#booksellers just want to have fun

[wellesleybooks]

A group of current and former Wellesley Books booksellers got together at Brookline Booksmith’s event with Casey McQuiston to celebrate her new Young Adult novel I Kissed Shara Wheeler - because booksellers! 

[dredgesnails]

stardew valley au where joel and skizz are new residents to pelican town (hermit town?). joel just inherited a large farm from his late grandfather and skizz is moving in with his old friend after reconnecting with him and wanting a fresh start. and the townspeople are like, kinda weird.

bdubs is fine enough - he’s a sweet man with a fun personality and he’s the local builder, but it’s almost frightening how fast he constructs new buildings when joel needs them. pearl, their resident postmaster, is also pretty normal other than the fact that skizz never seems to be awake early enough to catch her delivering mail. scar is lovely but he’s never available when joel wants another chicken. the mayor, xisuma, is pleasant too, if a little eccentric at times, but he doesn’t really seem to do much in town.

for the most part, skizz is settling in well. he’s moved in with impulse, who runs the local blacksmith in town, and he gets along well with most of the local townspeople. he’s started spending his evenings at the local saloon listening to ren regale the patrons with fantastical tales while he and stress serve up food and drinks, and he finds himself growing close with cleo, the local sculptor. he even gets a new wardrobe from hypno free of charge, and sometimes helps cub out with his totally scientific studies and creations.

skizz also joins forces with beef (who helps to supply the local general store that xb and keralis run) in terrorising the local manager of the corporate chain grocery store that no one likes. doc is a terrible manager but would make a fun supervillain (according to joe hills, the bookseller who appears once in a blue moon but seems to know doc more than anyone in town).

joel, on the other hand, seems to only be interacting with the strangest residents in town. he discovers the adventurer’s guild after only a couple weeks, and is only somewhat irritated by iskall’s refusal to pronounce his name correctly. false promises to give him prizes if he can kill enough monsters, which is not something joel had expected to be doing when he pictured farm life, but here he is. he stumbles upon a travelling cart one day, and the man inside insists he’s a knight from a faraway land, that he risked his life to make it all the way here to sell his wares. it’s all stuff joel can get cheaper elsewhere.

he’s pretty sure the local doctor has no real medical training, but then he passes out while fighting monsters and he wakes up completely fine, so zedaph probably knows what he’s doing. maybe. when joel isn’t passing out he sometimes makes trips to the library-slash-museum, which is probably almost completely empty because mumbo, who begs joel for anything to display, looks like he’s never fought a duggie in his life. eventually mumbo gives joel a key to the sewers, which are way cooler than they have any right to be, and that’s where he finds jevin’s secret sewer shop. jevin lives in town. he just also has a shop hidden underground. joel has stopped asking questions by now.

and then there are the three who live by the beach. etho spends most of his time tinkering around the fishing hut or hovering around bdubs, but sometimes he drives the bus to the desert. only sometimes. there might be something under his mask. no one knows for sure. gem runs the fish shop most days and she claims she’s a sailor, but joel has never seen a single working boat around despite all the ocean. she can also hold her breath underwater for an uncannily long amount of time, like, scarily so, and will sometimes disappear for a few days and return with an abundance of treasures. joel has never seen her leave by boat. grian fishes a lot and runs the shop when gem can’t, and he sometimes talks as though the sea can speak to him. skizz has caught him staring into space for extended periods of time. one time he waded into the water and just stood there, head down, muttering to himself.

apparently there used to be a lighthouse but “it’s gone now”. gem says if they ask bdubs nicely enough maybe they can build another one, but she and grian are banned from build requests after the last incident with their pet snails (joel has never seen the snails, but scar complains about them enough to convince him they’re real).

there also might be some kind of wizard who lives in the creepy tower in the woods. skizz has heard he’s the one who helps maintain the power in the valley, and joel’s convinced he hallucinated seeing him once until he recieves a letter from the wizard himself, and visits him only to find that the strange fire-creature he saw that one time was, in fact, tango, who is human for the most part, he just sets himself on fire sometimes.

[fakemichaelsheen]

-the bookshop-

crowley: *carrying books*

maggie: *enters* um, hello?

crowley, tosses the books on the floor and quickly grabs his glasses, fumbling to shove them on: maggie! um, 'fraid aziraphale isn't here at the moment. in edinburgh. for business. he'll be back in a few days

maggie: oh, er, it was you I wanted to speak to, actually...

crowley, hesitates: oh I don't...

maggie: it's just, you seem to understand what it feels like to be so pathetically in love with someone who only sees you as a friend

crowley, offended, pointing: hey I'm not pathetically in love! it's not like that

maggie, looking around: you're minding a bookshop for him

crowley: ...

crowley, kicks a chair out for her: sit

-a few days later-

aziraphale, enters the bookshop, cheerful: I'm back and I've-

maggie, drunk: so, like, you're together but not together?

crowley, also drunk, shrugs: dunno anymore. 'our bosses wouldn't like it'. that's his go-to excuse for anything

maggie, thinking: I'm surprised they take it that seriously. I mean, who cares if a bookseller from soho wants to date a- what do you do again?

aziraphale, hands on his hips: having fun, are we?

crowley: *stares at him*

crowley, whispering loudly: maggie, don't tell aziraphale but the most beautiful thing I've ever seen has just walked into the shop

maggie, groans, her head on the table: doubt it, she's working *passes out*

aziraphale: ...

[aziraphales-library]

Hi!!!!! I just got into good omens and this hyperfixation is going ABSOLUTELY BONKERS. Ive been reading so many fics from yall thank u ❤️❤️ i was wondering if u could req some lesbian/wlw aziraphale ? :P

Hello! You can check out our #ineffable wives tag for fics already recommended. Here are some more to add...

wanna witness your eyes looking by izzyhandsgf (E)

"How could someone so unbearably holy commit such sins in the most beautiful way?" ----------------------------- Or, Aziraphale and Crowley meet in the 1930s, fem-presenting, and both are slightly overcome by their feelings for one another...

I stretch out the time (and now I know why) by Nix_Nihili (T)

I should pull back, Crowley thought. She should pull back because she was the one with the fork in her mouth that Aziraphale was holding. Aziraphale wouldn’t pull back because that would be rude so Crowley had to pull back. Pull back. Crowley swallowed the cake down and pushed herself away because that was what she did. Push and pull. Six thousand years of pushing and pulling. God, did it ever end? - Crowley finds Aziraphale on a fateful night for the first time since 1941. They haven't seen each other since but something has changed in the past two decades. or Something definitely happened between 1941 and 1967 to warrant the "You go too fast for me, Crowley" comment.

“I thought that I was getting better.” | Setbacks by die_traumerei (T)

Aziraphale is already having a rough time of it, when her new neighbour Crowley's cats trip her up and the inevitable happens. She and Crowley becomes friends, though, and more than friends -- and a good thing too, as Aziraphale faces one setback after another.

