Comments: This is such a good fic, I can’t wait to see where it goes!
Here’s this gem showing up on my dash again.
can you imagine how freaky shark mermaids would be like unlike sharks, shark mermaids would have actual arms/hands and could rely on touching things with their hands to see if they’re prey rather than having to bite like sharks do. like youre just swimming in the ocean and suddenly you feel a strong grip on your leg, you freak the FUCK out because uh what????? the fuck??? youre swimming alone in the ocean??
a head pops out of the water, dorsal fin pointed from its back and it just points at you and says in a low whisper: “i thought you were a seal. please dont swim alone like this, im sorry i scared you i just wanted to see what you are” and then disappears back into the depth. what the fuck.
no come back ma’am
*under my breath* underwater girlfriend
Underwater love of my underwater life
When will creators of famous and beloved franchises realise that no fan in the history of fandoms has wanted the sequel with the new generation to have higher stakes and more angsty drama than the original.
A Fan: Wow, can’t wait to see the heroes’ children living in a world that has been made better by the original heroes, having a loving and respectful relationship with the hero I loved and respected as a child, and dealing with their own adventure that might not be as high stake as saving the world, but is important for their own personal journey.
A creator: How about the world is ending again, the new generation hates the heroes, who have become major assholes for no reason, and everything is bigger and goes more boom.
Hobbit/Lord of the Rings is the SINGLE exception to higher stakes sequel
and you know why? it’s bc nothing in lotr undid what happened in the hobbit
the hobbit was a lower-stakes story about bilbo helping some dwarves reclaim their ancestral home, and in lotr (the book at least) tolkien goes out of his way to talk about how bilbo lived for a long time rich and famous and happy, and that erebor and dale are prosperous and successful. the threat is something that bilbo brought home with him, but if bilbo hadn’t found it, it would have fallen into worse hands.
the reason why higher-stakes sequels are so often disappointing is bc it’s a betrayal of the original work, and undoes its premise and its victory. in the hobbit, they were never setting out to save the whole of middle earth, so the fact that the whole of middle earth ends up in peril during lotr doesn’t feel like a betrayal. terrible things happen in lotr, but they are better than they would have been in the hobbit hadn’t happened, and that’s why it works
This video talks about pretty much exactly this
Stumbling upon your blog must be my lucky lucky day 😊 I've looked through your FAQ and didnt see anything addressing a pantser plotting a story so... Hopefully this ask is ok! If not, I'm sorry to bother. I'm a pantser, not a plotter but I have an idea for a long fic. How should I go about it without losing interest..? Maybe interest isn't quite the right word. Cause one time I had an idea, I plotted it with beats but then lost interest / got too intimidated by it... Thank you in advance!
For those of you who don’t already know, when it comes to beginning a new project, the writing world consists of two very different groups of people: plotters and pansters.
Plotters meticulously outline their stories from start to finish, and although they benefit from cohesive, streamlined work, they often hit a wall of writer’s block and lose creativity from over-plotting.
Pansters just go with the flow, and despite the freedom that allows them to write whatever they want and boosts writing motivation, their stories often suffer from lack of cohesion and can take a while to get to the point.
In order to make a long project, such as a fanfic or a novel, as successful as it can be, you need to be a mix of both.
You need to plot in order to make sure you don’t over/underwrite and can optimize your narrative, while also leaving room for flexibility that allows you to make your own creative decisions and prevent writer’s block.
Unfortunately for pantsers, all long works should have an outline so you know what points you have to hit along the way.
Unfortunately for plotters, it’s restricting and unnecessary to have every single detail planned to a T.
A simple “here’s whats going to happen in this chapter” should be enough. It doesn’t have to be long. Hell, it can just be one bullet point! But as long as you have a general idea of what needs to happen, you can make the rest!
This leaves enough structure for plotters but enough wiggle room for pantsers!
See? This is a very, very loose idea of what’s going to happen in this chapter.
In fact, this is just a list of all the things that HAVE TO happen to make the story go forward; you can still add your own things to it to make it your own!
