#the characters still get to have their stories be ABOUT whatever fun sci fi fantasy shenanigans are ongoing
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I’m reading Witch King by Martha Wells, and now that I have read more than one (1) series by this author, I have been suddenly brained with a two-by-four sharpied over with “realizing that I really enjoy novels by Martha Wells because they live in the specific niche created by the intersection of casually and thoroughly queer casts and non-romance storylines”
I am as ever a sucker for non-human main characters struggling with their very human feelings, which is why I jumped on Witch King the moment I saw “the author of Murderbot wrote another book with a main character that’s non-human,” but I live in this dichotomy where I can really enjoy reading queer romances but I don’t really identify with non-ace characters (which is not actually something I figured out how to differentiate until I was Last Week Years Old). so there are lots of books out there that I enjoy reading but it’s comparatively rare for me to read something that feels like it was written For Me and Martha Wells does that very well
anyway, give me more ace it-pronouns human-spliced robot main characters and people-eating demons who consider rank over gender when finding new bodies to inhabit
#text posts#martha wells#witch king#personal#her castes and universes are also very culturally and ethnically diverse but I've had ace-ness on the mind lately#so it was relevant to my ongoing thoughts#I never really read books that are advertised as specific types of diversity representation#especially with queer books what I like to read is books that are very queer but aren't ABOUT being queer#so I tend to steer clear when people are like read this the mc is a nonbinary lesbian witch without even really saying what the plot is#but martha wells writes books that are queer and brown and INFLUENCED by being queer and brown but#the characters still get to have their stories be ABOUT whatever fun sci fi fantasy shenanigans are ongoing#((inb4: this is my preference not an overal value judgment))#((I just want to read the same books I read when I was a little kid and have them just ALSO be lovingly diverse))#((and I only really read SFF))#in other news I was trying to figure out how to name my flavor of ace#and then I looked up the difference between demi and gray#and I realized gray is what I am looking for#very very dark gray
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What No One Tells You About Writing #5
Part 4
Part 3
Part 2
Shorter list this time, but longer points. I expect this one to be more divisive, but it is what it is, and this is what ‘no one tells you’ about writing, after all. This one’s all about feedback and how to take it, and give it.
1. Not everyone will like your book, no matter how good it is
I’ve said this before, granted, but sometimes you can have very arbitrary reasons for not liking an otherwise great story. For example: I refuse to watch Hamilton. Why? Because everyone I knew and their dog was trying to cram it down my throat when it came out and I still don’t really like musicals, and didn’t appreciate the bombardment of insisting I’ll like it simply because everyone else does. I’m sure it’s great! I’m just not watching it until I want to watch it.
It can be other reasons, too. I won’t read fanfic that’s written in first person, doesn’t matter how good it is. Someone might not watch a TV show because the primary cast is white or not-white. Someone might not watch a movie because an actor they despise is in it, even if the role is fantastic. Someone might not watch or read a story that’s too heavy on the romance, or not enough, or too explicit. I went looking for beta readers and came across one who wouldn’t touch a book where the romance came secondary in a sci-fi or fantasy novel. Kept on scrolling.
Someone can just think your side character is unfunny and doesn’t hear the same music as everyone else. Someone can just not like your writing style with either too much or not enough fluff, or too much personality in the main narrator. Or they have triggers that prevent them from enjoying it the way you intend.
How someone expresses that refusal is not your job to manage. You cannot force someone to like your work and pushing too hard will just make it worse. Some people just won’t like it, end of story.
2. Criticism takes a very long time to take well
Some people are just naturally better at taking constructive criticism, some have a thick skin, some just have a natural confidence that beats back whatever jabs the average reader or professional editor can give. If you’re like me, you might’ve physically struggled at first to actually read the feedback and insisted that your beta readers color-coded the positive from the negative.
It can be a very steep climb up the mountain until you reach a point where you know you’re good enough, and fully appreciate that it is actually “constructive” and anything that isn’t, isn’t worth your time.
The biggest hurdle I had to climb was this: A criticism of my work is not a criticism of me as a person.
Yes, my characters are built with pieces of my personality and worldview and dreams and ideals, but the people giving you feedback should be people who either already know you as a person and are just trying to help, or are people you pay to be unbiased and only focus on what’s on the page.
Some decisions, like a concerning moral of your story, is inadvertently a criticism of your own beliefs—like when I left feedback that anxiety can’t just be loved away and believing so is a flawed philosophy. I did that with intent to help, not because I thought the writer incompetent or that they wrote it in bad faith.
I’m sure it wasn’t a fun experience reading what I had to say, either. It’s not fun when I get told a character I love and lost sleep over getting right isn’t getting the same reception with my betas. But they’re all doing it (or at least they all should be doing it) from a place of just wanting to help, not to insult your writing ability. Even if your writing objectively sucks, you’re still doing a lot more just by putting words on paper than so many people who can’t bring themselves to even try.
As with all mediums subjects to critique, one need not be an author to still give valuable feedback. I’m not a screenwriter, but from an audience’s standpoint, I can tell you what I think works. Non-authors giving you pointers on the writing process? You can probably ignore that. Non-authors giving you pointers on how your character lands? Then, yeah, they might have an opinion worth considering.
3. Parsing out the “constructive” from the criticism isn’t easy
This goes for people giving it as well. Saying things like “this book sucks” is an obviously useless one. Saying “I didn’t like this story because it was confusing and uncompelling” is better. “I think this story was confusing and uncompelling because of X, and I have some suggestions here that I think can make it better.”
Now we’re talking.
Everyone’s writing style is different. Some writers like a lot of fluff and poetic prose to immerse you in the details and the setting, well beyond what you need to understand the scene or the plot. Their goal is to make this world come alive and help you picture the scene exactly the way they see it in their minds.
There’s writers who are very light on the sensory fluff and poetry, trying to give you the impression of what the scene should look and feel like and letting you fill in the missing pieces with your own vision.
Or there’s stories that take a long time to get anywhere, spending many pages on the small otherwise insignificant slice-of-life details as opposed to laser-precision on the plot, and those who trim off all the fat for a fast-paced rollercoaster.
None of these are inherently bad or wrong, but audiences do have their preferences.
The keyword in “constructive criticism” is “construct”. As in, your advice is useless if you can’t explain why you think an element needs work. “It’s just bad” isn’t helpful to anyone.
When trying to decide if feedback has merit, try to look at whatever the critic gives you and explain what they said to yourself in your own words. If you think changing the piece in question will enhance your story or better convey what you’re trying to say, it’s probably solid advice.
Sometimes you just have to throw the whole character out, or the whole scene, whole plot line and side quest. Figuring out what you can salvage just takes time, and practice.
4. Just when you think you’re done, there’s more
There’s a quote out there that may or may not belong to Da Vinci that goes “art is never finished, only abandoned.” Even when you think your book is as good as it can be, you can still sleep on it and second-guess yourself and wonder if something about it could have been done better or differently.
There is such a thing as too much editing.
But it also takes a long time to get there. Only 10-15% of writing is actually penning the story. The rest is editing, agonizing over editing, re-editing, and staring at the same few lines of dialogue that just aren't working to the point that you dream about your characters.
It can get demoralizing fast when you think you’ve fixed a scene, get the stamp of approval from one reader, only for the next one to come back with valid feedback neither of you considered before. So you fix it again. And then there’s another problem you didn’t consider. And then you’re juggling all these scene bits and moments you thought were perfect, only for it to keep collapsing.
It will get there. You will have a manuscript you’re proud of, even if it’s not the one you thought you were going to write. My newest book isn’t what I set out to write, but if I stuck to that original idea, I never would have let it become the work that it is.
5. “[Writing advice] is more like guidelines than actual rules.”
Personally, I think there’s very few universal, blanket pieces of writing advice that fit every book, no exceptions, no conditions, no questions asked. Aside from: Don’t sacrifice a clear story for what you think is cool, but horribly confusing.
For example, I’m American, but I like watching foreign films from time to time. The pacing and story structure of European films can break so many American rules it’s astonishing. Pacing? What pacing? It’s ~fancy~. It wants to hang on a shot of a random wall for fifteen seconds with no music and no point because it’s ~artsy~. Or there is no actual plot, or arc, it’s just following these characters around for 90 minutes while they do a thing. The entire movie is basically filler. Or the ending is deeply unsatisfying because the hoity-toity filmmaker believes in suffering for art or… something.