Herefordshire Pomona by Eigon (T)

I was reading Bleating Hearts by HKBlack (which is excellent, btw) and also thinking about the advice to "write what you know", so I started daydreaming about how the goat farmer meets literature professor scenario would transfer to Herefordshire. Aziraphale was easy - a bookseller in Hay-on-Wye, the Town of Books. I've put her shop where Green Ink Books is now, which used to be a multi-level shop, with a flat above. Crowley - well, that became obvious pretty quickly, too - instead of goats, apples. Herefordshire has a lot of old orchards, and I used to know a lady from the Marcher Apple Network, which identifies old apple varieties, and works to preserve them. And I wanted it to be Ineffable Wives, because I had so much fun writing the Old West story Secret Friendship (which is a boring name, but I couldn't think up a better one).

strange workings of fate by skyflyerr (E)

Aziraphale sat down gently and let her feet that didn’t quite touch the floor dangle from the stool. “Would you spare enough time for one glass with me?” Aziraphale watched her turn and look a little taken aback at the notion of her being here. Maybe this was a bad idea. “With you, darling? I can make the time. I’m a woman of my word, if anything.” *** Crowley is a bartender and Aziraphale is still figuring out the bookshop. Both are utterly lonely and winter is coming quick. Maybe they could keep each other warm.

Dance Me to the End of Love by Black_Bentley (E)

In general, Crowley would very much like to see the ones who hurt her grovelling at her feet, experiencing her pain and fear. But Lucifer’s plan is... well, it far surpasses what she considers ‘getting a revenge’ falling wildly into wreaking complete havoc and destroying innocent lives as collateral damage. Most importantly, that puts her dearest friend in danger. And she is to bring the proverbial cuckoo into the Celestial nest. OR: Aziraphale is a ballet dancer for the British Celestial Ballet Company, which grooms its perfect 'angels' from childhood Crowley used to dance for them too, but after they literally kicked her out, she took on pole-dancing for the Nine Circles of Hell Nightclub Its owner, who used to be the Celestial Ballet's star, is ready to take his revenge on the company's Director (referred to by its 'angels' as Mother) and chooses Crowley to enact it by forcing her to deal a brand new drug among the ballet dancers.

- Mod D

[barrysheoghan]

okay i was on the train zoning out when this scenario came up in my mind....... toxic!felix enthusiasts where you all at???

(sorry for any mistakes or incoherences, feel free to correct anything that seems wrong)

— cattonquick modern au where felix is very jealous and violent

ollie works at some bookselling place even though felix told him he didnt have to cause he's rich and he can provide for his boyfie yk. but ollie wants to do something productive during the day and he loves books so.... anyway, one night he asks felix if he can come pick him up since his shift ends quite late and felix obviously agrees cause he gets to show off his big expensive car and impress ollie's colleagues (of whom hes been jealous ever since ollie started mentioning having fun at work etc etc, especially of that one guy with whom ollie chats sometimes via text. yes, he regularly looks into ollie's phone, so what? thats what couples do.).

its 9:30pm, felix is right on time, parked in front of ollie's workplace, waiting. minutes go by and soon its 10pm and still no ollie in sight. they should have been home by now. one thing about felix : he hates waiting. and ollie's supposed to know that. he turns up the volume of the music he was listening to to match the anger that's quickly building up in his chest, making him sigh repeatedly, tap on the wheel and furiously chew on his nails. he also wants to make his presence known and hopes the loud noise will somehow make ollie get out faster.

what is he doing, for fuck sake. he grabs his phone and opens up his text message app, immediately landing on him and ollie's convo. he never replies to anyone else's texts so...

"Its been 30mins. Where are you?"

about five minutes later, the door opens up and ollie is finally out. felix stares, assuming he's going to rush to his car and apologize for being so late but, no, he lingers by the door. in fact, he's holding that door, clearly waiting for someone. soon enough, a silhouette appears and closes the shop after them. ollie stands there the whole time, waiting like a puppy, and felix can't believe his fucking eyes. he's literally fuming, his brain making up the worst scenarios of why ollie could possibly be late. and of course it involves him getting railed by his coworker.

ollie finally notices felix's car and jogs towards it. he opens up the passenger door and frowns at the loud music. felix thinks he's gonna get in quickly but he doesn't seem to want to leave. he slowly turns down the volume, not looking at ollie for one sec.

"hey! sorry im late! we were just gonna go to that one bar down the street. wanna come?" ollie says, a smile on his face, completely clueless.

"get in the fucking car." felix's voice is at its lowest pitch. he's trying to stay in control but his hands, so tightly clenched around the wheel, show that he's struggling to keep it together.

"what.... whats going on, felix?"

"don't make me say it again."

ollie gulps. felix is mad, and it doesn't look like one of his usual tantrums. he knows he should keep it low and do as he's told but he's had such a great day and he just doesn't want it to end! maybe he can get felix to calm down? he softens his tone.

"come on babe... let's go out! we'll have fun!" he leans in to put his hand on felix's arm, gently squeezing it.

the next second, he's forced into the car. felix's hand cups his cheeks, but not in a cute loving way. he's practically crushing ollie's jaw between his fingers. ollie's glasses have fallen somewhere on the car's floor and he can feel panic take over him. panic and........ some other tickling sensation he's quite fond of.

"you're hurting me-"

"shut the fuck up, ollie. shut your stupid fucking mouth. I've been waiting for your useless ass for half an hour and you think you can just come up to me all bubbly and nice and ask if i want to go have fun with you and some bitch who clearly wants to fuck you?" he's now yelling right in his face. "you wanna have fun? we'll have fun. just the two of us. at home."

he lets go of his face and reaches to close the door on ollie's side. his coworker is just standing there and watching them, looking really concerned.

"and don't you dare look at him. i'll break your nose and slaughter him." felix threatens, turning on the engine.

on the ride back home, ollie tries to make himself as small as possible, keeping his head down, shoulders in and, of course, squeezing his legs very, very tight. he has a vague idea of what's waiting for him once they get home and, boy, it's exciting.

the next day, he comes to work to hand in his resignation letter.

[essektheylyss]

Ten Books to Know Me

@aboxthecolourofheartache reblogged her version of this from ages ago but she'd tagged whoever saw it and it sounds very fun and difficult so let's do it!

Tris's Book by Tamora Pierce - I had a habit as a kid of always picking up the second book in a series, so this was the first of Tamora Pierce's books I read. Emelan had an effect on me on a microcosmic level, I'm pretty sure. Anyway, the protag of a whole world of mine is named Tris now, in homage to Trisana Chandler, so. the particulate is still kicking around in my brain.

Ptolemy's Gate by Jonathan Stroud - Another childhood FAVE. This series as a whole started fucking with what I understood a book to be. Also the ending of it has a vice grip on me to this day, and it is probably why so much of my writing is very vibey and favors ambiguous endings.

Cyrano de Bergerac - This was the first assigned reading I had in high school that I utterly LOVED. I love this play so much, I love the tragedy, I love the quiet sorrow. This was also the first proper tragedy that I remember really loving.

The Opposite of Loneliness by Marina Keegan - This is a book of poetry and short stories by a Yale creative writing student who was killed in a car crash very soon after graduating, compiled by her professor after her death. I read it repeatedly in college; it is really quite lovely.

