The Procgen Mansion Generator produces large three-dee dwellings to toy with your imagination, offering various architectural styles and other options. Each mansion even comes with floorplans:
Oooooh! Saving this
Hey, but don’t fall asleep on this Medieval Fantasy City Generator
Reblogging for the last!
Hello! I am making a game and I want to make sure I'm portraying my characters well. I want my characters to celebrate Jewish holidays, particularly the high holy days, but would that work if my world works on a 4 month year, like stardew valley? I dont want to get something wrong if I'm smushing these days together. Sorry if this isnt much to go on. Thanks for this blog :)
Fun! As a big fan of games like Stardew, I can’t tell you how tired I got of the obvious Christian holiday analogues being presented as just Fun for Everyone. I love the idea of something actually for me, actively.
Obviously, on a four-month (one month per season, for those who may not be aware) system, there isn’t enough space to cover every holiday. I’m not even sure how well something like Tisha B'Av, a day of mourning, would work in a game with anything but a fairly serious tone. I think you could certainly have multiple holidays per month, where appropriate, without crowding too much in. As an extremely invested Jewish gamer I’ll say: you don’t have to fit everything in, doing it at all is huge, and doing it well is most important. I don’t think it’s an issue to have to smush the timeline a bit, since the rest of the game-world is also following that timeline.
Fall Month - Rosh HaShanah could be the new year, and could start at the beginning of your Fall month. You could have Yom Kippur mid-month, but this one I think you will have to be very careful with. It’s the holiest day of the year, and very solemn, so difficult to gameify comfortably. You may want to warn your gamers ahead of time that work will be suspended that day, or simply suspend all deadlines that day. A big feast at the end is highly recommended, you’re supposed to eat light after a fast, but most of us don’t!
Winter Month - Chanukah isn’t a major holiday religiously, but is a cool, and iconic one, with an anti-assimilation message, which is particularly powerful when you are making a game with Jewish holidays. Perhaps that could go mid-Winter month.
Spring Month - Purim might be a good candidate for the beginning of Spring month, with costumes, gift baskets going to other people in the village (if it’s that much like Stardew). Pesach could take place mid-Spring month. With a holiday like this, that’s so long in real life, decisions will have to be made about how to portray it. You could truncate it of course, but even in real life the first two days (in most of the world) are the big days with seders and gatherings. You could have two nights where people end up gathering in cutscenes, and the next six you might just have in-game restrictions.
Summer Month - You might be able to push Shavuot to summer, as it’s usually very late spring in the northern hemisphere when it occurs. Normally we have Tisha B'Av at this time, but I feel like, unless you are prepared to make a very serious game, you might now want to get all the way into what that holiday means to us.
As other small notes: you might consider having the day counter tick over at sundown, instead of sunrise, and the weeks start after shabbat (so Saturday night, rather than Monday morning), or if you are using the common 1-7 day counting/naming system, make sure to show somehow that Saturdays/Day7 are shabbat.
There is an enormous amount of debate, and conversation about things vaguely like this in the real world too. For instance, if you live in the Arctic Circle, in summer, when does it stop being day? The sun never sets in some places, and that’s what we use to determine when a new day begins. Is it never shabbat? Does shabbat never end? Looking into some of those issues might give you some other ideas on practical solutions in-game to truncated time.
- Apollo: The Businessman: A logical, focused team player who is good at planning but poor at dealing with chaotic forces (including emotions and relationships).
- Ares: The Protector: A physically oriented warrior, who revels in competition and risk, defends his kin, fears nothing anyone can do to him - except losing the ability to fully use his body (paralysis would be death to him).
- Hades: The Recluse: A sensitive introvert with a rich inner life, a dreamer and philosopher who shies from people; he might yearn for love or companionship but is at a loss as to how to get it.
- Hermes: The Fool: A playful, carefree soul who enjoys his freedom and doesn’t worry about consequences; he won’t deliberately hurt others, but neither will he let himself be tied down to a relationship (and prison would be death to him).
