#literary structure

[the-most-humble-blog]

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🧠 FREE WRITING LESSON — THE MOST POWERFUL CHARACTER DEPTH TRICK YOU’LL EVER READ.

Let’s say your character sucks.

She’s flat. Predictable. “Strong” in all the wrong ways. Let’s call her Nicolle. Or Carol. Or whatever name Hollywood gave her.

She’s a superhero. She’s got powers. She’s got sarcasm. She takes no shit. She leads the squad. She’s admired by everyone — and loved by no one.

You’ve seen this character before. Now watch what happens when you give her one secret she doesn’t brag about.

Nicolle has two sons.

She’s raising them alone — to become men like her late father: A man who sacrificed everything to raise her after her mother disappeared, broke, or gave up.

The world sees Nicolle as the apex of visual empowerment. But the world doesn’t see:

The arguments with her boys’ father — about what being a real dad means.

The prayers whispered in the dark over a fevered forehead.

The way she ghosted the only man she maybe wanted, not because she’s flaky — but because she doesn’t know if wanting love makes her a bad mother.

The nights she tucks her boys in, then collapses into her bed, staring at the ceiling, heart full of ache, because she gave the world her strength but kept no one to hold hers.

They don’t see the days her sons cry after watching her get slammed through buildings on TV.

Held by the throat. Left for dead. Motionless for seconds too long. Until she rises — because she has to.

They don’t see the breakdowns. They don’t see her flinch.

They assume she doesn’t feel fear. But the truth?

She feels it every single time.

She’s not fearless. She’s never been. But fear is a luxury she doesn’t have.

That’s a luxury for men. She is a god. And she will make any threat scream that truth — as she crushes it beneath her bleeding hands.

Because when demons invade, tyrants rise, and monsters descend, She suits up.

Not for hashtags. Not for feminism. Not for attention.

She suits up because the idea of her sons growing up in a world she could’ve fought for and didn’t — is more terrifying than death itself.

And she will not let the universe teach her boys that their mother ever cowered.

🔺 THE TRIFECTA THAT MAKES ANY SUPERHERO NEXT-LEVEL:

Intimacy. Contradiction. Duty.

Intimacy gives them a soul — something they protect more than their own body.

Contradiction gives them depth — because perfection is forgettable, but conflict creates memory.

Duty gives them immortality — because we remember those who bled for more than applause.

Give a character that trifecta — and suddenly:

She’s not annoying. She’s haunting. She’s not fanfiction. She’s canon. She’s not shallow. She’s legend.

✍️ That’s how you fix a weak character. You don’t soften her. You give her something to fight that fists can’t touch.

And suddenly?

She’s not a girlboss. She’s the last myth your enemies ever tell themselves before they die.

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[biggest-gaudiest-patronuses]

"it's not that deep" not yet but I've got a shovel and fan theories and digging makes great exercise!

[physalian]

How to make your writing sound less stiff part 2

Part 1

Again, just suggestions that shouldn’t have to compromise your author voice, as I sit here doing my own edits for a WIP.

1. Crutch words

Specifically when you have your narrator taking an action instead of just… writing that action. Examples:

Character wonders/imagines/thinks/realizes

Character sees/smells/feels

Now not all of these need to be cut. There’s a difference between:

Elias stops. He realizes they’re going in the wrong direction.

And

Elias takes far too long to realize that it’s not horribly dark wherever they are

Crutch words are words that don’t add anything to the sentence and the sentence can carry on with the exact same meaning even if you delete it. Thus:

Elias stops. They’re going in the wrong direction.

I need a word in the second example, whether it’s realizes, understands, or notices, unless I rework the entire sentence. The “realization” is implied by the hard cut to the next sentence in the first example.

2. Creating your own “author voice”

Unless the tone of the scene demands otherwise, my writing style is very conversational. I have a lot of sentence fragments to reflect my characters’ scatterbrained thoughts. I let them be sarcastic and sassy within the narration. I leave in instances of “just” (another crutch word) when I think it helps the sentence. Example:

…but it’s just another cave to Elias.