That doesn’t fly with mainstream American audiences. We live, breathe, and die on the Hero’s Journey and expect a three-act-structure with few novel exceptions.
That does not mean your totally unique or subversive plot structure is wrong. So much writing advice I’ve found is solid advice, sure, but it doesn’t often help me with the story I’m writing. I don’t write romance like the typical romance you’d expect (especially when it comes to monster allegories). There’s some character archetypes I just can’t write and refuse to include–like the sad, abusive, angsty, 8-pack abs love interest, or the comedic relief.
Beyond making sure your audience can actually understand what you’re trying to say, both because you want your message to be received, and you don’t want your readers to quit reading, there is an audience for everything, and exceptions to nearly every rule, even when it comes to writing foundations like grammar and syntax.
You don’t even have to put dialogue in quotes. (Be advised, though, that the more ~unique~ your story is, the more likely you are to only find success in a niche audience).
Lots of writing advice is useful. Lots of it is contradictory. Lots of it is outdated because audience expectations are changing constantly. There is a balance between what you *should* do as said by other writers, and what you think is right for your story, regardless of what anyone else says.
Just don’t make it confusing.
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I just dropped my cover art and summary for my debut novel. Go check it out and let me know what you think!
#writing advice#writing resources#writing tips#writing tools#writing a book#writing#writeblr#editing#constructive criticism
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To be honest I can kinda see how having a hook instead of a hand prosthetic has its benefits
Hook is easier to mantain than a hand with lots of small moving pats, especially when you don't know shit about it. If something happens to it and it gets broken, it's much easier to replace a hook, even with all layers and poisons
And depending on when in time Crocodile lost his hand he may have just got used to it already
But also yeah, Crocodile is just the type of guy to choose a hook instead of a new hand because looks and aesthetics lol
(sorry for typos btw)
Crocodile's hook is kind of fun because it's a reflection of so many things in the story. Like there's the in-universe lore and character stuff we can look at, but also we can look at it from a meta perspective
Like we know Oda wanted to give certain important characters in the story the Iconic Pirate Traits; the peg leg for Zeff, the hook for Crocodile and an eyepatch he has seemingly been saving up all these years for a special someone (my money's on Mr Burns but that's a different subject). And so Crocodile having the iconic hook is a part of an old pirate-y "vision" Oda wanted to fulfill with One Piece, an OG "goal" from waaay back in the day
But another thing is that Crocodile is very much from The Olden Days of One Piece, more specifically, very much pre-what I'd call the sci-fi era of OP. I'd say One Piece started truly dwelling deeper into that genre and its tropes during Punk Hazard, but Oda didn't even really dip his toes into it until the CP9 Saga (with the introduction of Franky and the namedropping of Doctor Vegapunk). Sure, Oda did already hint at the existence of Vegapunk and his scientific developments back in Alabasta (when Miss Merry Christmas explained that Lassoo was a gun that had eaten a Dog Dog Fruit, this being "the Latest Science from the Grand Line"*), but One Piece was still very much in its more classical fantasy element/genre at this point in the story, so the science fiction that was to come years and decades later was not even present at this point
*(Thinking about it, honestly, how the fuck did Mr 4 get his hands on Lassoo if Lassoo was created by Vegapunk?? Was he a gift from Vegapunk/the WG to Crocodile, maybe????? That Crocodile just secretly gave away to Mr 4????)
In other words, in hindsight it might seem odd Crocodile wouldn't have taken advantage of his position as a Warlord and gotten a prosthetic arm to replace his hook. But Crocodile is a One Piece character from a different era in the story, when advanced prosthetics, cyborgs, robots, clones and so much more were nothing but a twinkle in Oda's eyes. So expecting Crocodile to have lived up to the sci-fi future One Piece wasn't originally going to even get to would be unreasonable.
But the fun thing is that we can actually look at Crocodile and his silly little hook, and spin it in a way that does actually complement his character. We can find in-universe reasons for him to have stuck to a hook over an advanced prosthetic, and they make sense.
The most obvious would of course be that Crocodile does not trust anyone. It would be very much unlike him to go to Vegapunk and/or the World Government requesting to be given a prosthetic, because that would mean
1) Leaving himself vulnerable for a period of time so that Vegapunk could actually give him a prosthetic (dangerous)
2) Knowing the WG they would not just give out something like that for free, surely they'd want something from Crocodile in exchange.
And, while we know what would become of Kuma eventually (a fate so cruel I'm sure even Crocodile could not have imagined) I'm sure he could have suspected the WG could want to use him for a science experiment or two, something I'm sure Crocodile would never have agreed to. Or maybe the WG/Vegapunk would've wanted Crocodile to pay them an obscene amount of money in exchange for a prosthetic, and/or have him do some other favors. Whatever the case, I'm sure none of these options would have seemed worth it in his mind.
And yeah, what you said.
Maintaining and taking care of a hook would be easier, like if Vegapunk's prosthetics ever broke or malfunctioned for any reason Crocodile would have to make a horrifically long hike all the way from Alabasta to Marijoa, cross the Red Line (to be fair his Shichibukai Status would allow him to go over which would be more convenient than passing through Fishman Island), go to Punk Hazard (or Egghead later on), and then hike aaall the way back to Alabasta again.
And Vegapunk's inventions didn't always work as intended, the man had to refine and develop his creations to get them to work the way he wanted them to.
So if the option get a prosthetic was ever brought up to Crocodile by the WG like 10+ years ago, he might've been far more cynical about Vegapunk's ability to actually create a decent prosthetic that worked and wouldn't malfunction/have issues etc. And as you suggested, by that time he probably would have become used to his hook, to the point that he didn't mind keeping it.
And yeah, it would be just a big ol' Luffyism if he preferred the giant, golden, gaudy-ass hook
#Moon posting#Asks#OP Meta#Sir Crocodile#To be fair as a sharp pointy thing the hook IS good for intimidating people.#Like the size of it is pretty inconsistent as is the height of Crocodile in the actual art but in theory#Like. The size of just the base of that hook is fucking massive (and indeed the base is great for pludgeoning people too)#It just. Like the hook just works for Crocodile (because it's Crocodile) and I love that. Like the writing is so good there
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Okay, I've been sitting on these thoughts for a couple of weeks, and I've been reading one of my favorite genre writing books today in preparation for a potential project, and they flashed to the surface again. And I just can't resist anymore, sorry.
I saw a post a bit ago that seemed to angrily indicate that telling writers that they need a plot summary/logline/advertising text that goes beyond a list of tropes was somehow ... ableist? discriminatory against marginalized writers? some kind of elitist bullshit? I don't know, but I could hear the whizzing air of a point sailing over someone's head as I read it and it irritated me.
So, okay, let's go over why I think that's a load of crap.
You have a book or a fic or a story of some sort. When I ask you what it's about, you tell me "bisexuals in space, enemies to lovers!" If we're talking about a fanfic, okay, that's probably enough information to tell me if I want to read it - because I know the fandom, and therefore I have a pretty good idea of what else the story is going to entail. But if you're trying to sell me on your original story? I'm sure there are some people who would still jump on it, but I am really not one of them, and I venture to guess many, many other people are the same way.
Why? Here's a sampling of what your trope phrases do and do not tell me.
Okay, there are bisexual characters. And the fact that you reference enemies to lovers makes me think that we're talking about a romance. But that's not guaranteed! Is the story about the bisexuals falling in love? Is it a space adventure in which people incidentally fall in love? Does it not involve love or sex at all, just a bisexual character in a totally different story who happens to have sex with an enemy in a side plot?
Seriously, how does bisexuality or enemies or lovers factor into your plot?
If you're basing your advertising of your story on sexuality, what kind of society are you writing about? Is this a fun fantasy space setting where there's no discrimination based on who you want (or don't want) to have sex with? Or is this story going to include discrimination that parallels real-world problems? Those are two vastly different moods I have to be in to read a thing.
Overall, even if this is a romance, what's the sub-genre you're going with? Space opera? If it is, is it a ridiculous Jupiter Ascending world or a more gritty Expanse-style world? Is it hard sci-fi leaning? Is it actually a murder mystery set on a space station? Is it an action thriller set on a giant starship? Is it a cozy character study? Something totally different?
What do your characters want? A story in which your MC wants to become monarch of their homeworld is very different than one in which your MC is a smuggler trying to get out of legal trouble, and both are very different from an MC who is devoted to revenge against the person who killed their family.