- Dionysus: The Woman’s Man: A fun-loving, sensual man who can’t relate to masculine pastimes but revels in the company of women, who helps the women around him to find courage and realize their own worth - although the Dionysus himself often feels flawed and may never find the perfect woman he seeks.
- Osiris: The Male Messiah: A spiritual leader focused on his mission, willing to sacrifice himself for the greater good, bringing wisdom and transformation into the lives of those he passes.
- Poseidon: The Artist: An artistic but emotionally volatile man who takes any criticism poorly (rejection is death to him); his behaviour and reactions are not easily predicted, and even he may fear that he will harm those he loves.
- Zeus: The King: A powerful leader, even a bit of a control-freak, who demands obedience and rises to any challenge, but sees emotions as weaknesses.
Cherokee is probably the wrong tribe to pull depending on the time period. In the 18th century is when they switched from being a mostly Eastern tribe to a plains one, and the area is filled with a much different mix of tribes. You could be dealing with everything from Plains to Southwest, which is hundreds of potential peoples.
People pull from Cherokee because it’s popular in Hollywood, and because they’re the largest name, and I get a little sick of everyone pulling from Cherokee when there are so many other tribes to pull from. Especially for highly regional pieces in regions they didn’t always live in.
Cowboy history is interesting. It’s an intermingling of Mexican, Black, and Indigenous culture, and the reason it’s cowboys was infantization of the PoC involved.
I noticed you didn’t ask about the cowladies, which I take it to mean you planned on them being white—this is part of the colonialist narrative that is, at its core, at least partially ahistorical; you’re more likely to have Mexican, Indigenous, or Black cowladies than you are to have white. So changing the ethnicity of your leads will help add a different twist, from “colonizer exploiting” to “marginalized person trying to survive.”
I’d say it’d be irresponsible to not address Native issues if this story is meant to be grounded in history. Elaney has a guide on cowboys that you can start with. There are also sources such as this (which is unfortunate in its use of “Indians”, but this is an edu), this piece on African American cowboys, and another piece on Native cowboys for you to just get a basis on what the population was actually like.
Ranching provided some wealth. It provided a lot of land displacement. It provided hunting/raiding targets that helped offset the land displacement and created a lot of wars and feuds. If you want to keep it more lighthearted, I’d love to see the skills Natives had with the profession respected.
But, all of this advice is dependent on what time period within cowboy history you’re pulling from. Is it the 1500s, where it’s basically exclusively Hispanic and fairly contained to Mexico (where Texas now is) and the main conflict is Apache versus Mexican? Or is it in the late end of the period when the government is involved and outlaws and the typical Hollywood cowboy, but more Natives have started ranching for economic purposes/to keep land?
The advice will change wildly depending on where within that 350~ year period you’re dealing with. There are so many different contexts and pieces at play in the wild west that it’s impossible to narrow it down into something more useful.
So nail down a time period, do the appropriate research into the state of colonialism at the time, and come back with something more specific.
~ Mod Lesya
I see this a lot, no one has actual names, or any reference for names, that are legit Native American, varying among the tribes, for their characters.
Babynames.com and shit like that will give you names made up by white people.
However, I’ve got your solution.
Native-Languages is a good website to turn to for knowledge on a lot of native things, including native names. If you’re unsure about the names you’ve picked, they even have a list of made up names here!
Please don’t trust names like babynames.com for native names, they’re made up and often quite offensive to the cultures themselves.
Cowboys of Color in the West
It is inaccurate to say that very few cowboys and people out in the west were white. However, it is also inaccurate to say that very few cowboys and people out in the west were POC! So regardless, that you want to write about POC in the West is fantastic!
To understand what life was like back then, if you could only read ONE book at all to understand what life was like for a cowboy, it would be The Log Of A Cowboy by Andy Adams, period, end of story.
Another interesting work to give you insight is Life Of Billy Dixon by Olive K. Dixon (his wife) which will help you understand the role of the government and the significance of buffalo hunting and the railroads expanding westward and changing lives as they stretched.