Deleting the “just” wouldn’t hit as hard or read as dismissive and resigned.

I may be writing in 3rd person limited, but I still let the personalities of my characters flavor everything from the syntax to metaphor choices. It’s up to you how you want to write your “voice”.

I’ll let dialogue cut off narration, like:

Not that he wouldn’t. However, “You can’t expect me to believe that.”

Sure it’s ~grammatically incorrect~ but you get more leeway in fiction. This isn’t an essay written in MLA or APA format. It’s okay to break a few rules, they’re more like guidelines anyway.

3. Metaphor, allegory, and simile

There is a time and a place to abandon this and shoot straight because oftentimes you might not realize you’re using these at all. It’s the difference between:

Blinding sunlight reflects off the window sill

And

Sunlight bounces like high-beams off the window sill

It’s up to you and what best fits the scene.

Sometimes there’s more power in not being poetic, just bluntly explicit. Situations like describing a character’s battle wounds (whatever kind of battle they might be from, whether it be war or abuse) don’t need flowery prose and if your manuscript is metaphor-heavy, suddenly dropping them in a serious situation will help with the mood and tonal shift, even if your readers can’t quite pick up on why immediately.

Whatever the case is, pick a metaphor that fits the narrator. If my narrator is comparing a shade of red to something, pick a comparison that makes sense.

Red like the clouds at sunset might make sense for a character that would appreciate sunsets. It’s romantic but not sensual, it’s warm and comforting.

Red like lipstick stains on a wine glass hints at a very different image and tone.

Metaphor can also either water down the impact of something, or make it so much worse so pay attention to what you want your reader to feel when they read it. Are you trying to shield them from the horror or dig it in deep?

4. Paragraph formatting

Nothing sticks out on a page quite like a line of narrative all by itself. Abusing this tactic will lessen its effect so save single sentence paragraphs for lines you want to hammer your audiences with. Lines like romantic revelations, or shocking twists, or characters giving up, giving in. Or just a badass line that deserves a whole paragraph to itself.

I do it all the time just like this.

Your writing style might not feature a bunch of chunky paragraphs to emphasize smaller lines of text (or if you’re writing a fic on A03, the size of the screen makes many paragraphs one line), but if yours does, slapping a zinger between two beefy paragraphs helps with immersion.

5. Polysyndeton and Asyndeton

Not gibberish! These, like single-sentence paragraphs, mix up the usual flow of the narrative that are lists of concepts with or without conjunctions.

Asyndeton: We came. We saw. We conquered. It was cold, grey, lifeless.

Polysyndeton: And the birds are out and the sun is shining and it might rain later but right now I am going to enjoy the blue sky and the puffy white clouds like cotton balls. They stand and they clap and they sing.

Both are for emphasis. Asyndeton tends to be "colder" and more blunt, because the sentence is blunt. Polysyntedon tends to be more exciting, overwhelming.

We came and we saw and we conquered.

The original is rather grim. This version is almost uplifting, like it's celebrating as opposed to taunting, depending on how you look at it.

—

All of these are highly situational, but if you’re stuck, maybe try some out and see what happens.

*italicized quotes are from ENNS, the rest I made up on the spot save for the Veni Vidi Vici.

[spectrenun]

So this is why we philosophize: because there is desire, because there is absence in presence, deadness in life; and also because there is our power that is not yet power; and also because there is alienation, the loss of what we thought we had acquired and the gap between the deed and doing, between the said and the saying; and finally because we cannot evade this: testifying to the presence of the lack with our speech. In truth, how can we not philosophize?

Jean-François Lyotard, Why philosophize?

[bai-e]

ok instead of sleeping im up thinking about my white whale (recursion) and I think my error was starting too far back in the storyline when phainon was vanilla. I should have opened with khaslana kidnapping you. this isn't a slowburn this is a high speed trainwreck

[normalaboutmediaa]

Oooh the God and Jesus parallels between Mark and Mark S. Bro I'm not even Christian anymore but hello??

