notesfromtheheart

[notesfromtheheart]

After a catastrophic event, your characters have to live in a new reality. What they must face depends on the world you create. There are a few things to consider when you plan your post-apocalyptic world if you want to use it as another source of conflict.

#Step 1: Pick an apocalypse

There are many types of apocalyptic events that can cause chaos and conflict for your survivors. You don’t always need to explain what happened because a post-apocalypse is about the effects rather than the event. However, the one you choose will have a direct impact on the landscape and your characters’ chances of survival. Here’s a quick rundown of some of the most popular ones.

Zombie

The threat in these stories is ongoing and relentless. The zombie plague spreads across the globe like a virus. Destruction is rapid and danger is everywhere. Survivors often stick together, hoping there is safety in numbers.

Nuclear

Because the landscape is so blighted and devoid of life, stories like these are about the characters’ internal struggles with issues such as loneliness, sanity and hope.

Technological uprising

Humanity is seen as a virus and something to be eradicated. These kinds of stories often focus on attempts to take back the world from a threat that is stronger, smarter, and more ruthless than the human survivors.

Alien invasion

Aliens take over our world and we can’t stop them from wiping out most of humanity. The remaining survivors usually work together to defeat the invaders. Spend time developing your aliens or they won’t seem like a credible threat.

Pandemic

This is similar to a zombie apocalypse except the threat is invisible and this causes a sense of paranoia. You don’t know who is infected until it’s too late. There is usually a race to find a cure from a ragtag group of survivors.

Climate change

This is a slow burn type of apocalypse. All the warning signs were there, but we ignored them. The survivors feel a sense of hopelessness because once it happens, there’s no turning back.

Breakdown in technology

This shows what happens when the technology we rely on so heavily stops working. Some writers use this as a foreshadowing that something even worse is on its way.

*There are other kinds of apocalypse such as natural disasters and comets, but they often focus on the actual event rather than what happens afterwards.

#Step 2: Create your world

Unlike many other kinds of stories, a post-apocalypse world isn’t just a backdrop for your characters, it’s a major source of conflict. This is also the part where you can think about theme because this will influence how your readers feel at the end of the book. Not all stories of this genre have happy endings, but they can teach us a little more about human nature.

Because it’s such a popular genre, you can find it in movies, novels, games, comics, and television shows. I’ve added links to a few of the most interesting and well-known ones.

1. Humans are overthrown

This could be after an alien invasion, robot uprising, or zombie pandemic. Humans have lost their place in the natural order of the world. There is a wide variety of landscapes in stories like these, depending on how recently the catastrophic event took place. They can range from almost total destruction to a clean and beautiful, perfect world. One of the most popular plots in this kind of story is the battle to reclaim what was lost.

Day of the Triffids by John Wyndham

The Last of Us created by Naughty Dog

2. Anarchic landscape

This landscape is usually harsh with a lot of environmental damage and limited resources. Although it isn’t always stated, the assumption is that the world was affected by a nuclear war, catastrophic natural disaster, or dramatic climate change. In this type of post-apocalyptic world, there is no rule of law or a very limited one. The weak are vulnerable and at the mercy of aggressors. This is an excellent opportunity to create a solitary protagonist who has to decide whether to continue alone or link up with other survivors.

The Postman novel by David Brin

Mad Max Fury Road movie directed by George Miller

3. A new “Utopia”

This kind of post-apocalyptic world is divided by those who live in safety and those who are barely surviving. There’s usually some kind of barrier that protects people on the inside from the rest of the world. The insiders’ lifestyle is often at the expense of those that are on the outside. Once your protagonist realizes what’s going on, you can have them attempt to escape or destroy the elites’ world.

Wool novel by Hugh Howey

Snowpiercer graphic novel by Jacques Lob, Jean-Marc Rochette

4. The End of Everything

This landscape is bleak, and resources are almost nonexistent. Your characters are not trying to rebuild because it is hopeless. There are few other survivors and to be honest, it’s probably best to avoid them. Although this kind of world can seem depressing, it’s also an opportunity to write about human nature at its best and worst.