How much technical vocabulary can I use in my story? Is there a good way to explain stuff if I need? I'm writing a story from the perspective of an Irish Dancer and I'm worried about losing my readers in Irish dance specific terms. Thank you!
Definitely don’t put all of your research into your story. Perhaps use one or two terms that are very important, but don’t make all of your descriptions of the dancing technical terms because the readers won’t understand.
The way to get around this for your specific issue is to just describe the moves instead of using the official name for them. And being honest, most people have an idea what an Irish step dance is supposed to look like. Simply saying “she practiced her Irish step dance” can give readers a good idea of what’s supposed to be happening without confusing them.
Do you have any tips for writing characters who are friends and very touchy with each other but are not romantically interested in one another even though they touch a lot? (E.g. two characters' way of showing their friendship to the other is through hugging, but I don't want the reader to think there's a romantic subtext.)
Unfortunately, there’s no stopping people from shipping characters. It’s gonna happen either way, no matter what, because readers like characters with chemistry, and if two characters are friends and very affectionate, they’re gonna latch onto that.
You’d be much better off writing the characters showing friendly affection the way you want to, because if you keep worrying about people shipping them, it’s only gonna inhibit your writing, and your characters’ relationships won’t come out the way you want to.
Just got an Ipad Pro and Procreate has been a dream!
Here’s some cuddly Emmie and Seth + third wheel Rimfaxe to celebrate. Sorry I haven’t been posting much content of my novel lately lmao I promise I’m still working on it.
Choosing a POV for Your Book
POV: point of view, the narrator’s position in relation to a story being told (according to google)
The types of POVs:
- first person point of view
Uses first person pronouns - ex: “I / me”, etc.
- second person point of view
Uses the second person pronouns - ex: “you, you (plural)”
- third person point of view, limited (limited means the narrative is focused on a single character and the narrative is only aware of that one character’s thoughts, feelings, etc. - you can switch to another character though!! there needs to be a break when you do it, you can’t randomly switch during a paragraph.)
- third person point of view, omniscient (omniscient means the narrative is all-knowing and is aware of all the characters and their thoughts and feelings)
Both use third person pronouns - ex: “she/her”, etc.
Advantages of each POV
the good - it’s extremely personal, the readers get an exact look into the character’s thoughts and feelings and the way they see the world, there’s an intimacy with the character
what you need to remember - create a unique voice for your character, the narrative is subjective (is your character reliable? do they have a bias?)
the good - intimacy, sense of participation for the readers, gives the narrator a specific person to address (second person is typically left for short stories, poems, letters, etc.)
the good - there’s a broader perspective, it can be more objective, easier to jump in time, there’s a certain distance between the characters, can allow insight into multiple characters
what you need to remember - it’s typically more difficult to create intimacy, there’s generally always a certain amount of reliability
In the end, it’s all up to you. What do you feel will fit your story best? Will it help you reach your goal, whatever you’re trying to say with your book? I guess it all depends what you feel is best.
It is common knowledge that when one does the air guitar, a random guitar somewhere in the world is played in accordance, which is usually an audible disaster. One night a former musician is surprised by the most beautiful melody he’s ever heard coming from his closet.
sir that’s my emotional support character who believes themselves unworthy and unable of love because of all that they’ve gone through but eventually realises they are worthy of love when they reach it through their found family
- Give them relationships with other characters. Being a villain doesn’t mean they’re isolated
- Give them their own set of morals
- Give them something to care about
- Consider the reasons why they want to hurt the protagonist
- Remember that they are human
- Don’t make them evil for the sake of being evil
- Keep in mind that a villain doesn’t have to do every horrible thing imaginable
- Not every villain was abused. Someone who was spoiled is just as, if not more, likely to lack empathy than someone who was abused
- Consider how they rationalize their behavior (blame their victims, make excuses, believe that what they’re doing is right) if you need a reference for this kind of behavior, look at how Trump defends the horrible things he does
- Give them a life outside of being a villain. Maybe your protagonist is going shopping and they run into their villain and the villain isn’t interested or up for a fight that day. This really depends on the story, though
- Give them a past, present, or future relationship with the protagonist. Again, this depends on the story
- Consider making your villain likable
- Give the reader a reason to sympathize with them
In light of the recent PostPlus nonsense tumblr is trying to pull, here’s a reminder that monetization of fanfiction can lead you to legal trouble. On Ao3 it’s against the TOS to even mention any money-sending site at all because of the conditonal protection they offer.