Pony Tracks by Frederic Remington (the artist) is also a valuable resource because he cataloged expeditions with the military and, because you’re doing a comic project, his illustrations in general are priceless because they are supremely accurate when it comes to landscape, fauna, flora, outfit, tack, and equipment.
Also priceless is the work of George Catlin, an artist who was one of the few White men of the 1800s to see the Native Americans or American Indians as not just people, but people needing representation. He set out to document them and has made powerful portraiture and illustrations. Yes, there is controversy around his work and how he chose to promote it, especially later on, and I am not here to tell you my opinion on that. The fact remains that, without his work, some cultures’ practices (in terms of culture and way of life like what they ate and wore) would be utterly lost because few if any of Catlin’s contemporaries saw these people as worthy of representation.
The works above are where you should start for your story, and they will point you towards places to go when you read them.
Name a conspiracy theory superior in raw power to “there are no actual forests on Earth"
imma need some context on that cause WHAT?
“forests” = minuscule form of what trees on Earth can be, basically saplings
“mesas” = not landforms, but petrified ancient tree trunks
IIRC the theory goes that all forests on Earth were destroyed ages ago and it takes them ridiculous times to regrow, with those giant mammoth redwood trees just being the oldest ones that have grown the most
This conspiracy theory is absolutely wild and includes the assertion that all rocks are left over remnants of plants/trees from a “silicon era”. Although it’s obviously.. not true.. they really have some amazing photos that feed your imagination of a fantasy world, i’ve compiled their best:
do you think giant trees would have proportionally giant branhes or would they just be like furry green spears? LOL
I love how the implication is that the flat tops of mesas were caused by something equally enormous CUTTING THEM DOWN
This is obviously stupid but MAN this would be great for fantasy world building.
Original Question: Hey, could you please help me on how to play a real life detective.
Original Answer: I don’t really know what it means to be a real life detective? Are you asking about consulting detectives? Or, simply a detective that works with the police? Both?
First, there are a lot of different types of detectives.
Second, police detectives in large cities often focus on a special area. But sometimes, there are people who do everything.
Third, how to become a detective or a private investigator? I would start by researching in specificity of the setting. Detectives in the UK work way differently than those in the US. Make sure that you narrow down your research on the process of how your character became a detective. Usually, you would want a degree in Criminology and/or Criminal justice.
Fourth, what is it like being a detective?
Fifth, how to come up with a detective character?
Sixth, how to write a detective story?
Finally, I think that it’s crucial not to write your detective as someone super smart and can pick up details like no other. Obviously, because they are in this profession, they might be able to pick up trends and judge people on their behaviour. But, no one is like Sherlock. Sometimes, they will fail, and that will have consequences on their psyche. They might be good at one part of criminology, like petty crimes, but are out of their depths with murders. There are a lot of paper work, so they won’t be investigating all the time. What do they do on their down time is just as important as what they are doing on a case. I think that family and friends are important. Do they live alone? Or, do they have a family to take care of? Sometimes, with a job that has unsettled hours, it can affect their social lives. With private investigators, they might be able to choose their own cases. Mostly, people losing things or a cheating spouse. That might be what the character is doing half the time. That’s all I can think of right now.
Hope that helps!
original theory: succubi are always women, incubi are always men
facts: in fact succubus comes from the latin word “succubare” which means “to lie under” and incubus comes from the latin word “incubare” which means “to lie on”
new improved theory: incubi are always tops and succubi are always bottoms. gender doesn’t matter at all.
addendum: if the sex demon in question is versatile, they’re a concubus, from the latin for ‘to lie with/beside’.
Proper Latin headcanon accepted.
Babies usually learn how to sit up at 4 to 7 months, to crawl at about 7 to 10 months, to stand up at 9 to 10 months, and to walk at 9 to 12 months. Babies can learn to talk as early as 6 months, though they only start to form two to four word sentences from 18 months to 2 years old.
Babies are cute little bundles of joy that lighten up the entire household, though they do have their moments.