The Road novel by Cormac McCarthy

On the Beach novel by Nevil Shute

5. A Better Tomorrow

The apocalypse is over and the world is at the recovery stage, but it will not be straightforward. Humanity has survived (sometimes barely) and is ready to rebuild a better world. However, the characters will often be under attack from an aggressor who wants things to stay the way they are. This plot is useful when you want to finish a post-apocalyptic series because it’s an acceptable way to tie up loose ends and leave your readers feeling hopeful.

The People of Sparks by Jeanne DuPraub

Station Eleven by Emily St. John Mandel

6. Not over yet

Sometimes the event is still taking place. The main apocalypse happened, but there are still remnants of the initial threat. This could be a virus that hasn’t been completely cured, lurking zombies, killer plants, in fact, anything that needs to be eradicated. This is a good plotline if you want to create a series of books where the threat grows or mutates. And let’s not forget that there is always a threat from other survivors because sometimes it’s people who can be the real monsters.

World War Z by Max Brooks

12 Monkeys TV series created by Terry Matalas and Travis Fickett

7. Weird World

Some kind of catastrophic event destroyed much of the world, leaving only remnants of an ancient civilization. The laws of physics and biology were altered, and this is now a magical and weird world. You can do almost anything with this kind of world, but you should have a thorough understanding of the fantasy genre. The Lord of the Rings is not strictly a post-apocalypse world, but it has a lot of elements that appear in this kind of story.

Swan Song novel by Robert McCammon

Adventure time animated TV series created by Pendleton Ward

Once you’ve picked the cause and the world it left behind, it’s time to plan the details for your post-apocalypse world. The longer-lasting effects will be something your characters have to adapt to, in order to survive. You can force your survivors into life and death situations depending on how harsh you want their environment to be, how limited the resources are, and how much competition there is for them.

#Step 3: Focus on the details

Once you’ve picked your apocalyptic event, you’ll need to start looking at the effects it has on your world and any survivors. This is when you should focus your attention on world-building. Don’t skip any details because they could become plot holes later on.

1. What are the effects on the environment?

Consider how to use the environment to cause conflict for your characters. Do you want your survivors to have their movements restricted by a lingering risk such as zombies or plague? Is your landscape going to have areas that are too toxic to enter? Has wildlife mutated and become a deadly threat?

2. How long after the event is your story set?

If the apocalypse happened recently, your characters will be unprepared and have to adapt quickly to survive. If generations have passed, the survivor’s descendants will know the dangers they have to face, but that doesn’t mean life is any easier.

3. How many survivors are there?

Do you want your characters to have regular or sporadic interactions with other people? If resources are limited, which they are in most stories, any survivors will be competing for them, and this can cause a lot of conflict for your characters.

4. Where do people live?

Do you want your survivors to travel across the landscape in search of refuge, or are they going to live in small communities? Are cities abandoned because they’re too dangerous or have the survivors built new ones? Are their descendants living behind the safety of high walls or even underground?

5. Is there a rule of law?

If the percentage of survivors is small, it’s unlikely there will be any kind of central government and nationwide rule of law. In many apocalypse stories, the army and police are among the first casualties. However, if your survivors have had time to adjust and create a new society, think about what rules they live by and if there is any kind of hierarchy they follow.

#Step 4: Have fun!

Now you can go wild. Throw in as much conflict as you want and force your characters to make some hard decisions. This kind of story is all about survival and growth. Some people will rise to the challenge while others will descend into the mire. It’s all up to you.

Conclusion

This is one of the most popular science fiction genres because of the amount of scope it offers to writers. The story can be one that offers hope for the survival of humanity, or it can be an exploration of the best and worst of human nature. Readers can follow initially weak characters as they grow and develop into people who can survive the harshest of environments.