You create a whole new being, not of sex or love or mortal coincidence. You create a whole new person from a piece of your own self, a virgin birth heralded by a young girl's faith- fully separate but still inextricable from you- a being whose only purpose is to bear the burden and wash the sins of the reality you created, who will inevitably have to die. And you tell him to sacrifice himself for the good of all. For the good of a woman he does not know, for the fall of a company he owes his life to, for better or worse.

What if that carpenter's son had resisted the nails driven through his palms? What if he had been willing and able to do everything except climb up on that cross? What if he didn't want to go with dignity into the night on the orders of a creator he can never know or see or touch but nonetheless has been told he is the same as?

Mark S cannot count on his resurrection. So he will not be a willing sacrifice.

[newbiespud]

I'm sure it's been said before but I'll say it myself because why not

The game In Stars and Time makes for a revealing contrast to the movie Groundhog Day in how they treat their final time loop and how that reflects on the main character. (Even though, if I remember right, the dev largely wasn't aware of Groundhog Day when they came up with ISAT.)

Spoilers for both after the break, I guess.

In Groundhog Day, Phil starts out narcissistic and self-centered, has the realization that he can live life without consequences, gets depressed after having tried and done everything that he's got everyone and everything memorized so that nothing can delight and surprise him anymore, and finally escapes when he performs a loop that proves that a better, happier world is within his grasp to make, not something owed to him, and that he is happy with the life he has today, not always pining for his ambitions for the future.

In... In Stars and Time, Siffrin starts out deflecting and aloof, has the realization that they can do this perfectly - 'this' being not only the impossible challenge of defeating the King but navigating their relationships with their party - gets depressed after hitting wall after wall and repeatedly fumbling into faux pas after faux pas with their party, and finally escapes when they perform a loop where their true feelings come out, no matter how ugly, and they're honest about their own desires and wishes rather than trying to keep up an ideal façade.

Plenty of people have pointed out that In Stars and Time subverts the 'escaping on the perfect loop' time-loop trope that Groundhog Day largely codifies. Not only does the 'perfect' loop completely fail, Siffrin escapes on arguably the 'worst' loop, the one where they rightfully worry that they've hurt and alienated their loves ones forever and cannot escape those consequences anymore.

But I don't think this contrast is as direct as it seems, even though one could say that Phil got away scot-free compared to Siffrin and that In Stars and Time is the superior story for portraying a harsher outcome. (I do think that exploration and advancement of tropes is just inevitable and even healthy over time, and Groundhog Day came out in 1993 so of course it and the tropes it spawned deserve modern critique, but I digress.) I actually think that it reflects how both stories and the mechanics of their time loops are built around their main characters. (There's also something to be said about how genre shapes narrative since GD is an existential comedy and ISAT is an action-adventure focusing on interpersonal drama, but that's another digression.)

ISAT makes an impact on the whole time loop genre with its clever subversion, but like all the best subversive stories, it's couched in strong characters that embody its themes.

And to take a broader perspective, the best time loop stories are allegories for the real-life situation of making the same mistakes over and over again caused by your own deep-seated personality flaws, and being forced to finally confront your inner demons and overcome them and become a better, healthier person. (Relatable, much?)

Phil is a man who's never happy with his lot in life, so he needs to learn to find the eternal richness and beauty of what he has within his grasp, and that a better, happier life is something he can make for himself. Thus, he escapes on the 'best' loop.

Siffrin is a person who refuses to share their true feelings and problems with others to the point of self-destruction (and complete reinvention in one aspect), so they need to learn that no matter how ugly and twisted they think they are, being open and honest doesn't mean their loved ones will care about them any less, even when Siffrin is seen at their lowest point possible. Thus, they escape on the 'worst' loop.

It's not just clever subversion, it's holistic circular story structure!

...Though maybe I'm just drawn to these stories because I, too, would like some extra time to Figure Some Shit Out and have that time come with some superpowers along the way, even if it nearly destroys me in the process.

