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So I want to write a novel, and I outline my story and write out everything that happens in the outline and I get to the end and it's... Between 20,000 and 40,000 words, usually. Like I can tell a complete story but I have a hard time getting it to the length of a publishable novel, and it keeps happening with different stories I write. Do you have any advice for making a story longer without making it feel like I'm just adding stuff to make it longer?

While I think you have a workable length for a first draft, I can see where your problems lay. Let's tackle what your intended goal is first.

Industry standard (set by traditional publishing) for novels is the following:

Adult novels - 80,000 to 100,000 word count. Many will fall between that range. Sci-Fi and Fantasy novels tend to run higher, but you'll notice Romance, Mystery, and Crime tend to run tighter, closer to 80k. Literary novels (Contemporary and Historical Fiction) can swing up and down that word length. Door-stopper books of 200k can be found, of course, but that's the opposite of what we're dealing with.

YA Novels - Contemporary tends to stick to a tight 80k, but publishing tends to seek longer fantasy novels, sticking to the adult standard of 10k.

Middle Grade (8-11ish year old readers) - 30,000 to 60,000. Most publishers want something in the middle, as MG readers are constantly stretching their reading capabilities.

These are generalizations that are subject to change, of course, but they're good guides to follow when editing. Let's say you want to aim for an adult novel, which means you want to at least double your 40k length. While looking over your work, consider the following:

Does your main character have enough problems?

If your story can be resolved within the 40k mark, you may need to add more complications to their journey. Does their external problem (the outside issues they're dealing with, like losing a job or battling a sentient typhoon) adequately line up with resolving their internal problem (dealing with unresolved guilt, confronting a fatal flaw about themselves, apologizing to that sentient typhoon for leaving them at the altar, etc).

Save The Cat also talks about the Shard of Glass or Unresolved Wound, a deeply internal problem the protagonist has to confront about themselves in order to solve the main problem of the novel. Deepening your character's issues can buff up the need for more words to resolve them. (Not every story has the character 'fix' this issue - many novels are about characters failing to do just that, that unresolved flaw finally dooming them in the end.)

Subplots, Sidequests, and McGuffins

Subplots are their to enrich your novel with elements that contribute to the overall journey. Besides the main problem your protagonist is facing, what else is going on in their life? Do they need to confess a crush to a friend? Is their struggle to control their magical powers tied to a traumatic childhood? Does learning the truth about their family history force them to reflect on their own behavior? A subplot should weave back into strengthening the main story while adding more elements to make it more interesting. It's not as hard as it sounds - the more you think about your character's internal problem, the more you realize they'll need to confess their feelings, confront their mother, or more to resolve that final issue.

By sidequests, I'm leaning into the fantasy element of storytelling, but you'll find this pops up in a lot of stories. A chance encounter in a mystery can provide an essential clue, or stopping to aid someone could lead to a character-revealing moment. Remember, this isn't filler - you're expanding the overall plot by leaning into your world-building to establish essential knowledge about your world, introducing minor characters that can act as aids or obstacles to a problem, or starting an action scene that changes the trajectory of the novel.

A MacGiffin is an object, device, or event necessary to the plot and the motivation of the characters, but typically unimportant or irrelevant in itself. Usually, the MacGuffin is revealed early on, and becomes less important once the storyline is set in motion. You'll see a lot of despairing comments about them, because they often can be used poorly. But MacGiffins are often essential parts of storytelling, a quest that leads your characters astray from what they should actually be doing (and in turn learning about themselves and the problem they need to face instead).

Your character spends half the novel trying to find the missing crown, only to discover it's been fake the whole time. That whole first half of the novel was a waste of time... or was it? By having your characters fixate on the wrong solution, you're exploring what Save the Cat calls "Doing Things The Wrong Way" where the real answer is in digging deep down, confronting that internal problem, and setting down the right path at last. This is where the mid-novel twist of the king being the villain all along, the dragon they're meant to slay for killing the villagers turns out to be a card-carrying vegan. The easy answer isn't the solution, and it's taking the hard path that gets things done.

For Example...

In Jedediah Berry's genre-bending mystery novel The Manual of Detection, the main character is pulled into finding the missing detective he used to write the case files for. As with any good mystery, there's a lot of good side quests - going to a bar only to run into villains that need confronting later, a one-sided rivalry with another detective ends up solving a problem later, etc. A subplot starting the novel where the protagonist goes out of his way to encounter someone at a coffee shop turns out to be an essential character connection later, and the MacGiffin - the Manual of Detection itself - turns out to be more important because of what it lacks.

In Jeff Smith's graphic novel series Bone, in the beginning, the main characters remain blissfully unaware of the true danger hunting them or the secrets of those around them. But the villains too are unknowingly pursuing a MacGuffin, leading to a series of events that will bring about a massive clash - and a confrontation of truths that will lead to the final solution.