What tone is your story? Again, if you're using tropes to advertise, my guess is it's somewhat lighthearted. But that's not guaranteed at all.
These are just the things I could think of in like 5 minutes. And maybe you don't care about any of these things, and you're happy to have an audience just of people who can read any kind of story any time as long as there are bisexuals in space. That's great! You found your audience! Have fun!
... but I'm betting that audience is very small, relatively speaking. And that you wouldn't be complaining about it if you didn't want a wider audience.
And implying that a reader or readers asking for something more than a list of tropes is somehow discriminatory against you, whatever marginalization you happen to have? That's insulting nonsense. Writing a story summary - be it for an Amazon page, the back of a book, the summary box on AO3, your website, whatever - is a skill that can be learned by anyone who can write a story long enough to require one. It's a different skill than writing the story, don't get me wrong, but it's a skill you can learn regardless.
By all means, put the tropes there too! Have them at the top or bottom of your summary! Put them on your website! I know romance authors who have search functions on their websites where you can filter by tropes! Those are great, but those authors also know that an individual story summary is also necessary! I can filter and say "I want to read hurt/comfort" but then I need to know what the fuck the story is about. Fanfic can be just about hurt/comfort and get its audience - BECAUSE people know the base fandom. Original fiction, not so much.
Anyway. That stuck under my skin, and now it's out. Hooray.
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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.
#writing inspiration#writing#writers on tumblr#creative writing#writers#writeblr#writing advice#writing community#writing exercise#writing tips#writerscommunity#writerslife#writersociety#writer problems#writerblr#aspiring author#author#writers of tumblr#writing life#writers community#writblr#fiction#tumblr writing community#tumblr writers#tumblr writing society#tumblr writing prompt#story writing#story ideas#story
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Writeblr Intro +
Ayo! I'm V. If you feel like wearing fancier pants, I'll take Vincent or Saintsin, but V really does just fine. I'm a he/him trans fellow who's a bit queer indeed. I'm disabled, which isn't much of a subject - I bring it up to note that odd spots of inactivity on my part are very possible. If you want to be mutuals, interact with this post and I'll check out your work/drop a follow! I'd love to meet more creatives!
What I write -
Science Fiction, mostly, with other genres influence
LGBT & Disabled characters
Sometimes really heavy crap, ngl, so mind those tws
What I know! What I love! What I want to read!
I have side-projects and future novels planned in high-fantasy settings, but no ETA on when I'll have the mind for them :/
What I'm planning to use my account for -
Snippets of my work that I think are neat, or random short-stories that don't make the cut for the novels for whatever reason (usually tone/pacing/context)
Extra, fun information about my characters / the story
Art I make - mostly of my OCs, possibly of settings?
Whatever music inspires me/playlists
Whatever I'm reading, maybe...
Who knows? If there's something you want to see, send a message or drop an ask. I'm open to suggestions.
Are we into D&D character shitposting here? Is that a thing?
What I like -
A little bit of everything - seriously. If you've written/created it, I'm probably interested.
The above, but restated for emphasis.
Art, writing, music... I'm a vacuum for human creation, I love it, I want to engage with and encourage it.
My goals -
Like so many others, to become a full-time writer (hence the monetary writing, I'm sorry...). Being disabled in The States isn't a great gig, particularly when I'm still working full-time in retail.
To be a part of a writing/artsy/creative/whatever kind of community of people who build each other up, and share experience and knowledge with each other.
I'm apparently a chronic over-writer, so I'm possibly blabbing a bit here. If any of the above tickles your pickle, drop me a follow or interact with this post, and I'll respond in kind!
Self-promo- I have one published work out. If you want to read a debut author's sci-fi novel about identity and autonomy (feat. morally grey Frenchman) and help support me getting my disabled ass out of retail, the eBook is only 4.99 on the kindle store (and you don't need a kindle to read it, just a smartphone and the app).
(Disclaimer: The opinions of the characters do not always reflect the opinions of the author...)
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9. and 20. please.
Also love the new lil scugsona. Very fitting for you.
@scavworld's Rain World Questionnaire
Thanks for the ask! Just a quick note, that little character was actually meant to be a scug-ified version of my regular avatar, which I should probably make a ref for soon. I've always just liked the idea that it can "transform" into a different creature to match whatever fandom I'm dealing with, so I thought I'd portray it as a slugcat in this case!
Anyway though, onto the actual questions...
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9. What are your opinions on Five Pebbles (character)?
Ohhh, now that's a very interesting matter! I really like characters like him because they're so fascinating to me! For now I will disregard the fantastical element of him being a massive supercomputer, because even though in-and-of-itself I think that's such a unique concept even in fiction, especially after I realized that Five Pebbles and Looks to the Moon really are the core of not just the "story" of Rain World but even the in-game environment itself, I imagine I'll have another chance to touch up on this so I'll save my longer thoughts on that for later.
That being said, I'll start by saying I love thinking about characters from a psychological perspective, trying to figure out why they are the way they are, why they do what they do, what they really want vs. what they think they want, how they really perceive themselves vs. how they present themselves publicly, etc. Characters like Five Pebbles are always an especially interesting choice for this kind of pondering, because, as flawed as they may be, so much of the situation around them also contributed to their downfall that I refuse to let everyone else off the hook too. And since I also don't believe anyone is inherently a "bad" person, it's really fun to ponder just how these characters go from being alright people to doing such terrible things and meeting such tragic ends.
To put it shortly, Five Pebbles (and other characters like him) is in my interpretation a great example of karma in the more real-life meaning, and the "you attract more of what you think about the most" idea. Five Pebbles always seemed to feel trapped by and at arms with his surroundings, from the great opposition to his very existence from the True Anointed Citadel, to him literally being physically stuck to Looks to the Moon, to the fear of opposition he must have had as a Sliverist, to him being stuck dealing with the rot, and finally with his collapse, left as a tiny fraction of himself buried in the cold, lifeless remains of his superstructure, with truly no way out on his own. Because he was so focused on escaping the perceived confines around him, all he did, albeit unknowingly, was end up finding more nets to get trapped in.
And again, while I think everyone around him did contribute to his awful end in some way, stories like these are still pretty sad to me because, in the end, I think these characters themselves need to learn to change their thinking, yet all the harshness they face can so easily lead them to create a vicious cycle. Five Pebbles isn't the first character I've enjoyed strongly whose story seemed to play out this way, and as sad as it is, it's also very intriguing.
And besides, it opens up plenty of potential for redemption arc AU stories—!
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20. What is something you think the game could improve on?
The short answer: incentive.
The long answer: Let me start off by saying Rain World, to me, is fascinating largely as more of an art project than a normal video game. It's amazing how a relatively simple concept of a small animal in an urban environment they can't understand morphed into something so vast and extensive, combining nature with technology, science with religion, sci-fi with fantasy, and dunking it all in a super unique aesthetic that fuses urban street style with fancy ancient artwork, it's amazing!
BUT so much of this is lost to players because the game does, in my opinion, a pretty bad job of conveying it all. It's very confusing , especially to new players, and the only means of discovering the greater context of the story, besides just hearing it from other players/fans, is if not downright frustrating at least very tedious. And that's just getting the story itself. I think most people who have played this game haven't even made it that far, because the gameplay alone is so difficult the first time playing that if you aren't captivated by the mystery factor of the environment (or like me and also stubbornly dedicated to getting the bragging rights of having beat such a difficult game), you're too busy just trying to not die every other cycle to bother really exploring and ferrying the pearls to Moon, much less making sense of what you uncover.
I think the blank stare of the slugcats looking up at Five Pebbles perfectly encapsulates what I'm getting at here. You've got this absolutely fascinating story about a mechanical god who flew too close to the sun in a desperate attempt to escape the confines of his life, meanwhile the little slugcat is just all "...'kay", because what does this little animal care about the crazy religious hubris of some long-gone existence-hating people and their sad crumbling calculator robots when all it wants its is to just find more food and not get eaten again?
For a bit of devil's advocate, I will say that I think the difficulty of just playing the game and then figuring out its story, first of all is pretty "realistic" from the perspective of simulating a real-life ecosystem and having an animal discover complex lore in a way that they'd be physically capable of, but secondly has led the Rain World fandom to be really tight-knit compared to other fandoms I've seen. It seems like everyone I've come across is at least in the process of playing through all the campaigns, if not having already completed them and established some level of their own interpretation of the story, because they are all genuinely interested in the game, its characters, world, story, and themes enough to persevere through all the struggles of gameplay and lore confusion to enjoy it. However, it's also the same thing that makes this fandom rather small, which is also fine by me; I think there's lots of value in quality niche content!