Putting your entire fanfiction blog behind a paywall is like pointing a neon sign saying “please sue me”. I bring this up specifically because tumblr mentioned fanfiction in the post that they made and that is going to leave a lot of people misinformed.
Remember: Do NOT paywall your fanworks.
And rest assured, my blog will never be pay-to-read, even if this weren’t a fanfiction blog. I think the whole thing is ridiculous.
Fanfic writers, be careful!
I know I’ve said this before but vampires
- don’t show up on camera
- can fly/scale walls
- immune to bullets
- can break into any safe by turning into fog or some bullshit
- could probably hypnotize security guards as needed
therefore I am in dire need of a heist film where a group of vampires band together to steal back their old stuff from museums
Oceans 1100 AD
Very interested in the hardest part of this beign the vampires trying to trick someone into granting them permission to enter the premises earlier in the day
I feel like this has several simple solutions!
- they enter the museum while it’s open to the public (and the Welcome sign is on display). they turn into bats and hide in the rafters until the museum closes. the only hiccup is when the overhead announcement comes on and politely requests all visitors leave for closing. the vampire are forced to flee, but come back the next day with tiny bat-sized earplugs.
- downside: this requires going out in daylight, leading most of the team members to show up in long black victorian formalwear, complete with lacy parasols, which they insist on carrying with them throughout the entire heist (much to the frustration of the team leader, who just wore sunscreen and a raincoat).
- depending on how invitations work, it is possible any random human can invite them in. one of the vampires gets their Ultimate Frisbee buddy Oakley to tag along and invite them in after closing.
- downside: the gang spends the rest of the heist gently mocking the idea of a vampire playing association ultimate frisbee (“so what, you turn into a bat and catch it with your fangs? do they make you crawl up the wall when it gets stuck on a roof? if you turn into a cat to get it down from a tree, do you end up stuck in the tree?”) this ends in a Climactic Twist Ending when Oakley reveals they don’t play ultimate frisbee, just dog park frisbee. In the sense that they met when the vampire transformed into a wolf to gatecrashed a game at the local dog park.
- (Bonus points if Oakley is a werewolf. extra bonus points if this is revealed in a post-credits epilogue where, on the next full moon, the entire gang transforms into creatures of the night and joins Oakley at the park for a frisbee game of Bats vs Wolves)
- Final option: to gain legitimate entry, an invitation is needed from a museum employee. this presents two possibilities:
- the vampires pretend to be incredibly rich eccentric patrons who want a private nighttime tour of the museum. (this is convincing due to the fact they are rich and incredibly eccentric.) the vampires get inside, planning to hypnotize the Curator supervising their tour.
- downside: they immediately discover the Curator has been left immune to hypnosis by years of post-grad exposure to droning history lecturers. the vampires leave their least competent member to distract her while they carry out the heist–in the ensuing 90 minutes, the vampire and the curator accidentally Fall In Love after bonding over their shared fury about british archeological theft.
- (In the sequel they get married and spend their honeymoon robbing the British Museum in order to return sacred objects to the cultures from which they were stolen. this is made more
complicatedcomical by the fact vampires are unable to interact with holy objects. also, they are lesbians.)
- alternatively: the gang simply bribes a security guard into letting them in after closing. the security guard then tags along, offering helpful advice for disabling alarms and transporting antiques. it turns out Security Officer Greer only applied for the job bc they too were planning an Elaborate Acrobatic Burglary, but then their partners quit to join Cirque du Soleil and “I can’t exactly perform a Double Cartwheel Birdie Flying Trapeze Boomerang Special without a partner.”