Underland by Robert Macfarlane - Apologies to Box who wanted reading recommendations, but she is who introduced me to this book if I remember correctly, and I have spent the two years since I read it habitually picking up Macfarlane's writing without even realizing it. Absolutely phenomenal writing.

Staying with the Trouble by Donna Haraway - @ professor Haraway I know you are a semi-retired scholar and also in the most expensive college town on earth but are you looking for research assistants cuz uh

The Mushroom at the End of the World by Anna Tsing - I actually read both Staying with the Trouble and this book on the same weekend in the start of 2021. I compromised on not including Entangled Life by Merlin Sheldrake, which I felt was very cliche of me, by including this book, which had as much of an effect. Read those three and Pantheologies by Mary-Jane Rubenstein and you will have some semblance of an idea of what the spiritual portion of my brain looks like. In the interest of not writing the same blurb four times I left the latter two off but know they make up a little microcosm of 'you could make a religion out of this' for me.

The Cat Who Saved Books by Sosuke Natskukawa - A Japanese novel about a cat who appears to a teenager after the death of his grandfather, a bookseller. I read it when I was very frustrated with trying to read contemporary fiction and it was a bright spot among that. (I am still very frustrated with the state of contemporary fiction and this book remains a light.)

Braiding Sweetgrass by Robin Wall Kimmerer - Okay I read this one most recently out of this list (over the summer) but it had been on my list for a long time and it really does live up to the hype because it is just so luminous in every sense.

Annihilation by Jeff Vandermeer - I had to put this one last simply because HOLY HELL. Rewired my brain. This is the goal I aspire to, this is the dream I dream, this is the highest peak among the mountain range of writing aspirations that I climb. If I can one day write anything even akin to the Southern Reach trilogy I will be ready to die, but that is an utterly unachievable goal so God's just gonna have to let me live forever, I guess.

[steadfastpetrel]

Worth Existing (or, Frank Webster Gives Keegan An Existential Crisis)

been busy this semester, but have a reflection comic I got away with making for an information history class! it's rambling, but i had some fun digesting my thoughts.

image descriptions from alt: The title page contains the title “Worth Existing, or: Frank Webster gives Keegan an existential crisis.” In front of a mirror, Keegan stands with their back facing the viewer as a reflection of them as a librarian looks back worriedly.

Page 1 features a sequential cartoonish sequence of Keegan’s head rolling and landing on his shoulders. He says: “Finding out how we’ve come to view our information society has been a ride. My pea brain can only fit so much, ideas only roll vaguely when I try to talk about what I’ve learned, but I’m at least seeing things from new eyes. More specifically…”

Dialogue continues on Page 2, 3 panels sequentially zoom in on a horrified Keegan. She says, “I’m seeing how much Frank Webster hates libraries.” The quote from the book she’s reading is as follows: “Moreover, library staff have benefited disproportionately from the establishment of these services, being provided with secure and pleasant (if not lavishly remunerated) employment. Why, one might ask, does the public purse need to support the likes of Agatha Christie and Jeremy Clarkson when their books are readily available for cheap purchase and their literary merit, still more their intellectual and uplifting qualities, are at best of minor significance. Such observations raise questions regarding the efficacy with which public libraries actually operate. It follows that a driving force behind their establishment and continued state support, the appeal to mitigate the inequalities of capitalism in the informational domain, seems to have been less than fully effective.” End quote.

Page 3 has Keegan looking with hands clasped, paused. They then look at the camera, asking “Did the dude just insult Agatha Christie?” The bottom has them lying on their bed, looking up at the ceiling in thought, saying “There’s something that just bugged me ever since I read that chapter. I never really understood the theory we talked about in class, it’s a skill I’m working on, but the weird beef he has with libraries at least gave me a vibe on ‘Hayekian Neoliberalism.’ And also how weird it is that capitalism got so far into deciding what’s worth existing. If the thing I wanna do with my life is worth existing.”

On Page 4, Keegan walks with his crutches as the dialogue continues. “I could go on for hours about all that sucks with Webster’s opinions! Of course I want the staff to ‘disproportionately’ benefit from their work. Unlike books, people have to eat! What’s ironic about Webster’s whole spiel about the efficacy of libraries is that he provides several examples of figures from his area heavily aided by libraries. Panels feature novelist John Banville, author Jeannette Winterson, and sociologist Richard Hoggart. Keegan continues and says, “And yet he goes on to be like…”

Page 5, a sock puppet speaks angrily: “People are getting free books and are hurting the poor bookseller! Libraries are stupid because it doesn’t miraculously fix the inequalities of capitalism!” To the side, the text says “Artist’s exaggeration. Don’t take this seriously.” Bottom panel contains Keegan pointing with her thumb at Frank Webster’s Wikipedia page. She says, “I wouldn’t be so hung up if this was some random guy, but considering this guy is so largely quoted and touted in my field of information sciences? Ouch obviously doesn’t cut how much all that stung.”

Page 6 contains an Asian man with a bun protesting banned books. The next panel contains a white woman with a turtleneck reading in a library as a winter storm brews outside. Keegan off-screen says, “While Webster calls libraries ‘censors of society,’ librarians are fighting vehemently against book bannings! And the way he says that public libraries are ‘captured by the better-off section of society?’ Like what, you’re going to ignore how libraries act as comfortable spaces for folks without housing during harsher months?”

On Page 7 a gavel bangs on a panel. “As if that’s not enough, publishers are suing libraries for distributing e-books, calling them ‘direct economic competitors’ when, if anything, they often support these publishers and their authors by buying multiple copies, hosting events and collaborating with local businesses.” As an example, the comic features a scene of a Black woman in a cardigan talking to a white cashier with a shaved head. She says to them, “I just read this at my library earlier and just needed to get my own copy! Can’t believe it took me this long to discover this author!” A panel below, a pair of hands scoops sand and watches it flow from their fingers. Keegan says, “I don’t know. Even in good company, it sometimes feels like the future is slipping through my fingers.”

Page 8 is a pillar of falling sand. Embedded in it is an Apple pencil, a floating feather, and a book. Keegan narrates, “As an artist and a writer, it’s wondering if I’ll be prioritized over a generative AI that doesn’t have to eat or sleep. As a birder, it’s wondering if the backyard visitors I always see at my feeder will end up as myths and taxidermied specimens. As a librarian, it’s wondering if the institutions I often called home will be felled by the swift axe that the invisible hand holds. It’s a weird feeling of perpetual free fall for a drop that is light years away.”

Page 9, Keegan is holding a book to the sky as they read it. They narrate “Learning is a language I’ve always used to make sense of the thoughts I’ve had swirling in my brain. Finding out ‘information capitalism’ was a thing was like learning about the leash that has pulled at my throat since I entered the schooling system. I am learning because I am not a person, but a tool to be put to a trade. The world around me whispers in my ear…”

“Feel wonder if you must, but don’t linger long enough to turn in something too late.” On page 10, Keegan lies on a grassy field looking up with the book on his chest. He narrates, “I can’t deny that’s a message hard to unhear. As of now, I don’t think I remember much before 2022 other than the grades I got.”