With all that said though, I can't deny that I think this game isn't very good at getting players geuninely interested in all it has to offer. For evidence, consider how few players have even met Five Pebbles, who is perhaps the most important character in the entire game story-wise (Steam achievements has the "The Journey" Achievement at 12.0% of players as of posting this). Even from my experiences, I didn't even know what "Sliverist" actually meant until a couple weeks ago, and I've been playing this game and involved in the fandom for months at this point!
So yeah. To sumarize, in my opinion, Rain World is a fascinating and very inspiring art project, but most of what it has to offer is lost to most players because it's terrible at giving you a reason to care about it all. Thus, the main thing I think it could improve upon is giving players a reason to care about its worldbuilding and story enough to continue playing.
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Well, that was long, but pretty fun! I hope these answers suffice! Keep the questions coming!
#rain world#asks: scavworld's rain world questionnaire#iterator#five pebbles#rw fp#quetzalli's thoughts#quetzalli answers#inbox
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So ever since I found mlm and wlw stories (especially fanfics), my interest in het romance decrese a lot, and what I search for is just the dynamic between mc (male) and male lead or mc (female) and female lead...I don't want to read mc (female) and male lead or mc (male) and female lead...And what I want to read mostly are just mlm or wlw stories for romance....
What do you think is happening to me? Is it really weird?
There is absolutely nothing weird about what you’re enjoying reading.
As for what is happening, I don’t think there is anything happening so I really wouldn’t worry. Learning what you like in media as in life is just part of growing up and learning how to person. Fortunately or unfortunately, that never stops and now matter how old you are, you can always learn something new about the world around or who you are as a person.
I can’t give you any answers, I’m only a stranger on the internet and only you’ll have all the information you need.
It could just be that it’s something new, a new genre you like and it might changechange like the wind. It could be that you enjoy the dynamics between the characters you’re reading about and they happen to by mlm or wlw. It could be a lack of content for the het relationships in the fandoms you’re in. It might be that you’re seeing yourself in the characters or that you’re starting to explore other identities, either for yourself or just for curiosity of wanting to know, and that’s okay too. It could be the separation from real life and fiction and enjoying something that is completely separate to the real world, or the world around you, while so much other stuff is going on in the news everyday. It could be something else entirely.
There’s no right or wrong answer to any of it. Whatever the reason, there is absolutely nothing wrong with enjoying reading any genre, be it queer romance, het romance, found family, or something as unrelated as sci-fi fantasy with convoluted plots and over complicated characters. Nothing you read says anything about you as a person and there’s no moral value attached to enjoying reading any genre. It just means that you enjoy reading it.
There is nothing wrong with you.
I read all sorts of books, fanfics, poetry, articles. I’m out here quoting the great gatsby or various fanfics one day, then a song of Achilles or Crier’s War the next, and Plato or The Iliad the day after that. None of it changes who I am, just what kind of information I carry around which in turn helps me interact with the world around. Hopefully I learn something along the way, but if not then at least I had fun.
I’ve been out as queer for a few years now and spent five ish years (give or take) in the closet before that. I’ve met a lot of people from all walks of life who feel all sorts of ways, who’ve enjoyed reading all sorts of things. Some who’ve known exactly who they are and others who are still figuring it out, some who thought they knew until they realised they’d got it wrong so went back to figuring it out. And that goes for all things, hobbies, interests, religion, politics, sexuality, gender. People change and grow and learn and that’s such a beautiful, brilliant thing in life.
No one has all the answers, we’re all just looking to figure it out as we go and enjoy the journey getting there.
And all of it is absolutely and completely okay, but more than that it’s human. Take your time, and in the meantime, enjoy reading whatever you like because if you’re enjoying it, then it’s worth it.
And feel free to send recs of any genre because I’m always looking for more to read :)
I hope this helps, anon.
-ThatNerd :)
#anon ask#asks#i don’t know how to tag this#not my usual stuff#it got a little more rambling than I expected but my point stands
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writeblr intro!! finally!!
hello lovely people of the tumblr writing community <3 i'm marina (she/her) and i've had this blog for about a month now but so far Life and all its Obligations prevented me from making a proper intro post - here it finally is now, for everyone who'd like to get to know me and my projects a bit!
me as a person
i'm marina but you can also call me any nick name version of that and also any and all terms of endearment (can you tell i'm a libra). i'm 27, from austria, and speak german and english (pretty well), french (badly) and know how to order bread in korean (essential skill)
my interests include: philosophy, linguistics, horses, music, musicals, the city of paris, and also formula 1. yes i know this is random what can i say
i'm a full-time student and part-time capitalism worker-bee so depending on my schedule i might disappear for a bit, but i intend to always come back here to get inspired and get some work done! which leads me to...
me as a writer
i love coming up with new ideas and projects!! getting started is so much fun!! finishing things on the other hand!! is so hard!! send help!!
my fave genres (to read and to write): fantasy, sci-fi, works and words inspired by folklore and mythology - but really i like anything with compelling characters!
random things i love in writing: vampires (one day i'll write the Great Big Austrian Vampire Novella. alas, not today), characters that haunt the narrative, guilt and grief and healing from both, characters that make all the wrong choices, couples that have fun with each other, cryptic prophecies, sibling relationships, symbolic flowers
PLEASE COME TALK TO ME ABOUT WRITING!! i would really like to become part of a community here, so always feel free to come talk to me about your wips, my wips, the blorbo that lives in your head rent-free, the latest book you've read and loved... whatever you want to share i'd love to hear <3 you can also always tag me in games and challenges, but it might take me a bit to get to it, depending on how much real life hates me atm
my children: works in (never-ending) progress
i'm gonna make proper intro posts for all these projects soon, but to give you some idea of what i get up to, here are some short descriptions! some of these wips have been with me for a couple years, others are more recent, but they all haunt my every waking moment <;3
The Price of Wishing (first draft complete): good old sci-fi dystopian flair; a society that got rid of poverty by creating so called Houses of Service - institutions that will sell out their workers to the highest bidder for anything that people are willing to pay for. but it's not quite as simple as that: politics, organised crime, and a revenge plot years in the making all intersect at Isra's House of Service, and its inhabitants must learn to navigate these worlds - or they'll go down trying.
Forget Me (Not) (first draft about half-way done): wouldn't it be great to purge some of the mistakes we made from memory, not just our own but that of everyone? in a world in which the Chip implanted in everyone's neck records everything seen and experienced, this - collective forgetting - is the price celebrity contestants get to compete for in a reality tv show. each contestant has something they need the world to forget, but who can convince the viewers the most? the central theme of this story is grief, and when to hold on, and when to let go.
Attempts at Life (still in the outline stage): finn day and her brother felix know how their lives will play out: they were born in the lowest class society has to offer, and there they will stay. which is an unusual position for people like them to be in: both their souls were reborn for the fifth (and last) time; for them to have been assigned to this shitty life, they must have done something heinous in their previous one. finn is resigned to accept this punishment for a crime she can't even remember, but that's before the government offers her a position - she finds out things that change her view of society and herself forever, and she'll have to decide which one to save.
Untitled Fantasy (literally only thought of this last week): something something a necromancer brings back the hero of the ancient world to stop Something Bad from happening. only problem is - the hero does not remember ever being a hero. or anything at all, really. the rest of the world remembers, though. i'd love for this story to include some traditional austrian folklore elements! those are fun
so that's it! last but not least: if you've read this far, thank you so much omg you're my personal hero. i'm following a bunch of people already since i've been lurking for a couple weeks, but i'm always looking for new writers to get to know and support so pls interact with this post or shoot me a message and i'll check you out and follow you! and if you have any questions, or answers, or just wanna talk i'm very excited to get to know you all <3
#writeblr#writeblr intro#writers on tumblr#writing community#wip intro#writbr#im excited to get to meet you all!!#lets be friends who bond over being slightly too intense about fictional characters and worlds pls
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The Marvels (2023)
Watched: 11/09/2023
Format: Alamo Drafthouse
Viewing: First
Director: Nia DaCosta
Marvel has been having some issues, of late, with quality and maintaining a fanbase. I'm not sure why having a fanbase for sci-fi/ fantasy stuff means eventually that the absolute worst people on Earth feel like their opinions should dictate what the rest of the planet sees and what constitutes a "good" Marvel, Star Wars or whatever movie. But I suppose it's the same reason that people think they get to tell other people they're the only *real* Americans.
