t have known his shove would kill the man, that Davy’s own drunkenness made him so clumsy he couldn’t break his own fall, that Davy’s madness forced Simon to take action…but none of those things will help. So I just wrap my arms around him and hold him to me and let him cry.
I want to tell him it’s alright. But it’s not.
We’re thirteen years old, and we’re all alone in the world.
From: Snow Fox
“I wish I were there with you. I wish I could be more help,” he frets.
“You’re where I need you,” I remind him. “You’re of invaluable assistance to our effort. Baz, nobody can do what you do for the rebellion.” I reach up and cup his face between my two palms. “And,” I whisper, “knowing you are here, safe? It’s the only thing that keeps me going, some days, darling.”
Baz’s eyes soften. Then I can’t see his eyes anymore because his lips are on mine and my own eyes have slammed shut. He kisses me fiercely, hungrily. Then he pulls away abruptly. “I’ll stay safe for you, for as long as I can,” he whispers.
“I know,” I whisper. “And I’ll do the same for you.”
And a longish sample from Tiktok dancer--Baz is finally in the story!
“We’re young, we’re hot, and we’re freeeeeee!” Dev shouts, and then follows his boast up with a raucous wolf howl.
“You’re making a scene!” I hiss at him.
Dev flips me off, before skipping ahead of Niall and I to the baggage carousel. I refuse to look around to see if Dev’s behavior is drawing attention. Of course it is; he lives to embarrass me.
Niall laughs at my expression and then throws an arm over my shoulders. “C’mon, Baz. The sooner we get out of here, the sooner you can cool your blushes.”
I scowl at him. “I’m not blushing,” I lie. I can feel the heat in my cheeks, but hopefully my skin is too dark for him to tell.
He releases me with a pat on the shoulder and a laugh. “Dev’s just having fun. And he’s right, you know. This is our hot singles tour, and we get to do it in hot people paradise. Isn’t that great?”
“I thought Hawaii was paradise,” I snark.
Niall rolls his eyes. “Your virginity is showing, Baz. C’mon, California? The home of the hottest girls on the planet?”
Now I roll my eyes. “And I should care about that, why?” We’ve reached the baggage carousel now. Dev has pulled all of our suitcases off of the conveyer and is waiting impatiently for us. He was close enough, apparently to hear the last part of our conversation. He snickers.
“You care because you want your best friends in the world to get laid by the hottest women. You’re just nice that way.”
“Besides,” Niall grunts, as he hefts our suitcases onto a baggage cart. “I’m sure the guys are just as hot. You’ll find someone to fuck, Baz. Probably several someones.”
Tagging (and blowing y'all a big kiss for the New Year): @angelsfalling16, @bazzybelle, @carryonsimoncarryonbaz, @erzbethluna, @fatalfangirl< @facewithoutheart, @hushed-chorus, @letraspal, @frjsti, @messofthejess, @moments-au-crayon22, @moodandmist, @onepintobean, @raenestee, @thehoneyedhufflepuff, @theearlgreymage, @tea-brigade, @cutestkilla, @you-remind-me-of-the-babe
#co/ws/awtwb#wip wednesday#carry on through the ages#cotta 2023#carry on reverse bang#Age of Sail AU
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As a queer person living in conservative, rural America, and as a Star Wars fan who posts about the Jedi Order, my thoughts are frequently turned to the concept of family, and what it means in different cultures. I’ve written a longish (1k words) post about this lmao, so I will put it beneath the cut, but it unpacks a lot of assumptions that are frequently made in discussion of the Jedi.
The ideology of the family where I live is closely related to patriarchy, individualism, and property rights. The narrative of the ideal family life is this: a man falls in love with a woman and courts her until she agrees to marriage. When they marry, they become one person, or rather the man acquires a helpmeet, and the woman legally loses her personhood, becoming Mr and Mrs X. She is now a larger part of the man’s personhood, and any children they have are also inside that umbrella. They are his property, not individuals in themselves. This is why conservatives resent public school and free access to information, as they are interfering with his right to maintain his property the way he wants them. Once the children are grown, the cycle continues, the son finding a wife, etc. That is a certain kind of ideal of society. The idea of sending a child to the church to be raised, is kind of like sending a valuable, heirloom cup to be used by the community, it’s hypothetically a meritorious sacrifice to god, but the cup still really belongs to the family. It belongs at home. If the child grows up to join the church, it’s something that happens later, during the transition from being property to being an individual.
This is not a universal or necessary mode of life.
In a different culture, where a child is born and is understood already to be a member of the wider community that is being raised by their parents, the idea of allowing an institution to adopt and take over raising the child is not a violation of some man’s property rights. In a culture where there is a temple that is an honorable place, where being a monk is a livelihood that is respected and important, something that parents would wish for their child to experience, it is more of a privilege to get your child into that place where they can become an important figure in the community. The parents would miss the child, that is universal, but there would also be a sense of relief for them, to know that they’ve gotten access to a stable future that they can be proud of, especially if they were in a situation where they couldn’t guarantee that child an equally stable and important future. With the force-gifted Jedi this is even more stark; their powers should be trained and directed for their own good too. Growing up communally at a temple is a different kind of family, where there is a sense of brother and sisterhood, with teachers and elders making up a dense web of social relationships. It is a different life, but not a worse one.
The conservative American ideology is something that I have felt my entire life to be very closed and full of the potential for abuse behind closed doors. A child is not a person and is not treated like one, and a wife is not a person either. The only individuals are the men who own these families. It’s a system that I yearn for relief and escape from, and so of course I am drawn to the Jedi, an imaginary culture that is based on real values held by real cultures outside of my own. I know there are places in the world where sending a child to the temple is an honorable and good thing. I know that the Jedi think of each other as family, it’s well attested in canon and legends content. It’s not abusive or wrong for those children to be raised in that communal culture, just because it’s different from the norms of individualistic, patriarchal values. Just because it’s different, doesn’t mean it’s wrong. Just like being a queer person, who doesn’t fit into the system of romantic pairing and nuclear families, being different doesn’t mean being wrong.
People raised with the conservative ideology think the absence of romantic love is inherently abusive, but if you were raised to prioritize other things, would you miss it as much as if you were raised to chase it? Is it not a worthy effort to dedicate your life to serving other people? It may be difficult, but it’s not a life without love. Jedi have romantic feelings, they’re not forbidden, but they are deprioritzed. It’s not the ultimate goal of life, but rather more of a distraction from a very noble duty. Many, many people in the world choose that path. The Jedi aren’t jailers, we have examples of people leaving when they couldn’t walk that path, but most stay, because they have an important role to play in the wider galaxy and a great use of their potential. Anakin wanted to stay so that he could have the status and power of a ranking member of the Jedi Order, but he also wanted to have private property, possessing other people and controlling their destiny. You can’t have both. I think the story of the prequels and the path of the Jedi are both fascinating because they push against the cultural norm toward romance and patriarchal individualism. It’s just nice to have something that says you can find home with friends and mentors, and meaning with duty and service. It’s important to me on a very personal level.
#jedi order#many thoughts#there are a lot of assumptions made in criticism of the order#which are based on cultural norms that i do not share#and sometimes find offensive#this goes into why
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