On page 11, a hand wipes a bathroom wall with a sponge. The bottom of the page is filled with floating bubbles. Keegan narrates, “This sounds silly, but I was in tears when I heard about the concept of degrowth this past week. It could’ve been the clorox I was using to clean my bathroom, but the toil of my body and mind must’ve come to some crashing conclusion when I listened past what we were assigned.” The quote goes, They’re essentially making the argument that if we stay on this growth path, the only end to that is, you know, our own extinction. They are not just saying it’s not possible. They’re also saying it’s not desirable. It’s the kind of life that you and I ultimately do not want. We don’t want to drown in just stuff. We want to have a life. We want to have time for each other. We want to have time for creative thinking and art and love and kindness.” The quote ends. It comes from Vox’s Blame Capitalism: Degrowing Pains and is spoken by Dirk Phillipsen.

On page 12, Keegan sits in the bathtub with a few tears. Narration goes, “It was just nice that someone smarter than me in this topic wants the same things I do. Time to live and space to breathe. I know it’s not a perfect solution, but it’s one of those moments that culminate to tears when you’re having a rough week. This time, it was the reminder that this doesn’t have to be all there is to it. That there were people echoing my heartfelt belief that the system that tears down those I love doesn’t have to stay.

Page 13. A frog and toad book. “One-sided beef with Frank Webster aside, this unit has bolstered my love for librarianship. As hastily made and rambling this comic went, I realize I feel this strongly because I love this field so much. Against all odds, even as the internet grew to commodify knowledge, libraries adapted to the best of their abilities for their patrons. Why should some British dude make me wonder if libraries will continue to exist? As depressing as learning about capitalism gets, it’s helpful to understand the hand that takes from you. To understand why and how I’ve always been hurt by the systems that be and make sure I can lighten the blow for those who come after. I’ve learned there’s a lot that can come out of being so sad and scared about the future. Sometimes drawing it out (even if you turn in a late assignment) reminds you that there’s still so much ahead. That, and the fact I should probably read Frog and Toad sometime. So, uh, I’m gonna do that now. Bye!"

The references page lists several sources: Frank Webster’s “Theories of the Information Society.” An article by Brewster Kahle called, “The US library system, once the best in the world, faces death by a thousand cuts.” An article by Rachel Kramer Bussel called, “How Libraries Help Authors Boost Book Sales.” And a podcast episode from Vox’s Today Explained hosted by Noel King, titled “Blame Capitalism: Degrowing Pains.” end descriptions.

[the-emeralds-incorrect]

modern au emeralds playing stardew valley (I’m playing sv i love this game I’m almost on year two of my new save that I made after 1.6 came out)

[creative liberties are maybe taken. I’ve never played multiplayer (btw if someone wants to play w me hit me up) so I don’t know what’s different. I’m relying on google searches]

They do the community center, obviously. Fuck Morris and Joja Corp.

Dorcas and Pandora were the first ones to find the game like, a year before 1.6. They have a few saves together, but mainly play on the hilltop farm on one that is in sixth year currently. It’s beautifully decorated, mainly by Dorcas. Dorcas first married Leah, and Pandora first Penny (for the decor, she chose strawberry but heavily debated the forest and moon one as well) and Hazel, before finally they got their shit together and confessing irl and immediately marrying each other.

Dorcas loves fishing and it’s always her first skill mastered fully. She always does that part of community center insanely fast. She also knows all the secret fishing spots that give you presents with decorations for the house.

Pandora’s favourite part is maxing out friendship with everyone, she likes doing tasks. She also loves collecting artifacts. She made the mistake of giving up their first prismatic shard to Gunther before they knew about the desert sword thingy. Dorcas likes both farming and animals, Pandora fucking loves the latter.

When 1.6 comes out and multiplayer up to eight people becomes awailable, they nag Evan, Barty, and Regulus to buy the game and start playing. They choose the meadowlands farm, ofc (“No, we’re not getting wilderness, Barty, Pandora wants chickens from day one!”).

Barty is actually the only one of the boys to have any knowledge how to play beforehand. He spent like a week straight watching YouTubers so he has a decent grasp on the basics of the game. He did not get to the Ginger Island part.

Regulus has the wiki open for the entire time. He also buys the book that shows you prices of things the first time bookseller comes (he saw the event on the calendar, checked what it means, and saved some gold up). He finds out on a solo save that he loves cooking, so they update the house as quickly as possible.

Evan’s very much winging it. He gives random gifts to NPCs and refuses to check wiki to see what they like, just relying on their reaction to see which ones he shouldn’t give them. He remembers Pandora rant about a few of them and makes a point of giving Louis, Pierre, and Clint gifts they hate. His sister finds that hilarious. He’s also the one doing the farming; he doesn’t focus on how much money it will give them, but what Regulus needs in the kitchen.

Evan is also insanely good at Journey of the Praire King. “What the fuck how did you beat it second try.” “What, like it’s hard?” (The only hard/annoying part were the hoards of ogres from stage 1, after he beat that, it was easy. He doesn’t even play these types of games often.)

Barty absolutely loves the Mines and Skull Cavern and is in charge of everything fighting-related. He makes sure they always have enough coal.

I don’t see any of them being interested in minmaxxing it. Weirdly enough, maybe Barty, on like one solo save, but it’s not a priority whatsoever. They’re just here to have fun

[taytjiefourie]

How to Outline a Novel

Hi there, Darlings! I'm excited to dive into the fascinating world of outlining a novel with you today. Don't worry, we won't be here as long as you might think. So, let's get started and have some fun!

Note: this is a longish post and relies on my preferences and experience.

When it comes to outlining your story, you may hear some people insist that the more detail, the better. However, let's be real, we don't want to get bogged down with trivial details like how the trash is being disposed of in our fantasy world, right?

No way, we're all too busy to devote that much time and energy to it! Personally, I have two versions of an outline that I like to use. The first is a basic outline, which works well for stories set in a world similar to our own, or stories that draw from existing myths or legends like Supernatural, Paranormal or Greek Mythology.

The second outline is a bit more detailed, but don't worry, it's not as complicated as some people make it out to be. Since creating a unique Fantasy or Sci-Fi world requires a bit more thought, this outline helps you add in those extra details without overwhelming you. To use it, you'll start with the basic outline, and then add some additional information to create the more detailed version.

In this blog post, I'll be sharing some insights into why certain elements are essential in your outline (for those who love to write but don't know all the 'why's' when it comes to certain things), and how they can make a huge impact on both your writing process and the readers who pick up your book. And don't worry, I've got you covered at the end with a summarized version of each outline - minus all the extra details - so you can simply copy and paste it for your own use.

Without further ado, let's dive in and start with the basics of outlining your novel!

I hope you've got a tiny inkling of what your story might be about - whether it's a character with a vague purpose, an antagonist with an unclear hero, or even just a cool world with no plot in mind yet. Whatever it may be, it's totally okay to start with just a little dot of information. The important thing is that you've got something to work with!

Book Information.

Starting a novel can be a daunting task, but having the right information can make a world of difference. Let's go over the three key aspects you should consider before diving in: Genre, Trope, and Target Audience.