I don't want to define the film Captain Marvel or TV show Ms. Marvel by the audience that manages to mix misogyny and racism into rocket fuel for social media, but I will say - in the event of this year's strike by SAG-AFTRA, it's been tough to get much in the way of promotion out there for The Marvels other than dropping trailers, and that's left a gap in the conversation those folks have filled. It's more likely we'll see the occasional hit-piece by a major industry publication looking for clicks than Disney doing anything worthwhile to actually promote the film on their own. We coulda really used the lead cast hitting Hot Ones and Good Morning America.
Look, I agree: Marvel has put out too much content since Endgame, and that's had a deleterious effect on the overall quality of the material. Even I have been asking "will this be necessary?" as I hear about each new Marvel thing still in the pipeline. And sometimes you're watching, say, Loki Season 2, and you're thinking "I literally do not care what happens here" because something like "oh noes, the timelines will all collapse" is both meaningless, up it's own ass of the story being about itself, and insanely old hat to us aging comic nerds who've seen timelines and multiverses collapse and expand over and over for our *entire lives*. And, yes, Superman will still get printed every month.
Movie superheroes still have to have an antagonist, and they still have to wind up in a big crescendo of a finale, but we've seen this dozens of times in the past fifteen years. You can polish it, put a new coat of paint on it, but eventually it's someone in a slugfest with their evil opposite who has the advantage on paper (but not the heart of a hero).
So what you have left is what you can do with characters.
And that brings us to The Marvels (2023), Marvel Studios' latest offering.
The movie has mediocre reviews and is tracking to open badly. I haven't read the reviews, because (a) I already had tickets and was going, and (b) I kinda wanted to write this before I saw what Chris Spectacles of the Akron Observer thought of the film.* And I didn't want this review to be me addressing the concerns of reviewers.
I saw it in a 2/3rds full theater on opening night, and with not a child in sight. I will say the following up top:
First - there's no post-post-credits sequence to wait for. Go home after the first couple of them. This is not a trick.
Second - Before watching this, yes, you will have to have seen Captain Marvel. You should see Ms. Marvel. You will want to just skip Secret Invasion, which this movie pretends didn't happen, and that's fine, because that show was quite bad and more confused the MCU than helped it along.
SPOILERS
The Marvels (2023) is not going to change the world. This is also not going to "save" Marvel Studios, if, indeed, Marvel Studios needs saving, or the *idea* of saving the studio that means anything at all.
What I'll argue the movie does is provide a fun time at the movies with characters that are a good hang for the movie's speedy, non-stop runtime. If Guardians of the Galaxy taught Marvel that what you need is a mix of action, comedy, space and family issues, this movie is absolutely a product of that line of thinking. The Marvels isn't trying to copy Guardians (despite the fact the villain is a version of Ronan who is a mean lady instead of a mean man), but clearly those items were on a whiteboard somewhere while this movie was getting sorted out.
The movie knows that the villain's plot is going to fail, and knows we, the audience, are just following the beats on that score. And so it does the unthinkable of late for Marvel: it uses the plot as an excuse to tell a three-sided story with three solid characters thrust together an inextricably linked, thereby creating a movie that's character driven. The problems it addresses are personal in nature as much, or more!, than the need to stop Kree Hammer Lady.**
We catch up with the MCU as Kamala Kahn has settled a bit into her role as teen-hero, Ms. Marvel. She's still very much a kid living with her family (Marvel understands when they've struck character gold). Meanwhile Carol is in deep space, living with Goose and part of a network of folks helping keep peace across the galaxy, one supposes. And, working aboard SABRE's orbital base, Monica Rambeau (I think last seen in WandaVision) is putting her powers to some use and being a scientist/ astronaut type.
But it seems since we checked in during the 1990's, the Kree had a civil war that somehow: (a) messed up their sun? (b) evaporated their oceans and (c) ruined their atmosphere, creating a permanent state of planet-wide nightfall. Not-Ronan has taken up the mantle and is trying to restore Hala, the Kree homeworld in a very Kree way - by murdering people. She's obtained the second Quantum Band (Kamala having the first one we'd seen - there are two) and she's using it to open worm holes to...
Look, the plot is the villainous plot from Spaceballs, and our villain is MegaMaid. There's really no way around it. It's not what *I* would have done as a writer, but Spaceballs was also 40 years ago, so... we may have to let this one go. What's important is that MegaMaid is targeting planets in which Carol Danvers has an emotional investment and stealing their water, air and sun, and that's personal and mean. But why? Well, thereby hangs a tale.
But, like I say, it kind of doesn't matter. She could be unleashing cooties on those planets. She exists so our heroes get together and figure out their personal stuff. And that's what the movie is about.
Monica has to figure out what it means that Carol didn't come back for Monica when Maria fell ill, both the why's and the impact. Kamala has a parasocial relationship with Carol that Carol feels she has to live up to, even as it inspires Kamala and Carol doesn't feel at all like that hero. But Kamala's hero-worship is kind of the unspoken opposite of how Monica has reacted to learning she has powers of her own. And Kamala and Monica are complete strangers, navigating knowing each other while also seeing each other's relationship with Carol. It's complicated stuff! You could have made a similar indie movie about a movie star, her old friend and a fan, and gotten much of the same effect.
But this one is in space, action-packed (I mean VERY action packed) and manages to balance the sincere moments with the incredibly silly moments with the pathos of inadvertently causing the self-immolation of Space Nazis. And, in my opinion, it all worked.
I liked the singing planet (but they did need to hold to the concept through the battle), I liked the kitten Flerkens and the absolute chaos of the evacuation scene. I liked Kamala's family dealing with the nonsense of superhero/ SABRE life. I liked the kooky three-way fights and the "we gotta synch up" montage. The fight sequences are very well choreographed and work well despite what absolutely should have been a lot of confusion for the audience - ironically, only the audience is in a position to get what's happening. And I very much liked that our heroes *tried* to reason with the mad despot once it was clear they had the upper-hand and offer a way out of this.
In general, I was already in the bag for Brie Larson's take on Carol, and it's interesting to see a version 30 years older and with a lot of new, self-inflicted baggage. Iman Vellani's Kamala Kahn is an absolute delight and can't wait to see her again. And Teyonah Parris is very pretty great as my first Captain Marvel, and with decades of baggage to sort through with Carol, the blip, super-powers and how to be a superhero, which, frankly, she doesn't want to be.
Complaints:
So - did the singing planet die? I have no idea what happened there. It would be nice to know. It seemed like everyone was going to die, and no one seems to care.
They basically borrowed the ending of All Star Superman, but didn't do it as well or with much emotional resonance, which is a real bummer. Now DC can't use it, and this didn't land as well as it could have for Carol. Felt like it needed a few more beats.
We gotta find more interesting ways to dress aliens. Bright robes are very 1990's ST:TNG and it keeps happening at Marvel
Space is boring in this movie. Marvel space was defined by James Gunn, and it is beautiful. Show that candy colored majesty, not ST:TNG white stars (the new Trek knows this). There's definitely some more creative design they could have done, but maybe less is more if Quantumania was any indicator
Carol sure is good at astro-navigation and everything is apparently cosmically nextdoor in the MCU
I don't understand how the heroes became disentangled
Kamala uses her powers without her bangle, and I didn't know that was a thing
Spoilery Spoilers
It was fun seeing Valkyrie again, and good use of the character in her current role. Also, sure felt like she and Carol knew each other pretty intimately... Close to making that happen as Marvel will get, I guess
I don't know who Park Seo-joon is, but he was swoony. I guess he's a big star? Probably make the kids very happy
The first post credits scene was met with audible joy from the audience, so here's hoping that works.
The second post credits scene received an involuntary verbal response from me and a few others in the theater. I like where they're going with this. X-Men will not work in the MCU, but as close-universe neighbors, seems like a fine idea. Also, thank goodness that isn't the last we'll see of Lashana Lynch
I was led to believe Richard Ryder/ Nova would appear, he does not.
(late edit: this movie has the single greatest needle drop in Marvel history)
I don't think this one landed for me exactly as hard as the origins of either Ms. or Captain Marvel, but if the requirement was "I would like to spend time with these people, and see them together in a fun way" this managed that. It feels unnecessary only in that it only barely strives to move a universe of stories forward and is, instead, self-contained and about these three people and their family/ friends. It is very necessary as a "we should have solo stories that advance the characters but not carry the universe forward in obvious and awkward ways" sort of way.