[moving-blogs-uhhhh]

Uncooked idea but a thing that I’ve noticed about fanfic and that a lot of others have frequently pointed out is that the structural format of Fanfiction, a literary medium that should function like traditionally published books, functions much more like script writing.

Section breaks are used to communicate the illusion of time passing, they’re used for comedic jump cuts that you can see in TV/Film cuts, props, environment and setting is barely described — a suggestion at best — with more emphasis placed on dialogue and actions, the narrative pacing is strikingly different because you can see that each interaction is paced for a scene cut — exactly how scripts are. Fanfiction is more theatrical than anything else — the visual language is more akin to set dressing than anything substantial to the interaction taking place.

Which isnt to say that all fanfiction is like this, or that it’s even a bad thing! Many writers do use the modes of traditional writing in their work, this is just a general observation I’ve had. (And I do write my own fics like this a lot of the time LMAO) I’ve just noticed because a lot of fanfic is written about Film/TV, the writers will adopt the similar structure and pacing to the shows/films they’re writing about— interactions that jump back and forth, dialogue is placed in between page breaks, emphasis placed on individual moments/interactions, pacing set for something episodic than anything drawn out. It’s as if you’ve applied the rules of script writing to a prosaic medium, and I find it fascinating.

[quillver]

What Happens After They See

Eventually, they see it. The truth they built around without looking. The blind spot they named loyalty. Or piety. Or love. Not a flaw - a cornerstone. And when it cracks, everything they balanced on it starts to shift. Not all at once. But enough to make them stumble.

Everything they rested on that silence begins to shift - the love, the loyalty, the version of themselves they trusted. It wasn’t built for truth. It was built to hold just long enough. And now it’s tearing at the seams.

Some don’t break. They keep moving - but carefully, like the floor might give beneath them. Even their breath feels loud, like it might name the thing they finally see.

Some try to fix it. Some lash out. Some vanish so far inward, they speak like strangers - and hope no one notices. But none of them are who they were.

The story doesn’t hold the same shape. It resists the old lines. It wavers. It strains. And when it finally breaks, it breaks clean.

I don’t write redemption arcs. I write aftermaths. The moment after the lie breaks, when they have to choose whether to speak - and decide who they are without the story that held them.

[voluptuarian]

[sparenickel-blog]

Words/Phrases I struggle with using too much when writing and a few alternatives I've been sneaking in to keep my sanity

At least -To some extent -For Starters -On the bright side -Such as it is

Just (like "just barely" or "just wanted") -Only -Merely -Simply -Precisely

Somehow -For some reason -In some way (shape or form) -By some means

At this/some point -By now - At present -At this stage - At any given time

If only -It's too bad -Were it so -Should it have been

Rather -Instead -Preferably -Somewhat -On the contrary

A bit -(Ever so) Slightly -A smidge -A tad -Marginally

Instead (of) -Rather than -In place of -Alternatively

So (as in therefore) -Thus -As a result -Consequently

All of these have the potential to change the way a sentence 'feels' so take them with a grain of salt depending on how you want your words to flow, emphasize, or sound as the entire structure could change as well. I'm just keeping this here to remind myself that I have options.

"Sort of" and "Kind of" fit into a few of these but I didn't want to spam, so I'll just leave them here.

[eri-pl]

I got to B&L with my reread. It has so mixed language for me… From the "and Luthien had sufferred more than any Elf" (hmmm, excuse me, but this doesn't sound trustworthy at all… dfw if you're reading this, please don't forget to breathe… it's fine... i got you) to some really awesome descriptions (there should be a name for this trope, compliment by reference?) and behaviors, to Beren being sassy to again more untrustworthy absolutes… It's all over the place.

Also, "fate touched her and so she fell in love" is technically not wrong but sounds jarring to me. But then, I do not like romance as a genre.

Also, LotR references / things referenced by LotR (I'm not sure). Luthien's hair and eye color have, if I remember correctly, the exact same poetic descriptions as Elrond's. Which makes sense, of course. Plus Beren has a Frodo-like moment of very explicit being given what to say. Anyway, Elrond is cool and deserves to look like Luthien. <3 And it probably freaks everyone out. :)

More when I do the reread post (but first, Sudden Flame).