- downside: the gang becomes too attached to ask Greer to leave. They carry out the heist as intended, but this time pretending to be circus performers to explain their vampire powers. Turning into a cloud of smoke to bypass locks? Magicians never explain a trick. Spider walking across ceilings to bypass alarms? Contortionist. When it comes time to fly from roof to roof, they decide turning into bats would give away their secret, so instead they help Greer, in a sparkling moment of triumph, execute the perfect Double Cartwheel Birdie Flying Trapeze Boomerang Special!
- Greer and the gang escape (by tightrope walking) into the night with all the plunder they can carry. Tearfully, the gang begins to say goodbye (bc they can’t keep up the pretense of being circus performers forever) when Greer casually asks how a bunch of vampire ended up working in a circus.
- (Greer assumed from the beginning they were vampires, because of “how you dress, how you talk, and mostly because none of you showed up on camera back in the CCTV control room. Why did you think it took me so long to let yall in?”)
- I cannot for the lives of me decide which synopsis I like best
(all ideas shared on this blog are public domain, feel free to go nuts. you can find more story ideas like this on my ko-fi)
It never fails to tickle me how Studios could have billions of dollars to work with, yet a random tumblr user still comes up with a story that’s still infinitely more interesting than any story that’s come out in the past 8 years.
You work on rehabilitating birds of prey, from hawks to eagles and owls you thought you had already saved a member of every species in your local area at least once. Then one night after a storm you find a huge bird the size of a small plane, cackling with lightning and obviously injured
hey writers out there, there’s so few writing positivity posts on this godforsaken site that i thought i’d just. send one out to the void so here we go
- if you only wrote a hundred words today, you’re still further than you were yesterday
- if you only wrote ten words today, you’re still further than you were before
- if you haven’t been able to write in a while because the words just won’t go onto the page how you want them to, that’s okay, you can always try again tomorrow
- it’s okay if you only write fanfics, there are still readers out there who will read your work and enjoy it
- if you’re trying to write a novel and you feel like giving up, take a little break from it, watch your favorite show, eat a snack, go find something to help you relax. then after some time come back to it, whatever was frustrating you might be easy to rework
- if you’re editing something, it’s okay to have someone read things to be sure you got your spelling and grammar right
- it’s okay to not have a beta readers, especially for fanfic writers. some of us don’t have people we trust enough to give us good feedback other than ourselves!
- it’s always upsetting to get a bad comment on a fic or published work, but it’s not your fault someone didn’t like what you wrote. you wrote something that YOU wanted to write for YOURSELF, and if they didn’t like it, then okay, that’s fine. try not to let it get you down!
- it’s okay to hate your old writing. your prose style is constantly changing, so something you wrote ages ago might not sound as good to you now, and that’s okay!!!
- if you want to write a fanfic that’s got some of the same tropes as another fic, that’s okay. we all have different takes on situations, and fanfic readers can never get enough of their favorite tropes!
(though do be wary of like. direct copying but that’s not the point of this post so!!! moving on!!!!!!!)
- your characters are perfect just the way they are. they don’t always need to have five million aspects to them–they may evolve to that point over time, but they don’t have to! so long as you enjoy writing that character, they’re perfect.
- your writing is unique. it’s your own personal style, your own personal way of letting your thoughts out onto paper. always remember that you are the only one who can write what it is you want to write, be it fanfic or something you want to publish–you are the only one who knows how your story will end, and how it will end up being written. you are the creator, and you can bend your story to your will. i know it’s hard sometimes, but i believe in you and that you can do it!
A lit of people think that worldbuilding exists solely to make epic, sweeping fantasy worlds to quest across, but it can create smaller, softer, mundane worlds to inhabit too.
You can worldbuild a small village. You can worldbuild a bookshop. You can worldbuild a jail cell, or a wishing well, or a single-parent household.
Not every story wants a grand scope.
This is important.
Yes! You can world build in fanfiction too, especially if canon’s worldbuilding was unsatisfying or just too light for your taste.
any tips for writing road trips?