[notesfromtheheart]

Tropes are literary tools that can help you create a story people will love. But when they are used too many times, they can become predictable and stale. You need to keep your tropes fresh so your readers don’t feel bored and lose their appetite for your books.

[notesfromtheheart]

Sometimes, once is just not enough. Use the powerful rule of three to grab readers' attention and keep them engaged in your story.

[notesfromtheheart]

Unfortunately, sometimes inspiration leaves us. If that happens to you, consider writing a retelling of one of your favorite stories.

[notesfromtheheart]

If you love creating characters and writing about relationship dynamics, then the Found Family trope is perfect for you.

[notesfromtheheart]

Sometimes, you create characters that really deserve to share their point of view. Make their voices distinct and let them have their say.

[notesfromtheheart]

Love this blog. Really helpful if you are trying to find a hero for your novel. My favorite is the anti-hero.

[notesfromtheheart]

Protagonists need flaws

When you’re planning your protagonist, don’t forget their negative traits. Flawed characters remain in our memories longer than perfect ones.

[notesfromtheheart]

List of Questions to Ask Yourself When a Story Feels Stuck

Basic Human Needs

When was the last time you took a break?

Are you mentally/emotionally/physically exhausted?

Have you recently had anything substantial to eat/drink?

Basic Writer Needs

How are you feeling? Examine any negatives. Self-doubt, jealousy, anxiety, etc. Why are you feeling this way? Did something prompt it? Reach out to others if you can.

Have you been writing in the same place for too long? Using the same playlist? Try changing it up.

When was the last time you took in creative media from someone else? Books, podcasts, movies, tv? Seek out stories other than your own. 

Are you falling into the trap of expecting perfection when there is no such thing?

Focus on the trouble spot

Do you know where you want your characters to be after the part you’re stuck on? 

Can something new be introduced? A ticking time bomb, a surprise attack, a betrayal, a murder, a confession? 

Do you like the constraints you’ve set up for yourself? That is, the setting, the characters present, the ‘props’ at their disposal? Anything you can add, change, or take away?

Reread the last couple of scenes before your trouble spot. Is there a way you could rewrite/detour the trajectory in a new, not stuck direction? 

The bigger picture

Do you know how the story ends?

Does your outline need to change? Would it help you to make an outline?

How do you want the events of this ‘stuck scene’ to affect the rest of the plot? Is there a different way to create the same results?

Are the characters acting in a way that doesn’t work with the plot? Which are you willing to change, the characters or the plot?

[notesfromtheheart]

I love this!

Your character is driven by 3 emotional motives. See? I even made a graphic.

(I’m proud of the graphic, too.)

Mood: The immediate (and temporary) emotions of your character. A feeling of joy after kissing the girl they like; frustration after a busy day working a summer job at the fair; despair after somebody eats the last Oreo.

Situation: The plot and relationship contexts of your character. The apprehension they feel with a friend in the weeks following a nasty fight; the nerves felt in the week leading up to their big championship game; the frustration and boredom of being grounded after crashing the family car into the county creek.

Struggle: The core, deepfelt pain of your character, which often emerges from their background. The fear of failure from overly demanding parents; a deep longing for a family they never knew; a desperate need to be accepted after spending years as an outcast.

How these 3 motives influence your character

The above emotional motives all play an important role in driving your character’s actions, muddying or even overriding their more logical intentions — just as it happens to the rest of us. (We’re all human, after all.)

That being said, while your character’s mood and situation will shift throughout the story, their struggle will remain constant: their true north, emotionally speaking. This struggle will always be at the root of their actions, even as you swap in new situations and moods.

Take Bethany as an example

Let’s say your character’s name is Bethany, and her struggle is this: a deep fear of failure, stemming from her parents’ impossible academic expectations, which conflicts with her own desire to finally experience the life she sees passing her by.

Her actions, while primarily driven by that struggle, are going to vary quite a bit depending on her situation and mood. For example, if it’s the night before a big test, she might blow off a friend’s invitation to a party so she can study.