First up is Genre, which is the category or type of book your story fits into. Once you've picked your genre, you can explore the different tropes that are commonly used within it. A trope is a recurring literary device or theme that helps readers understand the story and its themes.

By combining your chosen genre and tropes, you can begin to define your Target Audience. This is the group of readers who are most likely to enjoy your story based on its genre and themes. It's important to remember that you don't have to stick to just one genre or trope, and that exploring multiple options can help you find the perfect combination for your story.

Genre:

Choosing the right genre for a book is super important because it gives readers a sense of what to expect in terms of plot, themes, tone, and style. Think of genres as categories that books fall into based on their subject matter, writing style, and intended audience. For instance, a mystery novel is all about solving a crime or puzzle, while a romance novel is all about lovey-dovey relationships.

Knowing a book's genre can be helpful for readers who are searching for stories that interest them. Plus, it can help publishers and booksellers market and sell books to the right audience. For writers, it's helpful to stick within the conventions of a genre while still adding their own unique perspective.

All in all, genres make life easier for everyone involved in the book world, from writers to readers to publishers. They help us understand the style and content of a book and make communication and engagement between authors and audiences so much smoother!

With so many genres to choose from, it can be overwhelming to decide which one is right for your story. But don't worry, I'm here to help! Let me give you a quick rundown of some of the most popular genres out there and how they can shape your story:

Romance Plot: Focuses on the development of a romantic relationship between two characters. Theme: Love, passion, and relationships. Tone: Emotionally charged, often with elements of humor or drama. Style: Emphasizes character development and emotional depth.

Mystery Plot: Involves a crime or puzzle that needs to be solved. Theme: Crime, justice, and the human psyche. Tone: Suspenseful and atmospheric, often with a dark or gritty tone. Style: Tightly plotted, with clues and red herrings that keep readers guessing.

Science Fiction Plot: Often involves futuristic or speculative elements, such as space travel, aliens, or advanced technology. Theme: Exploration, innovation, and the impact of technology on society. Tone: Can be serious or lighthearted, depending on the focus of the story. Style: Imaginative and creative, with an emphasis on world-building and scientific accuracy.

Fantasy Plot: Often involves a magical or supernatural world, with mythical creatures and/or magical powers. Theme: Good versus evil, heroism, and the power of imagination. Tone: Can be dark or lighthearted, depending on the focus of the story. Style: Richly detailed and descriptive, with an emphasis on world-building and creating a sense of wonder.

Historical Fiction Plot: Set in a specific time period in history, often with real historical figures and events. Theme: The human experience and the impact of history on individuals and society. Tone: Often serious and thought-provoking, with an emphasis on authenticity. Style: Meticulously researched and detailed, with an emphasis on historical accuracy and atmosphere.

Thriller Plot: Typically involves high stakes, danger, and tension, with a focus on action and suspense. Theme: Danger, survival, and morality. Tone: Tense and exciting, with a sense of urgency and danger. Style: Fast-paced and plot-driven, with a focus on action and suspense.

Horror Plot: Focuses on creating a sense of fear, dread, or terror in the reader. Theme: Fear, darkness, and the unknown. Tone: Dark and ominous, with elements of terror and suspense. Style: Often graphic and unsettling, with a focus on atmospheric setting and vivid descriptions of gore or violence.

Young Adult (YA) Plot: Typically features teenage protagonists dealing with coming-of-age issues, such as identity, relationships, and personal growth. Theme: Identity, belonging, and the transition to adulthood. Tone: Often earnest and emotional, with a focus on relatable characters and experiences. Style: Accessible and engaging, with a focus on character development and relatable themes.

Literary Fiction Plot: Emphasizes character development and exploration of ideas, often without a clear plot-driven structure. Theme: Human experience, social issues, and the complexities of life. Tone: Serious and contemplative, with an emphasis on emotional depth and complexity. Style: Often stylistically experimental or unconventional, with a focus on character psychology and introspection.

Comedy Plot: Emphasizes humor and satire, often with a focus on exaggerated characters and situations. Theme: Laughter, joy, and the absurdity of life. Tone: Light and comedic, with an emphasis on humor and wit. Style: Often fast-paced and filled with witty banter and humorous observations.

Western Plot: Set in the American West during the 19th century, often with a focus on cowboys, outlaws, and frontier life. Theme: Courage, survival, and rugged individualism. Tone: Rustic and tough, with an emphasis on adventure and action. Style: Often descriptive and atmospheric, with a focus on the unique landscape and culture of the American West.

Dystopian Plot: Set in a society or world that has become dark, oppressive, or dysfunctional, often as a result of a catastrophic event. Theme: Freedom, rebellion, and the dangers of totalitarianism. Tone: Bleak and pessimistic, with an emphasis on the dangers of conformity and control. Style: Often atmospheric and descriptive, with a focus on world-building and the exploration of dystopian themes.

Sub-Genre:

As a writer, you've probably heard of sub-genres before. They're like categories or subcategories within a broader genre, based on specific themes, settings, plot elements, or writing style. These sub-genres help to further define and categorize works of literature within a broader genre, making it easier for readers to find books that align with their interests.

For example, in the broad genre of science fiction, there are many different sub-genres like cyberpunk, space opera, hard science fiction, and more. Each sub-genre has its own unique characteristics and themes that differentiate it from other types of science fiction. Likewise, in the genre of mystery, there are sub-genres like cozy mysteries, police procedurals, and psychological thrillers, each with its distinct elements and themes.

Romance

Historical romance: These stories are set in the past and often explore themes of social norms and historical events. They can be sweeping epics or more intimate love stories, and the writing style can be more formal or descriptive.

Contemporary romance: Set in the present day, these stories often explore modern relationships, dating, and career aspirations. They can be light and funny or emotional and dramatic, with a more conversational and informal writing style.

Paranormal romance: These stories feature supernatural elements like vampires, werewolves, and witches. They can explore forbidden love, good versus evil, and the challenges of having supernatural abilities. The tone can be dark and moody or romantic and sexy, and the writing style often includes descriptive world-building.

Romantic suspense: Combining romance and suspense, these stories often involve a heroine in danger who is protected by a hero. They can be fast-paced and action-packed, with a tense and dramatic tone and a plot-driven writing style.

Inspirational romance: These stories often explore themes of faith, redemption, and personal growth. They can involve characters overcoming obstacles and finding hope in their beliefs, with an uplifting and hopeful tone and a focus on character development and inner dialogue.

Erotic romance: These stories feature explicit sexual content and explore themes of passion and desire. They can involve characters exploring their sexuality and forming intense emotional connections, with a sensual and steamy tone and a descriptive and graphic writing style.

LGBTQ+ romance: These stories feature same-sex or non-binary relationships and explore themes of identity, acceptance, and overcoming societal norms. They can be heartfelt and emotional, with a writing style that varies depending on the sub-genre (like historical, contemporary, or paranormal).

Western romance: These stories are set in the American West and often involve cowboys, ranchers, and outlaws. They can explore themes of rugged individualism, adventure, and romance, with a rugged and outdoorsy tone and a writing style that includes descriptive landscapes and dialect.