For a road trip there are a few things to consider that change how you go about it:
End of the trip
Road Trip Ideas
I hope you enjoy this and have fun writing it!
Hey writers, friendly reminder! Every line and every story you write is NOT required to be earth-shattering, spellbinding, or groundbreaking! Sometimes, we seek out stories because they are familiar, because we know how it will end and we LIKE it that way!
So instead of convincing yourself that your story isn’t good enough, or original enough, or worthy enough, try convincing yourself that your story is a JOY to tell and see where it takes you! :)
You can write this in as many ways you can write any positive friendship. It appears you don’t want a friendship that’s impacted much by internal racial conflict, which is great. I’d absolutely encourage steering clear of the racist friend route. That’s not what most Black people have in mind in terms of representation.
There’s really not much to say on what to do without being pretty general. That information can be found on numerous general writing blogs and article.
The most I can tell you are things to avoid or be mindful of:
I’ll go over each of this main points and offer solutions.
Respect is an important aspect in any friendship, but especially between white and Black women. There is a power imbalance here, with white women holding more privilege and assumed innocence and protection. In order to maintain a strong bond, it’s crucial that the white friend does (and does not) do the following:
You should read up on white feminism and white female privilege for a better grasp of the subject.
There’s many great resources out there on the subject, but I just came across this thread today so I thought i’d share: An Ex White Friend’s Tears.
The white friend has prejudice ideas and isn’t shy about them - and/or is ignorant to the harm of their words or beliefs.
The racism may come out subtly in the form of microaggressions. Becky sings along to a song that uses a slur, not seeing what the big deal is. John might not “get” the race issues that affect marginalized groups. Luckily, the all-knowing Black buddy is there to enlighten them - time and time again.
The Friend of Color inevitably becomes anywhere from full to part-time educator to the wronging friend. This may apply to romantic relationships as well.
It can be anywhere from mildly disappointing to crushing to realize your friends have prejudice beliefs. It’s especially burdensome when said friends, if corrected, resist and argue against your perspective. When being right and pride is more important than PoC pain. Luckily, many people, even if initially embarrassed and defensive, know how to reflect, apologize, and go forward to avoid repeating their harmful mistakes.
Relationships can survive with one half having ignorant views – as long as the ignorant is willing to reevaluate and make right, and the Person of Color accepts their reconciliation efforts. Keep in mind; no one is obliged to educate or forgive racist transgressions. It truly depends on the person, strength of the existing relationship, size of the offense, number of recurring offenses, and the reaction of the offender to correction.
Feel free to write characters who don’t do or say racist things to their friends of color! You may let us assume they’re well-read, worked all those funky questions out of their system before the story starts, or ya know, actually aren’t ignorant and just know better. They may not know everything, and aren’t expected to be perfect. Some sense of poise and rationality isn’t much to ask for, though, right?
Let’s be real – most white people fall somewhere on the scale of ignorance when not thoroughly educated on marginalized folks’ issues. Being taught growing up to love those who are different and that “we’re all one” isn’t a complete education. Sometimes it’s simply just enough to allow the relationship to happen, is all.
There’s a lot to know and people slip-up. That’s understandable.
Microaggressions and race-related questions a PoC may find annoying are bound to happen from people one considers friends or a lover.
Small note that not all friend-to-friend education is negative. Particularly when initiated by the Friend of Color. Say your Black girl had to deal with some crappy microaggressions at work. She vents to the white friend, who shows sympathy for the situation. She might’ve never known or thought about the issue before. Follow up questions may be on the table at this point. Or she might save a thought for later to look up on her own, and be of even more support in the future.
Depending on how far gone an ignorant friend is, the person may or may not determine it worth her time to enlighten the ignorant. I personally don’t condone sacrificial levels of education being poured into training friends and colleagues not to be racist. There’s too many sources for people to educate themselves these days without burdening their peers.
Avoiding startling, deal-breaker sized racism is ideal in a story where racism isn’t meant to be the focus. Especially dispensed from friends the Character of Color is led to trust.