Would I watch four more of these? Yes.
And thank god they got Nick Fury into a place where it's not a drag to have him around.
Look, I don't know what you people want out of Marvel, but I want something fun I can rewatch without feeling like I'm doing homework. I like a good adventure and fight scenes and jokes and characters to enjoy. I suppose I'll check out some reviews, and I think from my laundry list of nits to pick, it's clear I'm not giving this a 5/5, but when all you hear is "underperforming" and "mediocre reviews" in a world with ten movies about Vin Diesel driving cars fast and the general shit people get enthusiastic for, I won't even pretend to know what people consider a win.
*I swear to god, if I see one more person thinking they've got the edgy take on Marvel by saying "I don't consider Marvel movies to be *cinema*... Dude, we get it. You're very special and very smart and you can get your "I'm a very smart person on the internet" cookie on your way out the @#$%ing door
**no one is beholden to remember made-up alien names for longer than the name pass by in the credits
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since you have a lot of thoughts of whats out there in the toontown universe i wanna throw my 2 sents: so "toons" is short for carTOONS, the much is obvious. but as you & i both know cartoons can be so much more than your typical loonytunes slapstick humor. so i like to think there are other islands out there which represents a different genre, such as: a fantasy adventure land, a sci-fi land, a western land, a horror thriller land, a rom-com land, a detective mystery land, a preschool land. so on so forth. with all their own unique animation styles. with the only consistent thing is that all the land's inhabitants are anthropomorphic animals (GOLLY sorry if this is long)
OHOHOO. you caught me in a rambly day, so prepare for a long one, lol!! (i JUST talked about some world building for my deltarune AU in private) (and i just spent my whole day listening to video essays)
this MAY be ttcc specific but aside from some ttcc details, this could apply to just... toontown in general. but i am a ttcc blog and that's my hyperfixation so that's what i'll talk about.
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i love that idea! honestly, something like that is what i've had in mind, too! maybe not everything being placed on island - but a majority of them being. (perhaps similar themes being on bigger islands or just masses of land with some wilderness and such between?)
i already have my idea for a prehistoric toon land, but it's also still based on your looney tunes type cartoon - just populated completely by dinosaurs! it's where my OC, archie archaeopteryx comes from.
an idea like this in general would allow for a lot of interesting places to be made, stories to be told, characters to be made... all that could eventually get into toontown and interact with our typical toons and interact together in interesting ways and have jokes and themes based around their different animation styles and genres.
it would also let the toons to be expanded upon even more, since, in my opinion at least, ttcc can lack that a little bit in some ways. (but going out of my way to look at toons a bit more rather than just the cogs does bring some small interesting things into the light, even if just singular pieces of dialogue, lol. sadly, i don't have examples on my mind right now.) i'm a big cog fan and all, but i wanna see more from the toons! but then again, we play in the role of the toons - so i suppose that's our stories to tell! :]
I also like the idea of everything being anthro animals (ignore the fact i'm a furry for a second) it just allows for more fun, diversity, and just consistency. human-ness being reserved for cogs is what makes this work more in my opinion, but even with that not even all cogs are humanoid. (i am so glad ttcc brought us more robotic cog designs!!)
but the sheer contrast of a human-like robot interacting with ANY cartoon animal is what works in it's favor, y'know? makes the division more clear - even if there's a lot of stories and themes of these lines being blurried more. (like cog and toon friendship -> william and rain, misty in general, whatever dave has for the player toon, thomas warming up to the toons...) which i really like! gives more ideas for stories to be told and explored, and question the laws and logic of the world.
i guess this could also explain art style changes and design choices - like, for example, i don't exactly like the way flesh colored snouts look, it just doesn't fit my art style and so i leave them out. obviously, that's for all toons i draw - and honestly all art styles for just our regular toons are to be loved and celebrated. but y'know, this doesn't have to be! just a little idea i wanted to throw on the table as well.
one thing that could be interesting would just be different medias - i know toontown is a 3d game based on traditionally animated cartoons - but imagine the mixing you could do in art and in story telling! a classic cartoon coming across a pixar-esque cgi animated cartoon and them interacting, both baffled by one another - but still connected by their tooniness deep down!
it's a really interesting idea i like, thank you for sharing this with me and letting me ramble a bit! now, i'm going to list some genres or artstyles that i would like to see! based VERY OBVIOUSLY on my personal interests.
old kids edutainment game, i'm talking 90s - early 2000s. the jankier animation, bit-crushed voice acting, pretty off-model art... but all just very jolly and meaning to educate a young audience! could mix in cgi elements as well, since old games like this would have this. and y'know, some of these would be based on pre-existing thing.
honestly, just old games like that in general... the type of ones you don't see a lot, especially when spoken about online between more mainstream gaming places... but games you probably owned! games of mysterious origins, with very good charm tied to them despite their obvious lower production value... but maybe also something like pf magic petz! oh i'd die i'd love to see petz toons running around - except perhaps more anthro, but still four-legged since there are cartoons of non bipedal animals living more human-like lives.
just... digital in general? perhaps low poly cgi... listen i just like old games and their vibe. but we could do modern animated cartoon toons! both things from studios - but also indie things!
FLASH ANIMATED
eastern european slav cartoon toons - hey, that's where i am from! i grew up with a lot of cartoons from here (czechia), russia and poland! (these being the most notable obviously) and... the themes, animation styles and vibes are very different to anything anywhere else in the world! i would love to see that! obviously, this is hinted at older cartoons - but newer modern ones could apply, too! i'm just unfamiliar with those.
a bit more on the previous topic, since my country has a big history of this type of animation... stopmotion and/or claymation!!
i'm NOT a comic book person, but oh my god would comic book toons be interesting to see! i don't even mean super hero - just comic book style in general! comes from someone who's only comics they read and own were like... my little pony, astérix and obélix, tom and jerry, smurfs and some ducktales. very toony things!
now, most of these relate to art mediums and art styles... i think those are a bit more interesting than genres, since after all art is an art medium, and genres come second. soo many possibilities. thought there are some genres i think would be interesting to see!
detective/noir type toon world? a mysterious place filled with crimes and mysteries to be solved! could make call-backs to things like scooby-doo, too!
kid's cartoon, like you've said! something cute, fluffy, there to entertain the whole family and teach the kids a valuable lesson. not to be a bluey enjoyer on main here but... bluey toons. that would be very very cute, i think.
on that note, one could argue there could be an adult animated cartoon place, but considering a place like toontown we probably want to keep things pg 13... maybe not! but it's still a possibility - as long as you take inspiration from good animation made for adults. i will not be naming any names here...!
okay, this one is MORE an art genre/style thing but... illustrated children's book type thing? maybe not for VERY young kids, but still filled with fun stories and anthro cartoon animals regardless! could appear as 2d cutouts.
medieval toons, but in the art style of medieval styled drawings...! based on old tales and fables! could also mix with some fantasy elements, of course!
SPAAAAAAACEEEEEEEEEEEEEEEEEEEEEEEEEEEEEE (space core portal 2 voice) (BUT LIKE... ALIEN TOONS. NOT JUST SPACESHIP TYPE STUFF THATS BORING TO ME I WAND INVADER ZIM TYPE SOMETHING RAAAA...!)
just anime. toon beastars. shoutout to that one louis fan-toon i saw some time ago
and honestly...im out of ideas for this here! i don't really look at genres too often to be honest! they kind of fly over my head, so i'd probably want these to reference specific types of stories that could be told in one of these, but not enough to base a whole place on. anyways, running a bit low on steam here, and i'd repeat myself on possible video game genre based toon worlds, so...! that's it from me! hope you had fun reading this... and my many callbacks to other medias for reference.
(also, your ask is not long! just long enough to be a delight to read! just look at my own responses here :,] )
also, question- should i get a tag for big rambles like this relating to like... world building and ideas in general? both for the cogs and the toons! would make it a bit easier to navigate, even if i am a little bit shy about people reading back through these, especially as my opinions may change. looking at you old thomas and robert ramble...
#rambles#long#[answered]#i talk about a lot of this as if toontown is a cartoon#KIND AFORGETTING ITS A VIDEO GAME BASED ON CARTOONS#but still IN UNIVERSE its cartoon world ok can make call backs to video games in that way too#i actually have plans for my cog oc the web surfer... i doodled that actually!#they can 'digitalize' toons and turn things into an retro video game ;]
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Toady FAQ!