PS: [question inspired by cleaning some of my tag overload] does anyone know (and wants to tell me) why the West is, well, in the West? Is this a British folklore thing? (I don't think Jirt would be petty enough to do "Asia bad" or similar reason)

[incandescent-creativity]

You know that post about finally reading a recognized classic or a book with loads of awards and having your mind blown open while being like “Does anybody else know about this?” (they definitely do)

That has been me with Alison Bechdel’s Fun Home lately oh my god

[physalian]

Narrative Framing Devices

This is a long one…

A story need not be told chronologically, nor does it have to be only one layer deep. There’s a ton of different ways to frame your narrative, I’m just picking a couple today, some I thought worked and some I thought didn’t, and my personal favorite.

Most people think of framing devices in terms of time travel stories or fairytales, where it may start in the present or the future and work backwards, giving up the ending before telling how we all got here. Or by chopping up the chronology and letting the audience try to puzzle out the order.

There are also those that break the fourth wall, with the narrator beginning the story directly addressing the audience but never doing so again, or the narrator opening the story telling their own story to a present audience, so we’re the audience behind the fictional audience.

The other obligatory framing device is the time-skip, a la “6 years later” or “8 months later”. I’ve already talked about those. Or the preface/preamble/prologue that may spoil some important event later in the story, or is simply an important moment or montage of moments to catch the reader up on “how did we get here”. Shoutout to Castlevania for the most efficient pilot episode I have ever seen, with a 1 year timeskip.

Also honorable mention to the “A Life in the Day” montage from Magicians, speedrunning decades of a life together between two characters stuck in a Situation, maybe 60 years? Key moments between the two having a whole romance, with a kid and grandkids, over the course of one beautiful bit of soundtrack. One of the best episodes in the show, for a sequence that only lasted a little over 5 minutes.

—

Story within a Story | Princess Bride, "Ember Island Players"

Best example I can think of, specifically the film, which is based on a book that already incepts itself. The movie opens with a regular kid being read the book The Princess Bride by his grandfather, and occasionally cutting between the kid’s reactions and the fantasy story with the actors.

There’s several moments where the grandfather either loses his place and rereads a scene that replays the same dialogue, or skips a scene in the “kissing book” because his grandson gets squirmy, and moments where the grandfather narrates over a couple montages.

Princess Bride is one of those movies that knows exactly what it is and isn’t trying to be something it’s not. It’s self-aware and loudly and proudly sincere, with one of the best revenge arcs ever put to film.

Recap episodes can either be clipshows or get really creative like ATLA, telling the series recap through the medium of a propagandized play about the Avatar's journey, performed by actors of the Fire Nation. The Gaang sits there in vague states of discomfort, horror, or in Toph and Sokka's case, thrilling enjoyment, watching their hardships and heartbreaks played for laughs. That it's the story we know, but also with the added filter of it being enemy propaganda takes what could have been just a clipshow and still told multiple layers of a story with it.

The Fourth-Wall Break | Riordan-verse, Deadpool

“Look, I didn’t want to be a half-blood” defined a generation. It’s one of those fourth wall breaks that opens up the story and never appears again, though occasionally Percy will get slightly self-aware, saying things like “I didn’t know it then, but I’d never come back here”. But for PJO it almost doesn’t count.

Kane Chronicles on the other hand chose a bizarre framing device, having the two leads pretend to host a radio show, or a podcast—something where they were recording themselves and I don’t think it worked very well whenever it popped up and stopped the plot.

Shoutout to Tangled, too, for having a fairytale style fourth-wall break at the end, much like KC, where Flynn reveals that Rapunzel has been listening to him tell their story the entire time. Many fairytale stories open up with the physical book flipping open to the story, like Shrek and Shrek 2, but I don’t think those are translatable to the written medium very well.