My biggest pet peeve about people who write babies into their stories is that they only concentrate on the cons. The baby is always crying and annoying the characters, who make snide remarks about how they wish it would shut up.
The writers set it up so that the baby sounds like more of a burden than anything else, and unless your other characters don’t want the baby and feel like it is a burden, then I highly suggest you switch it up and describe the happy moments that the characters have with their babies, too.
Contrary to popular belief, whenever a baby cries it does not mean that it needs to be fed or that it has pooped itself. Babies cry over all sorts of things because they literally have no other way to communicate when they’re unhappy.
They cry when they’re tired.
They cry when they’re left alone. (Separation anxiety is very prevalent in babies, who feel afraid and unsafe whenever their guardians are not with them
They cry when they’re frustrated and can’t do the things that their parents and siblings can do.
They cry when they’re scared.
They cry when they are left with the parent that isn’t their favorite. (This usually happens to dads when the babies are left in their care)
This may sound annoying, but babies are just trying to make it known that they’re unhappy. They can’t say “Hey, I’m upset, can you help me?” so their only other option is to cry. Since they’re young, these things that are happening to them are the WORST things they’ve ever experienced. When a baby throws a fit over a broken toy or separation anxiety, that’s probably because it’s the scariest and most heartbreaking thing that has ever happened to them!
This is literally a young human person. They’re just as aware and alert as you and I, and they need constant stimulation to keep happy. Parents really have it cut out for them; they have to raise this little human larva into a fully grown homo sapien that will function well in society, and in order to do that they have to provide a lot of TLC to make sure the baby’s mind develops correctly.
A lot of parents in stories don’t do this; they only give their baby attention when it’s crying and I can’t help but think: that’s not??? How it works????
Things that parents do for their children to help them develop:
Play with toys with them
Play games like peek-a-boo and patty cake
Put on music
Put on educational TV and movies (Though they shouldn’t do this too often!)
Simply be around them
This is a given. Babies can get themselves into a lot of trouble: They can roll of couches, touch hot or sharp objects, and eat things that they shouldn’t. Babies have to be under constant supervision, and it gets me really annoyed when characters in stories leave their child unattended for a long time.
- Bottle and formula (If parents don’t breastfeed)
**FYI babies on formula or breast milk need to be burped after they’re fed because they swallow air and can have gas buildup within their stomach and intestines. Some babies need to be burped a lot, while others don’t; it all depends on the baby, though bottle fed babies tend to swallow more air than breastfed ones.**
- Blankets and mats to lie on
- Toys (LOTS of them!)
- High chair
- Baby friendly food (for older babies that are off formula, which occurs after the sixth month mark), which can include actual baby food, Cheerios, fruit that is cut into small pieces, animal crackers, and anything that can be eaten with fingers that can’t be choked on.
This is especially if they’re first time parents. Babies are a BIG DEAL, and they become the most important things in their parents’ lives. They’re always thinking about the baby and can tend to worry a LOT when they’re separated from them. They take many precautions, such as baby-proofing the house, to keep their little ones safe, and most parents would take a bullet for their baby.
If the parents in your story don’t fret over their baby at least once, then you’re writing baby parents wrong.
Many important milestones in a human’s life happen during these critical years. They start forming complete sentences and developing social skills. They learn that to get what they want they don’t just have to cry; they can communicate in other ways, though sometimes they take to crying if they don’t get their way.
Toddlers can be marginally more worrisome than babies; they’re mobile now, so they can now reach higher and move around faster than their younger counterparts. Their crying no longer is cute, but rather more annoying now that they’re older and are starting to develop their personalities, and there’s a reason why they’re called “The terrible twos”
Toddlers are just like upgraded babies that need most of the things babies do but can now communicate, walk, and eat real food.
However, the most important thing writers should know: TODDLERS ARE NOT SAGES
They should not be spouting deep, philosophical life lessons at every turn; that aspect of children that’s been developed in books, about how they “know things” just because they’re young and innocent, is completely false. One or two meaningful lines should be fine, but remember that they’re still kids; they like talking about dinosaurs, superheroes, princesses, animals, and trucks, and 98% of their dialogue should merely be them being a kid.