Hey y’all! I get a lot of the same questions (both on Tiktok and here in the bog), so I thought I’d answer a bunch of em at once! As always, if you have questions not listed here, I’m happy to chat :)
Are you going to upload/continue the 90s series? (Alternatively: Upload the 90s series. You should upload it to Tumblr. Continue the 90s series.)
With all the love in the world, no. At least not for the moment—ask me again in 6 months!
Writing that series ended up being super stressful, and I’m not super eager to get back in there at the moment. I’m worried I’d continue to carry that stress and that I’d grow to resent the story, which is not at all what I want! I also don’t want to be 8 chapters into a new piece of writing and still have people asking about the 90s series, which I hope is understandable.
By all means, save the posts from Tiktok so you can revisit them. Just please don’t post them anywhere :)
Do you have Spotify? Can you make a playlist of all the songs you used in your Tiktoks?
I’ve thought about this question a lot, and basically: you tell me.
I have a Spotify account, but haven’t shared it for privacy reasons. However, if enough people wanted it, I could be persuaded to change my username and share my playlists :)
I do think it’s fun to have music to go along with a story, and it’s actually the one thing I miss about Tiktok. So the other option would be to maybe post chapters as audio posts with the text underneath, if I can figure out how to do that?
Basically: you tell me what you think, and I’ll do it!
Will your next story feature XYZ?
It depends on your request (and, honestly, the tone in which you ask it). I’m more than happy to consider requests and suggestions, but I have two stipulations:
1. There are certain perspectives and lived experiences from which I simply cannot write accurately; if you’re asking me to write about the experiences of a marginalized group, consider that I might not be the person to portray them. On top of being in a privileged position myself, I’m also just not an experienced enough writer to properly research and depict experiences so inherently different from my own. I can definitely try my best to recommend other writers, but know that, in all things, my knowledge is limited to my own exposure and experience.
2. I cannot possibly make everyone happy. If I took every request I received, I’d end up with a disaster of a story that I wouldn’t even feel like I’d written. I need to retain some creative freedom in order for this to feel worth doing, so while I welcome suggestions please don’t be offended if I don’t take every one I see!
Any advice for people who want to major in English? What are you doing with your degree?
Yes!
Find your niche. Mine was American lit, specifically the weird stuff. The weirder the better—American Gothic, true crime journalism, 19th-century Spiritualism—you name it, I’ve written about it. If you can find a subgenre of literature that you LOVE, nothing you read or write will feel like work.
Don’t edit, rewrite! Print your draft and go over it in red pen, then re-type it with your corrections. I swear by this!
Don’t limit yourself, ever! Take classes on fantasy, sci-fi, children’s lit, climate crisis fiction, religious texts, whatever you can find. You will be better for it!
Everyone is wrong. There’s a TON you can do with an English degree. I worked in finance straight out of college—I knew nothing about business, but my degree taught me to communicate effectively and synthesize information from different sources. You have valuable skills, you just need to learn to market them! Now I’m working in my field and it’s great, but it was never the only option.
DO A STORY ABOUT X IN Y TIME PERIOD SET IN THIS SPECIFIC TOWN!
Beloved, stop yelling at me.
Can I use this as a writing prompt/write my own story/create fanart using these characters?
YES! Knock yourself out, I only ask that you tag me in the final product so I can see your lovely work and hype you up :)
Do you have book/movie/show recs that are similar to your work?
That depends! Send me a specific request (ie: MMCs with similar vibes to Jasper Stevens) and I’ll try my best to recommend you something. If I can’t think of anything, we’ll crowdsource!
#toady talkin#faq#got more questions? hit me!#and please advise re spotify#also bonus fun toady fact bc i can’t get enough of overjustifying why my current work is different from previous stuff#i double majored >:) in psychology >:) my thesis was on prolonged grief >:)#so we can add it to the list#prolonged grief spirit photography gothic womanhood and ripping apart true crime podcasts#perhaps we can see why toady’s no good at romance
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staring any game and experiencing the story for the first time is always fun but with ffxiv it hits different like. i have never in my life seen any talk about the story of this game online beyond “it’s one of the best mmo story out there” and “a realm reborn is really slow and boring”. never have i perceived any of the (assumably) 13 games that come before it, nor any of the ones that come after it in the series.
i just hit level 15 in the main quest and have no idea who and what’s important, and i got jumpscared by a cutscene about some sci fi army and their emo spaceships or whatever after having spent hours getting used to this beautiful fantasy forest. i also saw someone use a tesla looking ass mount running over various squirrels, and i’m really struggling to comprehend the setting of this entire game.
five years ago, some big event happened, and also fifteen years ago, and apparently 50 years ago something happened as well. but the one five years ago is the most important. i think. it was really bad and a lot of people died and the land is still healing and a lot of people died, and everyone needs to tell me this because apparently i didn’t know, even though a lot of people died and the land is still healing. perhaps just a few many people died, and just a small part of the land requires healing, i don’t know yet.
i am going to become a warrior of light, because everyone keeps saying “you’re just like a warrior of light. lol just kidding.”
there are a lot of expansions. what will they even be about. what’s anything about, actually. the only reoccurring character i’ve seen online is some red haired cat boy(?) and that’s all.
like i’m really really intrigued and want to go into the story as much as possible but also what the fuck is happening at any point in time.
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the fun section of the writer's ask game
21. Who is/are your favourite character(s) to write?
MY OCS ATM. AND THE VERSIONS OF EVERYONE FOR MY STAR TREK AU. I put a lot of effort into them and making them feel real and understandable within their story!
Harland is super fun to write cause it's a chance to explore a world and characters I love while being respectful of the canon of the game, but seeing what aspects I can go further into with Harland. And all the snippets of Abe and Orc I've started writing is just AUGHHH THEY'RE COMING ALIVE!!!!
22. Who is/are your favourite pairing(s) to write?
Magland... Abe and Orc...... There's some I want to write, like Leon x Ada or Hylink (again.... Sigh....) that I think I'll have fun with. I just like writing pairings that have interesting dynamics or bounce off each other in silly ways
23. Favourite author
Ahhh man. It's hard to say cause I feel like I haven't read anything consistently enough lately to say for sure. I can say when I was younger I really loved CS Lewis and as a teen I really enjoyed what little I'd read by Niel Shusterman, and maybe throw in Adachitoka for good measure
24. Favourite genre to write and read
SCI-FI / THRILLER ALL THE WAYYYYY BABBBEEEYYY
I like other stuff like fantasy and drama and whatever too ofc but like. NOTHING QUITE SCRATCHES THE ITCH LIKE THESE TWO, ESP IF THEY'RE A PAIR.
Sci-fi is soooo broad and fun, it's interesting when it's low concept or high concept and I like that it's so easy to inject philosophical dilemmas into the bones of the story and leave you thinking, and I like how interesting it is when you can draw parallels to current life (it's especially interesting seeing retro future sorta stories, both the fun aesthetics of 90s shit but also just seeing what people thought the scientific advances could be the further back you go, and seeing things that used to be sci-fi become just sci)
AND THRILLERRRRS.... I find them more interesting and scary than horror, though I've often been mistaken for a horror head even tho I feel like I don't watch horror that much... (Unless it's overlapped with thriller I guess lol) Idk I just find that the kind of stories you can tell when you drag out the tension and let the scares settle in to the atmosphere instead of demanding attention front and centre affect me more. I like when there's some kind of conspiracy or danger to work around and it gets more horrific with worse implications the further you claw into it. I want the fear to linger in my mind instead of only speaking to my body (think like how a jump scare isn't really scary other than startling you, vs something that actually unnerves you and gets worse the more you think about it)
I guess all that to say. I like thinking about things and want the story to haunt me with everything it's got. I want to still be thinking about it years later cause there was something in there that lingered....
25. Favourite part of writing
Already answered here
26. Favourite writing program
Libre, I guess? There's certain things I miss from Microsoft word/google docs but fuck them LMAO 🖕🖕🖕 I just wanna be able to write easily and have basic formatting options, ya feel. Libre does the job so I use libre
27. Favourite line/scene
Of my own writing?? I feel like I haven't written them all yet..
Here's a Wip of a scene I really love from much later in harlands story that I really love:
"Well aren't you just a bundle of contradiction." Flea mused.