But if the party is a week before the big test, and she finds a handwritten invitation in her notebook from Emma (the girl on the lacrosse team she has a crush on), Bethany might act differently. Maybe she feels a lightness and warmth in her cheeks as she reads Emma’s note. Maybe she puts those textbooks away, and maybe, just maybe, she sneaks out the window and goes to the party.

But if Bethany finds the note after her parents just chewed her out for being ungrateful and not studying hard enough? Maybe Bethany doesn’t go to the party. Instead, maybe she reads Emma’s note, trembles, then rips it in two, knowing she can’t disappoint her parents like that. Then she spends the rest of the evening studying. Alone.

Mood. Situation. Struggle.

All three kinds of emotional motives are important. Your character’s struggle is the anchor, but their mood and situation are the ever-shifting masks you use to express their struggle in fresh ways. 

And by the end of the story, hopefully your character will overcome their struggle — putting away the textbooks, sneaking out the window, and meeting their crush at a party. Maybe even having their first kiss.

Whatever the character, and whatever their struggle, I’m sure you’ll do great. 

So good luck! And good writing.

— — —

Your stories are worth telling. For tips on how to craft meaning, build character-driven plots, and grow as a writer, follow my blog.

[notesfromtheheart]

This is so true. If you don’t write anything, you’ll hold yourself back from growing. It’s very helpful to look back on your old writing and try to pick out what works and what doesn’t. That shows you’ve changed as a writer and are able to spot things that you wouldn’t have noticed before. 

Got any advice for new writers?

I do!

-Allow yourself to write badly. I know that sounds bad, but it's how you grow. Sorry to burst your bubble, but if you don't know how to write at first it's not going to turn out that well. And that's okay. Honestly I wish I had someone to tell me this because I learned the hard way.

-Don't rush the process. It's not all about notes you know. Sure, they are nice to get, but don't write simply for the attention. The bad news is you probably won't get that many in the beginning stage. And that's okay. Again, don't rely on them. If you are satisfied with something, rely on that instead.

-Get someone to beta read for you. Trust me this helps a ton. Especially if you know someone who has written for a long time. If it weren't for my friend who read over all of my stuff, I wouldn't be where I am. (I'm still learning myself so I can't say much though lol) Sites such as Grammarly or Scribens help a lot too.

-Challenge yourself, leave that comfort zone. Trust me I was terrified to leave that small circle too, but I do not regret it at all. It's another thing that allows you to grow and learn about your style. However don't rush to leave it, take your time. When you're ready to leave it, then you'll know.

-Don't be afraid to reach out to other writers on here! It's okay to ask for a shoutout, especially if your blog is a bit small. Before you ask "Aren't shoutouts meant for more followers?" ...Well yes and no. For writers to have their writing actually seen, followers are necessary. Just because you ask for a shoutout doesn't automatically mean you only want followers.

-READ BOOKS. Oh my gosh it's so helpful to read books. You can learn from an author's style, which can help you learn your own. Trust me, this method works.

[notesfromtheheart]

Things to Consider when Creating a Magic System

What are the drawbacks of using magic? Does it have mental, physical, and/or emotional consequences for the user?

What tools are needed to harness magic? Wands? Spells? Magical artifacts?

How do people learn magic? Instinct? In school? From family members?

Can everyone use magic or are only certain people capable of using it?

Is the capability to use magic hereditary? What about different ways of using magic (transformation powers, teleportation, etc.)?

What is impossible for magic to do?

How long does it take to master different magical skills?

Can creatures other than humans learn magic? Are different creatures better at using different kinds of magic?

Does it require spells to be spoken, written, or thought?

Is it possible for someone to lose their magical abilities?

How do characters’ emotions affect their ability to use magic? Do their emotions affect the magic’s intensity or controllability? 

How does the strength of a person’s magical abilities change as they age?

Can people normally perform any kind of magic or can they only perform things that fall under their specialty? Are their exceptions?

What rules restrict magic use in society?