And Finally, Maybe It's Not a Novel

I do want to say this might all not be what you need, because your true calling could be to write novellas - a length that varies between 20k to 40k. A shorter story is just as good as a lengthier one. There's a steady market for novellas of multiple genres, so it could be a good thing to look into if this feels like where your writing should be.

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writing is so funny because i could write nonstop for 9hrs and then hit a block where im like "how do i transition between this moment and the next?" and then i just dont touch it for 6 months

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the ‘kind character snapping’ trope has been co-opted by too many people who don’t understand it fundamentally. you can’t have your character actively think of themselves as that kind of person bc that makes it like bragging. ‘you wouldn’t like me when i’m angry 😡’ ’no more mister nice guy 😈’ ’demons run when a good man goes to war 👿’ ’honestly i scare myself sometimes 😰’ WROOOOOONG. those are all threats. first off a truly kind character should be humble and not even consider kindness a thing of theirs. and second off please. if they’re truly gentle they should be ashamed of the very thought of their own wrath and not like openly talk about it. yeah i bet they do scare themselves and others when they finally get pushed too far but like don’t have them say or consciously think that without shame… it should be like a tragic thing that happens to them against their will and not like an alter ego they’ve been gleefully looking for an excuse to slip into

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love a fictional character who will scowl and tell people “I’m not sick” “I’m not hungry” “I didn’t get injured”

meanwhile he has an extremely high fever, he ate some soup last week, and the blood is soaking through his jacket

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writers who make playlists before writing anything scare me. how are you setting a mood for something that doesn’t exist yet. are you conjuring it. are you a witch.

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starting to suspect that tech bros actually just don’t know what reading is

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always torn between "this is fanfiction, it doesn't need to be 100% realistic" and "if i get even a single fact about this obscure thing wrong, i am going to be violently killed with hammers"

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Fantasy Guide to Make-Up and Cosmetics

If I am to be completely honest with you all, I know nothing about make-up. Those little brushes and endless sponges mean nothing to me except the fact that they are really soft and sometimes shiny. I don't wear makeup so you can imagine how useless I am at modern make-up.

However, history is my jam and I know about what make-up they use centuries ago. So never fear @theflyingravenbird I got you.

Ingredients and Applications

Make-up and cosmetics of the past were usually sourced from natural ingredients. The more difficult the ingredients were the more expensive the cosmetic was. Natural dies such as red ochre and berries were used to stain lips or colour powder to use as blusher to add colour to the lips. For examples:

Geishas of Japan are probably the most recognizable make-up wearers in the world. Historically and in some more traditional okiyas, the geishas painted their faces with rice powder to give them that unbroken, white complexion. A popular recipe for their crimson lipsticks involved extracting pigment from crushed safflower petals.

Henna paste made from the eponymous plant can be used as hair dye and to trace designs on the feet and hands.

Kohl is a black powder that is famous for its popularity in Egyptian Cultures and even the Persian Empire. Kohl lines the eyes like modern eyeliners and is found when one grounds stibnite. Kohl actually had the luck of preventing eye infections which no doubt helped in the climate of Egypt and beyond.

The Phoenicians used powdered metals of gold, silver and other metals to dust their faces. This is reputably thought to denote their wealthy status.

Rouge or blusher has had numerous recipes throughout history. The Ancient Egyptians made rouge from red ochre and animal fat. The Romans made their rouge from lead and cinnabar, which sounds about as bad for you as you think it does. The Ancient Greeks made it from pressed mulberries or other fruits such as beet and strawberries. The Ancient Chinese made rouge from extracts of coloured flowers.

Ancient Chinese cultures used a mixture of gumarabic, gelatin, beeswax, and eggs to stain their nails. The colors were often used to denote social class. Gold and silver was worn by royalty or black and red. The lower classes were not prohibited to wear bright colours.

Lipstick has also a few recipes. Egyptians used pounded carmine, a kind of insect, to smear on their lips. Other ancient civilizations used red ochre. Vermilion (though toxic) was also used, along with crushed flowers with red pigment mixed with beeswax during the Elizabethan period.

During the late Elizabeth and then again in the Baroque period, women and some men began to paint their faces with white powder. The layer of white lead and vinegar, or ceruse was popular for tears despite the hair loss and death it caused.

Make Up Tools

Powderpuffs: the powderpuff was a pad of soft material meant to apply powder to one's face. They were made of feathers, cotton or sheep's fleece.

Brushes: Brushes have been been around for ever. They have been found in some of the earliest Egyptian tombs. The brushes were often made from animal hair with wooden or more expensive handles.