Fantasy romance: These stories combine elements of fantasy and romance and often involve mythical creatures, magic, and epic journeys. They can explore forbidden love, quests, and battles between good and evil, with a sweeping and grand tone and a writing style that includes descriptive world-building.

Multicultural romance: These stories feature characters from diverse cultural backgrounds and explore themes of identity, family, and tradition. They can involve characters navigating cultural differences and forming deep connections, with a sensitive and heartfelt tone and a writing style that varies depending on the sub-genre (like historical or contemporary).

Mystery

Cozy Mystery: Cozy mysteries are often set in small, quaint towns or villages, and feature an amateur sleuth who solves a murder or series of murders. The tone is light and often humorous, with a focus on character and relationships rather than graphic violence or sex.

Police Procedural: Police procedurals focus on the investigation process of a crime, and often feature a professional law enforcement detective as the main character. The plot is driven by the methods used to solve the crime, and the tone is often gritty and realistic.

Hard-Boiled Mystery: Hard-boiled mysteries feature tough, cynical detectives who operate outside of the law to solve crimes. The tone is dark and gritty, with a focus on violence and corruption.

Historical Mystery: Historical mysteries are set in the past and often feature famous historical figures or events as part of the plot. The tone is often atmospheric, with a focus on the historical setting and culture.

Amateur Sleuth: Amateur sleuth mysteries feature a non-professional detective as the main character, such as a journalist, librarian, or chef. The tone is often lighthearted and cozy, with a focus on the amateur detective's unique skills and abilities.

Legal Thriller: Legal thrillers often involve legal proceedings or courtroom drama as part of the plot. The main character is often a lawyer or judge, and the tone is often intense and suspenseful.

Noir: Noir mysteries are characterized by their dark and pessimistic tone, with flawed characters and morally ambiguous situations. The focus is on the psychological aspects of crime, rather than the procedural.

Romantic Suspense: Romantic suspense combines elements of both romance and mystery, with a focus on the relationship between the main characters as well as the suspenseful plot.

Whodunit: Whodunit mysteries are characterized by their focus on the puzzle-like aspect of solving a crime, with a twist ending revealing the identity of the culprit. The tone is often light and playful, with a focus on the clues and red herrings that lead up to the solution.

Science Fiction.

Cyberpunk: This sub-genre typically features a near-future, dystopian setting in which advanced technology has both empowered and oppressed society. The tone is often gritty and dark, with a focus on the impact of technology on human identity.

Space Opera: This sub-genre is characterized by grand-scale adventures and space battles set in a future where humanity has colonized the galaxy. The tone is often adventurous and heroic, with an emphasis on world-building and exploration.

Post-Apocalyptic: This sub-genre is set in a world after a major catastrophe or disaster, and focuses on the struggle for survival and rebuilding of society. The tone is often bleak and pessimistic, with themes of isolation, desperation, and survival.

Alternate History: This sub-genre explores what would happen if key historical events had played out differently, resulting in a different present-day world. The tone and themes can vary widely depending on the point of divergence in history.

Hard Science Fiction: This sub-genre emphasizes scientific accuracy and plausibility in its exploration of speculative concepts and technologies. The tone can vary, but often has a focus on problem-solving and logical deduction.

Time Travel: This sub-genre involves characters traveling through time to alter the course of history or prevent a catastrophic event. The tone can vary widely depending on the consequences of altering history.

Alien Invasion: This sub-genre typically features humans struggling to defend Earth from an alien invasion. The tone is often action-packed and suspenseful, with a focus on survival and overcoming seemingly insurmountable odds.

Steampunk: This sub-genre is set in a world where steam power is the dominant technology, often featuring Victorian-era settings and aesthetics. The tone is often adventurous and fantastical, with an emphasis on creativity and innovation.

Military Science Fiction: This sub-genre typically involves soldiers and military units in futuristic settings, often featuring advanced technology and alien races. The tone is often action-packed and focused on combat and strategy.

Biopunk: This sub-genre explores the implications of biotechnology and genetic engineering, often featuring genetic modification of organisms or humans. The tone can be dark and cautionary, with themes of ethics and control.

Cyberprep: This sub-genre is a hybrid of cyberpunk and preppy fashion, featuring high-tech and high-fashion elements in a futuristic setting. The tone can be lighthearted and satirical, with a focus on fashion and style.

Space Western: This sub-genre combines science fiction and Western themes, often featuring space cowboys and frontier settlements on distant planets. The tone is often adventurous and action-packed, with a focus on individualism and freedom.

Slipstream: This sub-genre blends elements of science fiction with surrealism, often featuring strange or unexplained phenomena. The tone can be dreamlike and ambiguous, with a focus on atmosphere and mood.

New Wave: This sub-genre emerged in the 1960s and 1970s, featuring experimental and avant-garde styles and themes. The tone can be unconventional and challenging, with a focus on literary techniques and subversion of traditional science fiction tropes.

Mundane Science Fiction: This sub-genre emphasizes realism and plausibility in its exploration of near-future technology and societal developments. The tone is often introspective and critical, with a focus on the impact of technology on everyday life.

Fantasy

High Fantasy/Epic Fantasy: This sub-genre is characterized by a richly developed fictional world, often with its own history, geography, and mythology. The plot often centers on a hero's journey or quest to save the world or defeat evil. The tone is often grand and epic, with a focus on magic, destiny, and larger-than-life conflicts.

Urban Fantasy: This sub-genre is set in a contemporary, urban setting, often featuring supernatural elements like vampires, werewolves, and witches. The tone can be dark and gritty, with a focus on action, suspense, and the clash between the supernatural and the mundane.

Historical Fantasy: This sub-genre is set in a historical period, often featuring elements of magic and the supernatural. The tone can be romantic and atmospheric, with a focus on historical accuracy as well as fantastical elements.

Fairy Tale Retellings: This sub-genre reimagines classic fairy tales with new twists and perspectives. The tone can range from whimsical to dark and brooding, with a focus on themes of transformation and the power of storytelling.

Mythic Fantasy: This sub-genre draws on elements of myth and folklore, often featuring gods, goddesses, and other supernatural beings. The tone can be mystical and spiritual, with a focus on themes of destiny, fate, and the search for meaning.

Dark Fantasy: This sub-genre often features supernatural or horror elements, and may have a bleak or nihilistic tone. The plot can involve antiheroes or morally ambiguous characters, and may explore themes of power, corruption, and redemption.

Portal Fantasy: This sub-genre involves characters who travel between different worlds or dimensions, often featuring a contrast between the magical and the mundane. The tone can be adventurous and whimsical, with a focus on exploration and discovery.

Sword and Sorcery: This sub-genre features heroes who are skilled with weapons and magic, often set in a medieval-inspired world. The tone can be action-packed and swashbuckling, with a focus on adventure, combat, and daring exploits.

Comic Fantasy: This sub-genre combines elements of fantasy and humor, often featuring absurd or satirical elements. The tone is often lighthearted and comedic, with a focus on wordplay, satire, and parody.