The big one, though, is of course Deadpool. Have not seen the second one, and while ‘breaking the fourth wall’ isn’t by itself a framing device, DP & Wolverine absolutely makes it one, fast forwarding and jumbling up the sequence of events to deliver a “how did we get here?” during the opening credits.

Chronology Salad | Memento, Predestination

Have not actually seen Memento but I know the premise, working backwards as the protagonist recovers his memory of “how did we get here?” Predestination is a batshit insane time travel story that I don’t think most people have even heard of and detailing the plot at all is giving spoilers but it is the most “how the fuck did we get here??” movie I have ever seen.

Then you have stories like Twilight that open with “I’ve never given much thought to how I would die” that spoils (kind of) the ending, with the goal of the story not detailing if something bad will happen, but how. Twilight’s prologue reminds me of The Bachelor, where they’ll tease the audience with *shocking* moments completely out of context from later in the season that are way less cool when they actually come to pass (from the one time I watched with relatives out of morbid curiosity).

The point of these chronological mixups is how all the random puzzle pieces fit together, despite essentially spoiling themselves constantly, they’re so random, so out of place, meant to keep you constantly guessing until the big reveal of the picture on the box—and are extremely tricky to do well without completely losing your audience. You’d have to have a very thorough outline to not confuse yourself while trying to write it.

Honorary mention here for Inception, one of my favorite sci-fi movies, because the plot is crazy, but still told chronologically, just across different dream levels. However, the movie does open with the ending scene (though you don’t know that on your first watch). And Tenet, but I don’t know anyone who likes or cares about that movie.

Dual Timelines | Outlander

There are others I just cannot think of them at this moment. Dual timelines tell two stories simultaneously across two different eras, either decades apart or mere hours, with some relation between the two. Sometimes one timeline’s protagonist is the ancestor of the present timeline, for example.

Dual Timelines happen in sequential order, making them distinct from a flashback arc (more below) essentially two chronological plots running in tandem squished into the same book, episode, or film. They carry equal weight and try not to overshadow each other in flair or importance.

In Outlander, Protagonist Claire is already a time traveler, in a time travel story whose rules are “whatever happened, happened, and you end up causing whatever you tried to prevent”. Season 2 opens with her returning to the present, leaving the entire rest of the season with a foreboding sense of dread, wondering what will get her back to that moment.

Season 3 dangles the carrot on the stick, randomly cutting between Claire in the 60s and trying to move on with her life for… I think 20 years, while Jaime, her love interest from the past, just keeps getting kicked while he’s down. It takes forever to get these two back on screen together. And the dual timelines continue taking up screen time when Claire and Jaime’s adult daughter also eventually makes a trip to the past. Points off for being blatantly manipulative storytelling with its cliffhangers, but season 1 is still worth the watch.

Flashbacks, Flash-Forwards, and Flash-Sideways | Lost

This show’s earlier seasons were heavily framed with this device. In The first 3 seasons (up to the last episode) the framing device was exclusively flashbacks, focusing on one of the main 13 heroes for an episode, particularly in season 1.

They didn’t always answer “how did we get here” but told some story relevant to the character in the present, either a challenge they had to face or parallel relationship drama or ghosts come back to haunt them. Usually, these little flashbacks were told in sequential order, but they could hop months or years ahead at a time depending on the episode.

The flash-forwards began in season 4 and closed the gap between the “Oceanic 6” escaping the island and all the missing time while they were gone, before the infamous “We have to go back” line.

The show also had flash-sideways, which featured the main cast, many of whom had been dead for a few seasons, reprising their roles to show what could have been their lives if they never crashed. To… mixed reception.

The show also also had a time-traveling character who in-universe experienced flashes of the future and got mentally temporally displaced between two timelines for a hot minute.

Lost was… a show that demanded a dedicated following. I still love it.

Flashback Arcs | My own personal soapbox

This right here is the whole reason for this post. First you have flashback episodes and I can name a lot of those—ATLA has a couple, “The Storm” & “The Avatar and the Firelord” but both are technically “stories within a story” with characters either around a campfire telling it or reading about it. The alternate timeline takes up a majority of the runtime, only occasionally cutting back to the present characters for a reaction.