Pots of pigment, scents and ointments: Some early tombs excavated from ancient civilizations have included what amounts to a palette (thank you lil sis for that word). The pigments in the pots would be very expensive. Ointments and balms have also been found. Perfumes were very popular in antiquity and made a recurrence in Europe after the Crusades (which helped since some of the make up smelled awful).

Make Up and Social standing

Though make up is rather popular now, it had a rather uncertain rise to popularity.

Most Ancient civilizations wore some kind of cosmetic. The overuse of cosmetics in ancient times was frowned on as prostitutes and actors often wore dramatic make up however the elite often smeared themselves with powders to make them paler and redden their cheeks.

In the Middle Ages, makeup had a dual reputation. The Church frowned on it because it was again popular with prostitutes and actors but it was a common consensus that if the woman was scarred from smallpox or some other disease she was excused from being labelled as vain.

In the late Elizabethan period, theatres were getting more popular and as was makeup. Actors began wearing make up more frequently as did the elite. Elizabeth I herself was infamous for her milk-white skin. Make up became more sociably acceptable among the rich and noble at this point.

The 1700s probably saw the height of make up madness. Both women and men of the elite powdered themselves with white lead paint. They rouged their cheeks to high pigment and stuck small dots of felt to cover blemishes. The commons began to poke fun at the elite's strange obsession with looking like they've lost all their blood. Dandies and painted noblewomen were often poked fun at by pamphlets and satirical cartoons.

The Victorians frowned on make up, thinking it garish and common. Queen Victoria herself denounced make up as uncouth which lead the elite to abandon it in droves. However, most women prized a clear complexion so there was a lot of secret make-up-ing going on.

During the Edwardian period and the 1920s, make up began to get more popular. Older more respectable women began trying makeup to fresh their complexion. The younger generations began to experiment with makeup leading to the infamous smokey eye look.

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Fantasy Guide to A Great House (19th-20th Century) - The Lives of The Family

When we think of the Victorians, the grand old Gilded Age or the Edwardians, we all think of those big mansions and manors where some of our favourite stories take place. But who lived here and what did their lives too like?

Who are the Family?

The family are the owners of the house. They are the employers of the servants, the caretakers of the house/estate. Since we're discussing a great house family, they are usually upper-middle class or nobility. A family can consist of a couple and their children but since great houses are so large, sometimes extended family members would live with them such as unmarried aunts or widowed mothers.

Roles Within the Family

In this era, the gentleman of the house would be the head of the unit, even if his wife holds their title in her right. They were in charge of hearing the troubles of the tenants, they would meet with representatives from the estate, deal with lawyers and other officials. He would often meet with the butler to discuss the household but would not be totally involved in its day to day running.

The lady of the house was heavily usually involved in the running of the household. She would meet with the cook daily to discuss menus, work with the housekeeper to ensure the smoothing run of the house during and outside events, keep an eye on the household accounts, the stock of supplies and the welfare of the servants. She would be in charge of her daughters' education and would will also be heavily involved with the local charities of the region.

Children lived relatively seperate lives from their parents. They would usually be cared for by nannies, nursemaids or governesses. They would eat seperately, sleep in the nursery and usually be left behind while their parents travel for the Season. Sons may be educated outside the house, usually sent off to boarding school. When they are passed their education, they would move out of the house (unless they were the heir, then they may be expected to stay around) and join high society. Daughters would live at the house until they are married. It's common for unmarried daughters to remain in the household as spinsters, even after the death of their parents. Daughters would be educated in the house by their governess and their mother.

The Daily Schedule

Morning: At 9, the family would be awoken by the arrival of their hot water. Married ladies have the luxury of staying in bed to eat breakfast. Valets and lady's maids would arrive to dress the family after being summoned by the bell. Unmarried women and the men of the house would eat breakfast in the dining room. After breakfast, the couple would withdraw to their business of the day, such as meeting with estate agents or dealing with paperwork. Just before midday, the lady of the house meet chef to discuss menus. The children would go off to their lessons with their governess or tutors. Luncheon would be served at 1. After luncheon, the ladies of the house may travel to appointments such as fittings or paying calls to friends.

Afternoon: Tea would be served around four. After the tea is finished, the children would be brought down to spend time with their parents. With tea finished, the gentleman and lady would finish their work.

Evening: At 8, the butler signals the start of supper giving the family and any staying guests, 15mins or more to get ready. Valets and lady's maids would already be upstairs at this point, helping their master/mistress with dressing. When the family head downstairs, they linger in the drawing room to chat. They would dine together. The ladies would adjourn to the drawing room for coffee and tea while the men stay in the dining room to drink and smoke. When the men have finished, they join the ladies before going up to bed.