"Pardon?" Harland asked.
Flea sauntered up to Harland, circling around him as he spoke.
"A friend to both sides of the war." He swatted Harlands hair from his shoulder, watching it fall as he avoided eye contact. "A pacifist whose work has made weapons."
Harland opened his mouth to defend himself, but flea dragged his finger across his chest. Harland couldn't help but get distracted as the general's nail tugged at his collar.
"I don't make weapons." He said, unable to hide the slight waver in his voice.
Flea pouted at him condescendingly. "You may not make them, but would they exist without you?"
Harland clenched his jaw.
"Even when you fight-"
"I don't fight." Harland interrupted.
"EVEN WHEN YOU FIGHT," Flea continued, "you are offensively defensive."
Flea smiled, enjoying Harland struggling to keep himself composed. He stood in front of him, tracing his jawline. "What a contradictory mess of a man…”
28. Favourite side character
Ummmm. Every single one. Idk. Too hard to pick from media but I can tell you that I really like the kitty cat baker lady, shy cow girl and orc's sister from Abe and Orc. And obviously, my most favourite side character from their story is the Penis Wizard
29. Favourite villain
MAGUS BABBBEEEYYY!!!!!!!!!! ALWAYS AND FOREVER!!!!!!!! IHYRYGJPOGJOJGLVJB I NEED TO WRITE STUFF ABOUT HOW INTERESTING HE IS SOMEDAY!!!!!!!!!!!!!
30. Favourite idea you haven’t started on yet
Oh man there's so much. I will say it's my screenplay, Misled Millionaire, that was an integral part to making me wanna study film. I've planned so much without it feeling ready and I knew I needed to learn more to do the idea justice, and I still have hand written notes from 2019 that I kept, and even found the original quick note I wrote in my phone all the way back when I just had it as a silly little idea:
Reclusive millionaire searching for new life purpose, unlikely friendship with a fake psychic.
The story has changed quite a bit, but the gist of it is that a younger entrepreneur type is feeling lost and lacking despite ticking off so many boxes that should mean he's successful and happy. While he tries to find himself, he grows dependant on his new friendship with a little old lady who gives him fortunes, until one day he can't find her when he really needs her. When I've made progress on other stories, I'll write the screenplay and hopefully direct it myself! So no stealing my ideas!!
Send me some writing asks
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I can’t speak for everyone but I just hate Bruce and think steph’s role as spoiler was really cool & there’s a lot of unexplored ideas that could go along w her identity as spoiler (plus I love the spoiler outfit way more than her batgirl outfit I mean the black shadowy face the hood the belt.. it had it all) Though batgirl 2009 was amazing I just think it’d be cool if she called out Bruce for being a hypocrite and goes back to being spoiler/an independent vigilante. Think there needs to be more independent vigilantes around Gotham anyway like why does every hero need to be connected to Batman
I'm gonna derail onto a soapbox with this first one cause it is literally my number one all time biggest grievance with the way I see people interact with comics nowadays but my sincere and honestly held belief is that there are very very few characters in all of comics you can fully, thoroughly hate with justification. You can say "this character isn't for me" and that's fine whatever it happens, sometimes a concept doesn't make you feel that feeling when experiencing great media and this is why people naturally gravitate towards sci-fi over fantasy or slice of life over high octane action but I truly believe you can't hate most characters. Especially the biggest ones who have been running for 50+ years cause the odds that there is that one run out there that will make you finally Get It™ are astronomically high, and increase with each new writer and THAT is what comics are really about. I'm gonna be upfront w/you, I'm so so worn down by Bruce slander these days, even when I'm not trying to be hostile (like now for instance, I promise) it still comes off as that but god. It really is the lamest, most boring, hivemind-esque stance to take. "I prefer [character] to Batman" yeah sure that's valid I do too, a whole bunch of them, even Batman himself prefers Superman, but when people say "I don't like Batman, at all" all I hear is "I'm not willing to put the work in and actually do the reading". Bruce is cool as fuck as a character as it is, but if you let yourself just enjoy the rule of cool he elevates to 1000. Zdarsky's run has lost the sauce a little bit imo but Failsafe and chasing Joker to the end of existence is still great stuff, and that's just what's happening right now. Great thing about being the guy who oversaturates the DC market: Decades upon decades of top shelf content out there. BUT. The content won't come to you. You gotta go looking.
Anyway Spoiler is cool, yes
The full face mask is cool, yes
I have no preference for the spoiler/stephgirl split. Both identities are good for me she can use whatever. But it doesn't take a whole lot of attention to notice that at the end of the day, it's just a recycled and watered down version of "Laura Kinney is X-23 not Wolverine" or "Miles Morales isn't Spider-Man" and just like those ones, it bothers me. Who cares if both use it at the same time? At best, it adds something new and interesting to the world and offers a dual perspective on what an identity could be. At worst, it's just something inconsequential but in a way that is fun and doesn't detract anything from the story being told. If one Batgirl is preoccupied, maybe in a ghostly magic realm for example, we still got another to do normal Gotham stuff.
Historically, every "Batman-related" character got tired of being Batman-related (or they exploded, sorry Jason) and decided to take the batsymbol and make it their own (or the writers forced it on them, sorry Jason). Batgirl is not connected to Batman. Batgirl is connected to Barbara Gordon. Bette Kane if you wanna get really technical about it. Babs' whole thing is about how she didn't become Batgirl to appease Batman or whatever, she did it because she wanted to and the bat was a convenient symbol that already had some weight to it. Also don't let the internet fool you, Babs' time as Batgirl really wasn't as impactful and iconic as everyone thinks it is and the '66 TV show makes everyone believe. She was in the cape for a comparatively short time before going straight into Oracle. It holds much more meaning to both Steph and Cass, so even then, it's not even connected to Babs, it's connected to Cass more than anything, and only because she was the one who got it first.
I would say Helena B cause she was before Cass but she had it for like five seconds, so. Lol.
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Play with a trope today!
Fantasy!AU where the dragon attacking the village isn't real.
Royalty!AU where the kingdoms our protagonists are in are not powerhouses! Where having a wedding to marry off your kids won't fix everything. A story of king who's stressed out because of a war they are losing, and they're choice to give up or try to protect his remaining people and give up the title of king to flee, or die a ruler of an empty land.
ShapeShifter!AU where the badass shifter who never shifts becomes a tiny fucking butterfly. So they have to learn to fight bears, lions, and all that shit that other shifters can become. Overused? Sure. But it's still fun to think about. A person who craves flight but is stuck on land. Knowing that they are the most vulnerable when they feel the wind on their wings, but still wants it.
Vampire!AU where the vampire's best friend is iron deficient/anemic and the blood not only doesn't taste right but isn't nutritious enough to live off of. But the Vampire kind of went overboard explaining how important having a living blood bag was and now feels awkward turning it down. They're now slowly starving as they try to eat when their friend isn't looking.
Werewolf!AU but the werewolves activate not on the shifts of the moon, but instead, like Mermaids do to water. Total uncontrollable transformation. Total dog boy shit. Did they see a nature documentary of some gorgeous forest? Wolf. Dogs running in the park? Wolf. Society can be pro or against, Wolves separate from society or integrate. Who knows! Is this just ABO? Sure. But you can DO SOMETHING FUN with it!
Chef!AU but in this world food is actually what heals people. Hospitals have full floors full of bakers, chefs, and artisans who mix what we define as science with creation. Entire fairs and festivals where people celebrate like Hobbits do every birthday. Health and food are tied together. Food has become a celebrated part of life that we all need to function.
Fuck it, have your characters die and mysteriously come back! Why not!
Steal your favorite tropes, and have fun with it! Take your favorite stories and make -em wacky! Creation can be as cringy as you want! For example- I love that fucking gif! So I added it! WHY NOT!
YOU are the author! You are the CREATOR- YOU are in control!
If Hideo Kojima can release whatever the fuck Death Stranding is, where MOST gamers don't get the plot, and it's still regarded as a pretty good game? Where it's getting a fucking A24 movie to clean up the plot, and make a pretty decent horror/sci fi movie?
If millions can be spent releasing movies with poor scripts, alright acting and abysmal reviews-
Why is you sitting alone, thinking up some new ideas, suddenly a waste of time??
#writers block#writing#Yes I am mainly writing this for me.#Currently going through a lot of guilt about having any free time#mainly- because I have very little#But that's fine#this too shall pass
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