In TFP there’s an offbeat flashback episode “Out of the Past”, framed, again, as a character telling this backstory stuff to another character. Many, many vampire stories will have flashbacks to some degree, since their characters live for so long. Vampire Diaries, especially in the earlier seasons, had dozens of them filling in all the blanks back during the Civil War when the two leads, Stefan and Damon, were competing for the affections of the main villain, all leading up to how they were turned, and how she allegedly died. Once the Originals were introduced, the show then had flashbacks to a thousand years ago, when they were human, and various eras in between.

True flashback episodes don’t waste precious minutes setting up a framing device, they just dump the audience in an alternate timeline and let them figure it out on their own that something isn’t right.

But none of that comes close to the full-on Flashback Arc. I. Love. This. Trope.

I actually first saw it when Arrow was good in its earliest seasons, cutting fairly equally between a present-day Oliver back home and starting his hero journey, and him learning combat back in the past, over several episodes like a series within the series.

What you end up with is a happy medium between a full dual timeline and a random grab-bag of flashbacks as they become necessary to the plot. A flashback arc relies entirely on the existence of the A-plot to make sense, as opposed to a dual timeline where it’s essentially two self-sufficient stories rolled into one big narrative. This arc is substantially shorter than the rest of the plot, cutting the story it’s telling down to the absolute need-to-know moments and cutting all transitions between the two. These arcs tend to cover weeks, at minimum, and decades of a long life at most.

I think they're best implimented after the first book, film, or season. Not something you want to throw at your audience who barely knows or cares about these characters, so if you're stuck with ideas for a sequel, consider the Flashback Arc.

My favorite thing that I have ever written (sans ENNS) was for my sci-fi WIP, a C-plot flashback arc in 13 parts. They started out as in-universe nightmares to give credibility to when these flasbacks started occuring, framed around the character's reaction to the scene, but then took off independently to avoid redundancy.

This arc covered his time as a POW, telling the reader how he came to be the living weapon he was, and the first detail it opened with was the reveal that he wasn’t the only one of his kind, he’d lied and shouldered the blame of every atrocity to protect the others, as their numbers dwindled and it all fell into place. A truth he wouldn't tell with a gun to his head.

Because you already knew he lived, because he’s right there in the present A-plot, the arc wasn’t telling you if he’d survive the war, but what he’d do to survive, and how it all fell apart. Because it was framed up with the existing narrative, I had a lot more leeway in omitting details and dropping the reader weeks or months ahead as opposed to this being a completely fresh story with new characters. You knew immediately based on the tone that this POV was the C-plot flashback POV, and you knew the only person who could narrate it was my poor character.

Over 13 POVS, 34k words (of a total whopping 202k), I told a whole love story, established and killed off 10 characters, and gave heaps of worldbuilding lore and exposition to fill in all the blanks in the present and answer questions that this character would never, and revealed just how much he lied about and why.

All of this tied in with the A-plot, staggering the physical placement of POVS within the book to hit at the right moments tonally and as the character’s condition kept deteriorating because he refused to talk about What Happened. His reason was that he’d done all of this and suffered so much to keep their legacies pure. If he gave it up now, he would have done all this for nothing.

And this was some heavy shit. There was murder, suicide, death by giant alien super robots fond of ripping people apart, assault, mercy killing, torture, gaslighting, and psychological horror. One of my magic systems let magicians regrow limbs alchemically, which meant they could endure a shit ton of pain and just get reset to do it all over again.

It was a lot.

But because it was just in flashbacks, I gave you just enough dark shit before cutting back to something marginally lighter, not just one long slog of misery. There was also the unknown of how quickly it would end. The book would end when you hit the last page, but you had no idea which flashback POV would be the last.

And also.

I got to flex my writing skills to the fullest, writing this character’s flashback POV in a completely different tone and style to make it that much more distinct from the rest of the present book.