How do people’s magical abilities impact their career prospects?

What kinds of magic are the most feared or seen as the most powerful? Which are seen as mere jokes?

How do people use magic to help with everyday tasks?

Can magical energy be stored for later use?

What objects or other factors can amplify someone’s magical powers?

When do magical abilities initially manifest? From birth? At a certain age? Under certain conditions?

What is the first spell a character is likely to learn?

What happens if a spell is performed incorrectly? Nothing at all? A weaker version of the intended results? Pain?

Can different spell casting methods be used to obtain the same result? What are their advantages and disadvantages?

[notesfromtheheart]

Don’t waste valuable real estate in your speech bubbles. Make every word count.

[notesfromtheheart]

How to Write Dialogue for a Webtoon

You’ve finished your webtoon and are ready to send it out to the world. Before doing anything else, you need to check whether your dialogue is doing its job.

Make Every Word Count

Unlike dialogue in books, webtoons and comics have limited space so every word has to earn its right to be there. When you write your script, keep an open mind when it comes to your dialogue. You might find that it won't fit in the space that you have set aside for it. Be prepared to cut and even rewrite. Here are some tips to help you so that hopefully, you won't have to change too much.

1. Setting and genre

When and where your story takes place and the genre, have some effect on how your characters speak. If your story is set in 18th century England, your characters probably won’t use words like, "yeah, sup, OK, gonna," and they might adopt a more formal manner of speaking. In the webtoon, My Dear Cold-blooded King by Lifelight, the characters speak formally and poetically. This helps readers identify the historical and romantic genre that the writer uses.

2. Purpose

Think about why your characters are speaking. If it’s to talk about the weather, how well they slept or what they want to eat for breakfast, then it’s probably not going to add anything to the story and should be cut. Your dialogue should be used to:

Advance the story

Reveal character

Give information

Add mood or tone

Space in webtoons is limited and readers can scroll very fast on their phones, so if your dialogue isn’t doing one of the above, it’s taking up valuable real estate.

3. Voice

Each character should have their own voice. When you start planning your characters' profiles, think about how they talk. Do they use a particular slang word or are they overly polite? Try to make every person distinct not just in the way they look, but also in the way they use language. In this episode of Stephen McCranie's Space Boy, you'll see how speech helps to differentiate the characters even though they are similar in age and profession.

4. Variety

If your sentences are all the same length, it can become monotonous to read. Intersperse short simple sentences with longer complex ones. You can also have the occasional single word. Remember, your art is also telling the story so your characters probably don’t need to say too much. Sometimes, less is more.

But there are times when your character needs to have a lot of dialogue in one panel and this can create problems. Not only can it be hard to read and visually unappealing but it can also cover the artwork you’ve spent hours on. There are a couple of solutions to this issue. One is splitting the text into adjoining bubbles. The other is placing the speech bubble outside the panel.  

5. Bubbles

Your speech bubbles don’t have to follow the traditional balloon shape. You can create containers in different colors, with jagged or square edges, and rather than a solid color, you can make them translucent. Your dialogue and speech bubbles can add an extra visual element to the story and this will help keep readers' attention.

Not everything needs to go in a speech bubble. Inner thoughts, background speech, sound effects, and exclamations can look striking when they're placed outside of a bubble. You can even place them between panels on a dark background. 

6. Fonts

Your fonts should be fairly consistent. Comic Sans and Anime Ace are both very popular but there are lots of other great free fonts you can find online. You might want to try writing your own lettering but this takes a lot of time. Most writers stick to uppercase lettering because it looks clean and is easy to read but this isn't a hard and fast rule.

Conclusion

Dialogue is one of the most important parts of your comic, that's why you should take your time developing it as much as possible. Don't be afraid to cut what doesn't work and enjoy being creative with your speech bubbles and text.

Devil Number 4

Bastard

Space Boy

Your Letter

Winter Woods

Annarasumanara

[notesfromtheheart]

Is this not how it is?