RAW SLAVIC POWER AND SEXUAL ENERGY
that music is so balkan i cant lmfao
This absolute slapper of a banger of a song is called Serbetico and it’s by Goran Bregovic, who makes a lot of cool Balkan semi-orchestral folk-ish waltz type stuff. He’s even made music with Iggy Pop and Johnny Depp.
when/why does he change pants
TIL the scientists (and everyone else) in Antarctica have ‘heedless sex’ (16,500 condoms are distributed to 200 people spending the winter), taking ‘ice wives’ and ‘ice husbands,’ and also binge-drink, do drugs and generally go completely nuts, and is pretty much the only reason anyone goes back.
man scientists really sound like the kind of people who should set normative social conventions huh
Listen but if you lived that close to the South Pole and eternal darkness was a legitimate thing you experienced fall through winter you’d go a little nuts too
Y'all just mad cause antarctic scientists fuck more than you
I’ve spent time in Chile at the ALMA observatory which is kinda isolated in the desert and let me say there was mad fuckin. Scientists fuck man.
Scientists fuck and will continue to fuck until we stop them.
Go far enough north and you get the same effect. Depression because of the lack of sunlight is also a thing
New fanfic trope: we met during six months of darkness at the Antarctica station
Burning Man’s inverse sounds fucking wild
yep this definitely would make for a great AU
Magneto: Are you interested in joining my team of mutants fighting for the end of mutant oppression? :)
A mutant: sure what’s it called?
Magneto: the brotherhood of evil mutants
Mutant: why’s it called that
like you all wouldnt be hyped as fuck to join a gay rights club called the “brotherhood of evil gays”
this is an exceptionally valid point.
post apoc media is always banging on about the necessity of macho survival skills but frankly it’s the gardeners/farmers who know 150 preservation techniques for winter beets and who understand the art of good pH balance in compost who will survive on our non energy dependent farms while you all butcher each other with katanas in burnt out shopping centres
I’m finishing up Detroit: Become Human and I’m going to have some story-writer thoughts on that later but here’s a non-spoilery, writerly, unrelated to DBH rant about How to Write a Twist (according to Avelera):
- A good twist should illuminate the story backwards and forwards in time.
Example of a good twist: (Spoilers) Shyamalan’s “The Sixth Sense” reveals that our main character was dead the whole time. This recasts the story and invites us to take a second look at the nuances of the scenes before the reveal. We become suddenly aware of elements we were willing to ignore before because of storytelling conventions, such as camera angle, leaps forward in time, and who Willis’s character has spoken to throughout (Hint: no one except the little kid except in flashbacks). The director invited us to ignore these elements the first time as mere film conventions, playing with time and POV. The movie is re-watchable beyond the initial shock of the twist as we look for clues that we missed the first time that reveal the story from an entirely different angle.
Example of a bad twist: (Spoilers) Shyamalan’s “The Village” reveals that the monsters that have terrified this village throughout the story were always in fact the elders putting on silly costumes to scare everyone. It’s a Scooby Doo style “It was old man Jenkins in a mask the whole time!”. This makes the film un-rewatchable, because all the tension has fled. Scenes that scared us initially because we thought there was a monster become ridiculous in retrospect. We also learn that we were never in the past, this is a weird commune of hippy LARPers who decided for some reason to pretend they were living in the goddamn 1600s and decided randomly to talk as if they lived back then, meaning besides there being no supernatural element there was actually never any danger to this community at any point that they didn’t bring on themselves by being dumbasses.
every time i see this post i think abt the time when i listened to a bunch of muslim and jewish students spent their entire 10 minute break arguing abt whether god actually cares you eat gummy bears (made with gelatin derived from pork) or not, standing by the vending machine and eating gummy bears the whole time
Now that’s the kind of interfaith solidarity I want to see.
Concept: Angels don’t have to wear their halos on their head.
- Turn the halo into a gold collar.
- Shrink it down into a ring or bracelet.
- Turn it into a gold septum.