Paranormal Romance: This sub-genre combines elements of romance and fantasy, often featuring supernatural love interests like vampires or werewolves. The tone can be romantic and steamy, with a focus on passion, desire, and forbidden love.

Steampunk Fantasy: This sub-genre is set in a world where steam power and clockwork technology are the norm. The plot often involves a mix of adventure, science fiction, and fantasy elements. The tone is often gritty and industrial, and the style is characterized by a Victorian aesthetic and the use of intricate machinery.

Contemporary Fantasy: This sub-genre takes place in the present day and features magic and fantastical elements that coexist with the mundane world. The plot often involves characters discovering or coming to terms with their magical abilities. The tone is often lighthearted, and the style is characterized by blending magic and realism.

Magical Realism: This sub-genre blends elements of the fantastical with the ordinary, creating a world where magic is a natural part of everyday life. The plot often explores the intersection between the magical and the real, with characters struggling to make sense of their extraordinary experiences. The tone is often dreamlike, and the style is characterized by richly descriptive prose.

Historical Fiction.

Historical romance: Set in a specific historical period, the plot centers on a romantic relationship between characters. The theme may focus on societal expectations, class differences, or political intrigue. The tone is usually romantic, with elements of drama and tension. The style emphasizes historical accuracy and details, such as costumes, settings, and dialogue.

Alternate history: The plot imagines an alternate version of history, where events unfold differently from what actually happened. The theme may explore the consequences of different choices or highlight how different societies might have evolved. The tone can range from serious to playful, depending on the author's intent. The style often emphasizes world-building, creating a detailed and believable alternate reality.

Historical fantasy: Combining elements of historical fiction and fantasy, this subgenre often involves magical or supernatural elements. The plot may center on a quest or adventure set in a specific historical period, with magical or mythical creatures and events. The theme often explores the intersection of history and fantasy, highlighting how beliefs and legends shape society. The tone can be fantastical or historical, depending on the balance of elements. The style often emphasizes world-building, creating a fully realized alternate reality.

Historical mystery: Set in a specific historical period, the plot centers on a mystery that must be solved by the protagonist. The theme may explore social or political issues of the time, and the tone is often suspenseful and dramatic. The style often emphasizes historical accuracy, highlighting the details of daily life and societal norms of the period.

Historical adventure: The plot centers on a thrilling adventure set in a specific historical period, often involving exploration, battles, or other daring escapades. The theme may explore themes of heroism, duty, or sacrifice, and the tone is often action-packed and exciting. The style emphasizes historical accuracy, highlighting the details of weapons, clothing, and other cultural aspects of the period.

Historical drama: The plot centers on the emotional and personal struggles of characters living in a specific historical period. The theme may explore issues of social justice, morality, or individualism, and the tone is often serious and introspective. The style emphasizes historical accuracy, highlighting the details of the characters' lives and the period's cultural norms.

Biographical historical fiction: The plot is based on the life of a historical figure, often imagining details that are not known or not recorded. The theme may explore the motivations and struggles of the individual or highlight the cultural and political context of the time. The tone can be serious or light-hearted, depending on the focus of the story. The style emphasizes historical accuracy, often using primary sources to create a realistic portrayal of the individual's life and times.

Historical horror: Combining elements of horror and historical fiction, this subgenre often involves supernatural or mystical elements set in a specific historical period. The plot may center on a curse or a haunted location, with the theme often exploring how historical beliefs and legends shape modern fears. The tone is often eerie and unsettling, and the style emphasizes historical accuracy and the use of atmospheric details to create a sense of dread.

Historical romance mystery: This subgenre combines elements of historical romance and historical mystery, often involving a romantic relationship that is threatened or complicated by a mystery or crime. The theme may explore social or political issues of the time, and the tone is often suspenseful and romantic. The style emphasizes historical accuracy, highlighting the details of daily life and societal norms of the period.

War fiction: Set during a specific historical conflict, the plot centers on the experiences of soldiers, civilians, or others affected by the war. The theme may explore issues of sacrifice, duty, and morality, and the tone is often gritty and realistic. The style emphasizes historical accuracy, highlighting the details of weaponry, battles,

Thriller

Psychological thriller - The plot revolves around the mental and emotional states of the characters, often featuring unreliable narrators, unexpected plot twists, and intense psychological tension. Themes may include mental illness, trauma, and the dark side of human nature. The tone is usually suspenseful and ominous.

Crime thriller - These stories focus on a crime, often a murder, and the investigation that follows. The plot typically involves a detective or law enforcement officer trying to solve the crime and bring the perpetrator to justice. Themes may include corruption, justice, and morality. The tone can range from gritty and dark to fast-paced and action-packed.

Spy thriller - The plot involves espionage, secret agents, and international intrigue. The themes may include politics, espionage, and espionage. The tone is usually suspenseful and fast-paced, with high stakes and intense action scenes.

Legal thriller - These stories focus on lawyers and legal proceedings, often involving a courtroom drama. The plot typically involves a lawyer working to uncover the truth and bring justice to a case. Themes may include justice, ethics, and the law. The tone is usually suspenseful and dramatic.

Techno-thriller - This sub-genre combines elements of science fiction and thriller, often featuring technology as a major plot point. The plot typically involves a threat to society or the world that can only be resolved through the use of advanced technology. Themes may include artificial intelligence, cyber warfare, and technological advancement. The tone is usually fast-paced and action-packed.

Action thriller - These stories are heavy on action and may include elements of crime, espionage, or terrorism. The plot typically involves a protagonist fighting against a powerful antagonist or organization. Themes may include heroism, justice, and revenge. The tone is usually fast-paced and full of action scenes.

Historical thriller - The plot is set in a historical period and involves mystery, intrigue, and danger. Themes may include historical events, social issues, and politics. The tone is usually atmospheric and suspenseful.

Disaster thriller - The plot typically involves a natural disaster or catastrophic event, and the characters must fight to survive. Themes may include survival, human nature, and the fragility of society. The tone is usually tense and suspenseful.

Medical thriller - These stories involve medical professionals, diseases, and medical research. The plot typically involves a medical crisis that threatens the lives of many people. Themes may include medical ethics, science, and the nature of life and death. The tone can range from intense and suspenseful to thoughtful and introspective.

Horror thriller - This sub-genre combines elements of horror and thriller, often featuring supernatural or paranormal elements. The plot typically involves a protagonist facing off against a powerful and evil force. Themes may include fear, death, and the supernatural. The tone is usually dark and terrifying.

Horror

Supernatural horror - This sub-genre involves supernatural elements such as ghosts, demons, and witches. The plot typically revolves around an evil presence that haunts or possesses individuals or places. Themes often involve the struggle between good and evil, the afterlife, and the supernatural world. The tone can be eerie, unsettling, or frightening. The style can include vivid descriptions of supernatural events or paranormal activity.

Psychological horror - This sub-genre focuses on the psychological aspects of fear, anxiety, and mental breakdowns. The plot may involve a character's descent into madness, paranoia, or obsession. Themes can explore the limits of the human mind, the duality of human nature, and the fragility of sanity. The tone can be disturbing, disorienting, or unsettling. The style can include introspective narration, unreliable narrators, or surreal imagery.