Social Aspect of the Great House

One of the main functions of a great house is society. The family would host gatherings in the off season when they aren't in the city for the social season. If one lives in the country, one might be expected to host relatives on hunting/stalking/fishing holidays. All those extra rooms can be let to guests staying the night. Bachelors would be kept on seperate floor from the unmarried daughters with couples rooming together or side by side. The Great House family is expected to be gracious hosts and spare no expense to their visitors. Servants would have to do many times more work and put up with a lot of nonsense because of the added work load.

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Fantasy Guide to Portraits

If you have ever seen an image of royalty or nobility, it is likely in a portrait they sat for. Be it paint or photograph, these aren't just images. These are statements, these are slogans, these are reminders of one's power, one's good traits and one's wealth. So, what do we need to know about portraits?

Why are Portraits done?

Portraits are painted for all sorts of reasons but mainly it is to convey a message. Whether it is to introduce to the masses to the face that leads them or to attract a future spouse or to prove to the haters that you're just as wealthy, just as pretty, cute and just as smart as Caesar, these images are made to relay something to anybody who sees it. Of course, paintings and photographs can take ages and can be very expensive, so no royal/noble is going to drop a lot of pics of themselves. Most monarchs would release a portrait sometime after their coronation as an introduction of sorts. Some prospective brides and grooms would sit for a portrait that would bring in marriage offers. Portraits might also be painted or taken as mementos: lovers might carry miniatures of their beloved, a loyal servant might be given a portrait of their monarch, a portrait might be sent aboard to an ally as a sign of favour.

Meaning

These were the propaganda posters of the time. But slapping slogans into pictures and portraits is a little on the nose so symbolism was often used to highlight certain messages. Take the infamous Rainbow Portrait of Elizabeth I above. Not only is Elizabeth standing there in her finest drip but every inch of this portrait is a message. The snake on her sleeve, a symbol of her wisdom. The eyes on her dress, she sees all. The ears on her dress, she hears everything. Her uncovered red hair, a mark of her Tudor lineage. Her pearls, she's the Virgin Queen. That pole thingy in her hand, well it used to be a rainbow which symbolised peace and prosperity. Portraits are often choked full of the finest jewels, finest clothes but these items are often paired with symbols. Animals are often used, dogs for loyalty, horses for power etc. Stances are important. You know that one portrait of Henry VIII? That big stance with the hands on his hips, massive codpiece? All that has meaning. Colours are important, as are the placement of people in the portrait if it is a family portrait. Images could reach the illiterate which is why there are so many visual easter eggs in many portraits.

Logistics

Like I said above, these are expensive and costly - even if it is only a photograph. The sitter will have to spend hours at least getting ready, sitting for the portrait, often for multiple sessions. It can be tiring, stressful and irritating, especially if the artist is a bit of a diva or has a habit of taking ages. Large scale portraits will take longer, especially if there are a lot of sitters. These portraits, painted ones, could be done in part with the artist taking sketches of each member and then adding them in. Dead relatives could be added in or deities or mythical creatures too, if you're delulu like Henry VIII. You're looking at weeks at least of waiting, longer if the portrait is being sent from one nation to the other.

Official vs Official-ish

Most portraits you've probably seen are official, approved by the sitter to pass on a certain ideal image they want to convey. For monarchs, it's usually a portrait of them sitting on a throne or in their crown and robes. However, in more modern times, it's become more acceptable for a royal to show themselves as more human - but these images are in themselves tailored. Nobody wants to be caught on candid camera and royals especially so. Modern royals often set up photocalls - especially if they're doing something they want attention for - or release their own photographs, which are like the portraits of their ancestors are edited to fit a certain profile - happy families for example. Even an unofficial image is an official image.

Truth is in the eye of the Beholder?

As you might of guessed, portraits are lies. They are Fairytales concocted to influence, to beguile, to lure. These people aren't wearing these clothes on a day to day business. Their hair isn't that perfect, they don't wear those jewels, they certainly don't go around with tiaras from dawn to dusk. The sitters probably woke up with bad breath or just yelled at their servants or aren't as tall or good looking but these portraits aren't there for reality. When one is looking at a portrait, one must remember that.

Pride of Place?

Where might you see portraits, you're asking? At palaces, yes. But you might see them at the houses of the noble and wealthy. Portraits were often gifted to loyal servants of the Crown, a sort of "thank you for being cool" sort of gift thst you have to have on display because of the honour attached. But with so many ancestors, there may be a lot of portraits so often they might be put into storage and taken out when desired. A new war minded monarch might pick out ancestors who were warriors. A weak monarch might surround themselves with images of powerful relatives. Shameful relatives will often see their portrait stashed away.

For the @the13thhourglass

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one day you too could be a fanfic author who updates a decade later

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i’m all sex positive and shit but i’m begging you. do not make your characters over 30 fuck on the floor. please. think of their lower backs. their knees. have some empathy 🙏

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Commissioned art made by one of the best artists @heyhanibee