A “BBF” is essentially a sidekick to the traditionally white MC. What little story line they get revolves around the main character. Their dialogue and actions all in some way support and lead back to the white MC’s story. Even their struggles can somehow be made about the white person. You can have a Black person who is someone’s best friend without them fulfilling this stereotype.
Give the Black character her own life, friendships, and relationships outside of the MC.
In this case, the Black girl also has a POV. Make sure her perspective gets sufficient attention in the story.
Often restricted to Black women characters, the Mammy is motherly generosity gone sacrificial. Always the shoulder to cry on, never the one resting her head on yours. She gives emotional and sometimes physical labor way more than she takes. This is often done with smiles and denial of a struggle.
SOLUTION - Balance is key! You can and should make your characters there for each other. That’s a natural component of a healthy friendship, and support ought to be recuperated. Characters who practice self-care and mental preservation is also important. Make sure Black characters are shown care. People should notice when they’re struggling and reach out, too (This would tie into avoiding the Strong Black Woman as well).
Not sure if you have a mammy?
If you feel this could be a problem in your writing, pinpoint every incident in which your Black character has to go out of her way to help others, at the expense of her own life. Now, note how many times the person/people in question have done the same for her. Remove or replace mammy-like incidents.
The Black character is a magical force in the White person’s character arc. The magic could be literal or figurative. The Black character’s existence is based around the white character(s), always standing in the wings to save them with their wisdom and/or fairy godmother-esque powers.
SOLUTION - The solution mirrors that under Black Best Friend. Give the Black character her own life, friendships, and relationships outside of the white MC. Their life and energy should not be devoted to saving white people from the world or themselves.
Black characters who lack self-preservation, quick to lay out their backs as a doormat and lay down their lives for a white character to move forward.
Does the Black girl give up her own happiness for her friend with no payback? Similar to the mammy, it is generosity without any regard for one’s own self. Black characters depicted as having so little value for their lives that they should give it all up for white people is hurtful and degrading.
Sacrificial Negro Example - Suicide mention tw
I recently watched a movie where the Black woman, after knowing her new white lady friend for mere months, jumps out the high-rise window to take the evil force haunting the lady with her. She is instantly dead. The lady, now unburdened by evil, moves on quickly and returns to her happy family life. The Black woman isn’t even mentioned again.
Before that pivotal moment, The Black woman went out of her way to pamper the white woman in attention and affection. Gifts for the white lady and her child, sticking around when the evil went after her too, and even physically attacked Ms. Sacrificial! The movie even threw in some good ole Magical Negro traits; the Black woman provided key supernatural knowledge on how to defeat the evil.
After all this, she receives a few “You shouldn’t have’s” in return.
The Black woman was merely a cure for the white woman’s problems.
If your Black character’s existence is to be the problem-solver and bridge for the white person to reach their goals, you need to reevaluate the characterization.
SOLUTION - I understand friends on some level will sacrifice well-being and comforts for each other. Time to travel a far distance to meet her, money when she’s got none, sleep when she’s had a horrible nightmare and needs to talk till sunrise. Even selflessness should have its limits when it does harm to the do-gooder, or constant deprivation of oneself for others to thrive.
Overall, just make sure it’s not too much sacrifice, and that it’d be and is in some form reciprocated. And always always think twice before having Black characters die for others, as if their lives hold no value and they’ve nothing going for them.
How convenient in that movie I watched. the Black woman didn’t have any other family she cared enough about, making dying for the white woman an all too easy, natural solution.
No. Black people dying for everyone else to live should not be the natural solution.
Write complex characters that don’t rely on stereotypes, within the Black characters and within the relationships. Then just write a good friendship filled with love and mutual respect.
For each chapter, I tend to write very short outlines, because if I over-plan them, I feel trapped and uninspired because there’s no surprises waiting for me in the actual writing process. I don’t outline chapter by chapter often, but when I do, I try to keep it simple by specifying the following about each chapter:
Anything more than that, I leave to the editing process or to determine as I write.
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