ENNS’ sequel is very much under construction, but the one thing already polished is a flashback episode packed into one chapter for one of my characters. It’s perfectly knife-twisty and I can't wait for people to read it.

—

There’s dozens of framing devices out there. Most important thing, I think, is not sacrificing audience understanding for the sake of something ‘cool’. Doesn’t matter how amazing the story is if your audience gets completely lost and confused trying to keep up with what’s going on.

If you'd like to check out my book, Eternal Night of the Northern Sky is available now!

[omegaphilosophia]

The Ontology of Text

The ontology of text refers to the study of the nature, structure, and being of text, focusing on what text is at its most fundamental level. This exploration can span several philosophical and theoretical perspectives, often addressing questions about the existence, identity, and categorization of text as an entity. Here’s a breakdown of key aspects:

1. Text as an Ontological Entity:

Material vs. Abstract: Text can be considered both as a material object (e.g., a book or a written document) and as an abstract entity (e.g., the content or meaning conveyed by the text). The ontology of text thus involves understanding how these two aspects coexist and relate to each other.

Text as a Work vs. Text as a Document: The distinction between a text as a work (the conceptual or intellectual creation) and as a document (the physical or digital manifestation) is crucial in ontology. For instance, different editions of a book may be considered different documents but the same work.

2. Identity and Persistence:

Sameness and Variation: The ontology of text deals with the question of what makes a text the same across different instances or versions. What remains consistent between different editions or translations of a text? How much can a text change before it is considered a different text?

Temporal Aspects: How does the identity of a text persist over time? This includes considerations of how historical context, authorial intent, and reader interpretation might affect the identity of a text.

3. Structure of Text:

Hierarchical vs. Network Structures: Text can be seen as having a hierarchical structure (e.g., chapters, paragraphs, sentences) or a network-like structure (e.g., hypertext or intertextuality). The ontology of text examines how these structures are constituted and how they affect the nature of text.

Units of Text: What are the basic units of text? Words, sentences, paragraphs, or perhaps even smaller or larger units? The ontological inquiry involves defining and categorizing these units.

4. Function and Intent:

Authorial Intent: The role of the author's intention in the ontology of text is a major consideration. Is the meaning of a text tied to what the author intended, or does it exist independently?

Reader Interpretation: The ontology of text also considers the role of the reader or audience in constituting the text. Is the meaning of a text something inherent, or is it something that comes into being through interpretation?

5. Intertextuality and Contextuality:

Intertextual Relations: Texts often reference or build upon other texts. The ontology of text considers how texts are related to one another and how these relationships affect their existence and identity.

Contextual Dependency: The meaning and existence of a text can be dependent on its context, including cultural, historical, and situational factors. The ontology of text examines how context shapes what a text is.

6. Digital and Hypertext Ontology:

Digital Texts: The advent of digital texts introduces new ontological questions. How do digital formats affect the nature of text? How does hypertext, with its non-linear structure, change our understanding of text?

Versioning and Fluidity: Digital texts can be easily modified, leading to questions about the stability and identity of texts in a digital environment. What does it mean for a text to have a version, and how does this affect its ontology?

7. Philosophical Perspectives:

Structuralism and Post-Structuralism: These schools of thought provide frameworks for understanding the ontology of text, focusing on the underlying structures of language (structuralism) and the fluidity and instability of meaning (post-structuralism).

Phenomenology: This approach might consider the experience of the text, focusing on how it appears to consciousness and the role of the reader in bringing the text to life.

The ontology of text is a rich and complex field that intersects with many areas of philosophy, literary theory, linguistics, and digital humanities. It seeks to answer fundamental questions about what text is, how it exists, how it maintains identity, and how it relates to both its material form and its interpretation by readers.

[aidanchaser]

I am most comfortable in third person close I haven't written first person in over ten years and broadly speaking I don't care much for reading first person BUT LIKE it's a gothic horror story so what if I had my layered narrators like wuthering heights and Frankenstein what if it is Marinette's perspective but then Kagami tells Marinette what she went through and then Félix tells Kagami who is telling Marinette what if