- Sacred nipple piercings.
please stop telling me about halo cock rings
I like your last idea best no matter what you decide regarding their races: to make the few characters you have well-rounded, three-dimensional, and sympathetic. Whether that does mean they’re all one race, two Black and one Japanese, each a different race, or however you happen to spin it. Do what is best for your story, and don’t feel confined by any invisible rules on how diversity should be selected.
Having more than one character of a race is quite helpful and relieves the pressure of putting all your representation into one person, though. This is why we can’t recommend it enough! You might be concerned about your outspoken, extroverted Black girl is being portrayed in a stereotypical way, but she has a foil in another Black female character who is as quiet as the other girl is loud.
If stereotypes and tokens are a concern for you:
Secondary characters are important too, and count for representation, if you establish them well. Depending on cast size, you might not be able to help having one main, recurring character of a given race but there are other ways we can get to know more characters, even if they’re not in the main cast.
Some ways that even a small cast can be enriched by other characters:
me writing dialogue: “what is man but a vessel through which a higher entity may see? what is his purpose? must he find a purpose? we are but stardust; the universe comprehending itself.”
me writing action: they ran real fast from the bad men aand legs hurty
me writing action: Her legs pounded against the earth, the familiar jolt grounding her like nothing else could. Magic, gods, royalty—she didn’t know anything about that. But running? That’s something she’d been doing since day one.
me writing dialogue: “I dunno man whatchu wanna do” “I dunno. What do you think?” “Hey man I don’t know”
me writing action: room go boom
me writing dialogue: noppity nope, that ain’t dope
The holy trinity of writing
Now, just before we start. I’m talking about English speaking kids, I have very limited experience with bi-lingual kids or kids not having English as their first language.
Let’s talk about how kids talk.
Quick, general statements.
~Kids are either dead silent or nonstop talking. It flips so quickly.
~SO MANY QUESTIONS.
~Some kids are shy some arent. Depends on the situation/who’s around/what the kids like.
~As stated in Part 1, kids aren’t inherently dumb but they also don’t understand because of lack of context. Their language reflects that.
Also, development is different for some kids. Developing doesn’t reflect how smart they are, it’s just how it goes (like physical growth). In my experience, firstborns will talk more and earlier than siblings later.
Top Tip: Watch some YouTube videos (if you can stand them) aimed at the age of the children. This kind of language on those should be used in your fics. If they’re young (under 5) find some videos teaching them how to talk on YouTube to see where they should be.
They’re not going to be talking. Okay. Even if they’re hella smart, it’s just not going to happen. Noises are much more likely, tears and whines when sad. Grumbling when angry. Just like adults.
But, they will respond to people. If someone’s angry and shouting they’re going to understand that and react accordingly (upset and scared). Loud noises will make it cry or it’ll look for the source of it’s name being called.
From here on out, kids are really literal and see patterns where an adult wouldn’t. An example is “daddy bye” to mean ‘dad’s leaving’. The baby isn’t saying ‘bye’ because it knows this is what we say to people leaving because it means something. There’s no reasoning behind it. But it’s said whenever someone leaves so that means that the word has something to do with leaving. This kind of thing carries on till about 8.
Words! Yay!! Baby’s saying it’s first words, very often mommy/daddy or the name of their favorite toy. (Mine was Turtle). They’re not going to be using any advanced words or anything hard to pronounce.
Around 1 and a half is when they start using sentences. Usually, this means combining two/three words to mean something else. “Daddy bye” would mean ‘dad’s leaving’.
Also, they’re starting to understand words. In New Zealand, one of the first words kids learn is ‘Ta’ which basically means ‘give me that’. If you said to a 1-year-old ‘ta’ when they’re holding a toy they’re going to give it. (They might not want to but not the point)
Now they’re talking! They’re going to be asking questions and responding to others. They know about 400 words at this point and can string together stories. (If they want to). This is also the stage where shyness becomes a trait in how they talk.
It’s not called the terrible twos for nothing. This age group knows how to ask for things and what they want. While we’re on the subject, tantrums. Kids don’t have tantrums for nothing. They’re upset and they don’t know how to deal with it or express their emotions. Screaming and crying generally gets this across and the best way to deal with them is staying calm and talking to them.
Questions as well. Just, constant questions. “Why? Why? Why? Why?”
Basically just talking like an alien now. They can get their point across but sometimes their words are made up. An example of the ‘made up word’ would be run. A kid might say I ‘runned’ instead of ‘ran’ because that makes sense. It’s what we do to other words (-ed) but sometimes we don’t. The English language is full of little trips that kids get caught on.
Their sentences are 5-10 words at 3 and then continue growing as they get older. Especially if they’re in a school environment.
As they get older they’re going to be able to comprehend them, eg, answering where the dog went and who he saw. It’s basic fact, not a lot of emotion. But, they’re going to forget within a few hours. Also, they’re going to be telling stories like their dream or what happened at school.
NO MORE BABY TALK FROM HERE PEOPLE. I BEG YOU.
Unless there’s an actual physical problem (tied tongue, stuff like that), there should no longer be a lisp. The child should be able to talk freely and easily.
Stories are more detailed, sometimes more than needed (like colours of clothes or weather. Doesn’t impact the story) and they’re going to remember more stories.
They’re still may get caught up on some tense changes like before but much less. Also, they will now input their own emotions onto stories and answer the why questions when doing reading compression. Here’s where they should be able to read and write at a very basic level.
This stage of life is boarding on adult level speaking. But they’re still going to be using general words and speak more like a layman than a specialist.
They’re basically speaking like little adults.
They can control their pitch and volume well, they can change tenses and they’re using specific terms - especially about stuff they learned at school (so, science or English conventions “that’s a metaphor”). Complex sentences are now used with ease. Stories are told well and they’re going to remember what they said a lot better.
And we’re done!
Looking at Pakistani names for a character. She’s dating another character named Rose. I found a name that I liked - Gul. Only problem? Gul means rose. Now the question is do I go through with this or not
hey. hey. I have a confession
I fuckin LOVE dialogue as a first line. I adore it. whenever I flip open a book and the first line is dialogue I’m like hell YES this is my SHIT
there’s lists of, uh, TOP TEN WAYS YOU SHOULD NEVER START YOUR NOVEL EVER and “opening with dialogue” is always on them
the gist being that it’s bad bc the reader doesn’t care about this character yet so why are they gonna care about this dialogue, right, they don’t have any context for it, you should start with something that gets the reader invested and emotionally pulled in, so on, so forth
(and I’m not here to argue or call bullshit on these lists or anything…… 99% of the time, the reasons listed of why you should Maybe Not Do The Thing are perfectly valid concerns and dangers that should be taken into consideration)
(this post is more a ramble about personal preference with a nice moral at the end)
(and definitely not a TOP TEN REASONS “TOP TEN WAYS YOU SHOULD NEVER START YOUR NOVEL EVER” LISTS ARE LIES AND SLANDER post god could you imagine)
but yeah, for me, dialogue opening lines pull me right the fuck in emotionally. for real. nine times out of ten they’ll yank me in and have me engaged instantaneously. always have, probably always will
(like come on. have y’all never just started eavesdropping right in the middle of some total strangers’ conversation on the bus. especially if it’s somethin weird. it’s so good)
but ANYWAY, the moral is uhhhh
whatever Mortal Writing Sin you wanna commit, there’s probably at least one weirdo out there possibly named logan who digs it
do whatever the fuck you want, honestly
you can write an opening scene that does everything every advice page tells you to do with an opening scene and it can still be shit
you can write an opening scene doing everything every advice page tells you NEVER to do with your opening scene and it can still be fabulous and engaging
if you can pull it off, literally who cares
“if you can pull it off, literally who cares“ is the only real writing rule
my favorite trope is the thing star trek does where when a character lists something and they’ll list real things/people but add 1 thats fictional, like “great writers such as shakespeare, robert frost, edgar allan poe and zaxar the giant rat man“