Slasher horror - This sub-genre involves a serial killer or a group of killers who hunt down and murder their victims. The plot often revolves around a group of people who are trapped or isolated with the killer, such as a group of teenagers in a cabin in the woods. Themes can explore the fear of death, survival instincts, and the consequences of violence. The tone can be intense, gory, or suspenseful. The style can include graphic violence, jump scares, and tense chase scenes.

Gothic horror - This sub-genre is characterized by dark, atmospheric settings, such as abandoned castles, haunted mansions, and ancient ruins. The plot typically involves supernatural or mysterious occurrences, such as curses, ghosts, or ancient evils. Themes can explore the corruption of power, the dangers of obsession, and the struggle between rationality and superstition. The tone can be melancholic, oppressive, or ominous. The style can include ornate language, archaic settings, and romanticized descriptions.

Body horror - This sub-genre focuses on the physical horror of bodily transformation or mutilation. The plot may involve diseases, mutations, or body horror caused by technology. Themes can explore the limits of the human body, the dangers of scientific progress, and the horror of physical transformation. The tone can be grotesque, revolting, or terrifying. The style can include vivid descriptions of bodily horror, visceral imagery, and medical terminology.

Literary Fiction

Historical Literary Fiction: This sub-genre is characterized by a focus on historical events and figures, with an emphasis on the emotions and inner lives of the characters. The plot is often driven by the characters' personal struggles and relationships, rather than by external events. Themes in historical literary fiction often explore the impact of history on the individual and the human condition. The tone can be reflective, nostalgic, and introspective, and the style is often lyrical and descriptive.

Contemporary Literary Fiction: This sub-genre focuses on the present-day world, with a focus on realistic and complex characters and their relationships. The plot often centers around the characters' struggles with personal issues and societal problems, with an emphasis on character development and introspection. Themes can vary widely but often explore the human experience in contemporary society. The tone can be serious, contemplative, or satirical, and the style is often characterized by literary devices such as metaphor, symbolism, and stream of consciousness.

Experimental Literary Fiction: This sub-genre is characterized by an unconventional approach to narrative structure, language, and form. The plot can be non-linear or fragmented, and the themes may be abstract or philosophical. The tone and style can vary widely but often aim to challenge the reader's expectations and push the boundaries of traditional storytelling.

Multi-Cultural Literary Fiction: This sub-genre explores the experiences and perspectives of characters from diverse cultural backgrounds. The plot may focus on the challenges of living between cultures or on the intersection of different cultural identities. Themes often explore issues of identity, belonging, and cultural heritage. The tone can be serious, humorous, or satirical, and the style is often characterized by rich descriptions of cultural traditions and practices.

Metafiction: This sub-genre is characterized by a self-referential approach to storytelling, with the author drawing attention to the construction of the narrative itself. The plot may involve characters who are aware of their existence within a fictional world or who interact with the author. Themes often explore the nature of fiction, reality, and the relationship between author and reader. The tone and style can be playful, ironic, or philosophical.

Psychological Literary Fiction: This sub-genre focuses on the psychological development and inner lives of the characters. The plot may center around the characters' struggles with mental illness, trauma, or personal crises. Themes often explore the nature of the human mind and emotions, and the impact of past experiences on the present. The tone can be introspective, haunting, or disturbing, and the style is often characterized by vivid descriptions of the characters' psychological states.

Postmodern Literary Fiction: This sub-genre is characterized by a skeptical attitude toward grand narratives and an interest in the fragmentation and deconstruction of meaning. The plot may be non-linear or fragmented, and the themes may explore the breakdown of societal norms and values. The tone and style can be playful, ironic, or satirical, and the style often incorporates elements of popular culture and intertextuality.

Comedy

Romantic Comedy: A humorous story focused on a romantic relationship between the main characters. The plot often includes obstacles that the couple must overcome in order to be together. The tone is light-hearted and the style is witty and charming.

Satire: A story that uses humor to criticize social or political issues. The plot often involves exaggerated or absurd situations and characters. The theme is often social commentary or critique of certain practices. The tone can be biting or ironic, and the style is often sharp and clever.

Farce: A comedic story that relies heavily on physical humor, improbable situations, and mistaken identities. The plot is often fast-paced and chaotic, and the tone is over-the-top and exaggerated. The style is often slapstick and absurd.

Parody: A story that imitates the style or conventions of another work in order to make fun of it. The plot is often a tongue-in-cheek version of the original story, with exaggerated or nonsensical elements. The tone can be mocking or affectionate, and the style often mimics the original work.

Dark Comedy: A story that uses humor to address serious or taboo subjects, such as death, disease, or crime. The plot often involves characters in bleak or macabre situations, and the humor is often edgy and uncomfortable. The tone is often ironic or sardonic, and the style can be morbid or irreverent.

Comedy of Manners: A story that satirizes the social behavior and customs of a particular group or class of people. The plot often involves witty banter and subtle social cues, and the humor is often sophisticated and intellectual. The tone is often dry or understated, and the style is elegant and refined.

Comic Fantasy: A story that combines humor with elements of fantasy or science fiction. The plot often involves fantastical or absurd elements, and the humor can be whimsical or silly. The tone is often light-hearted and playful, and the style can be fanciful or imaginative.

Black Comedy: A story that uses humor to explore dark or taboo subjects, such as death, crime, or mental illness. The plot often involves characters in extreme or disturbing situations, and the humor is often irreverent or gallows. The tone can be bleak or nihilistic, and the style is often daring or provocative.

Absurdist Comedy: A story that uses humor to explore the meaninglessness or irrationality of human existence. The plot often involves surreal or absurd situations, and the humor can be nonsensical or absurd. The tone is often detached or alienated, and the style can be experimental or avant-garde.

Western

Classic Western: The plot usually revolves around a conflict between good and evil, often involving cowboys, Native Americans, and lawmen. The themes are typically centered around justice, honor, and self-reliance. The tone is often serious and gritty, and the style is straightforward and unadorned.

Western Romance: The plot revolves around a romantic relationship between two main characters set against the backdrop of the American West. The themes typically involve love, commitment, and the challenges of living in a rugged and unpredictable environment. The tone is often romantic and sentimental, and the style is descriptive and emotionally expressive.

Western Adventure: The plot involves an exciting and dangerous journey or quest undertaken by the main characters, often set in the wilderness or on the frontier. The themes are usually centered around courage, perseverance, and survival. The tone is often action-packed and suspenseful, and the style is fast-paced and visually descriptive.

Weird West: This sub-genre blends elements of Western fiction with supernatural or science-fiction elements, often set in an alternative or fantastical version of the American West. The themes typically involve the clash between the natural and the supernatural, as well as the exploration of the human psyche. The tone is often dark and unsettling, and the style is imaginative and evocative.

Western Noir: This sub-genre features the classic noir elements such as crime, corruption, and moral ambiguity, set in a Western setting. The themes often explore the dark side of human nature, including greed, violence, and betrayal. The tone is typically bleak and cynical, and the style is atmospheric and evocative.

Spaghetti Western: This sub-genre originated in Italy and is characterized by its stylized and exaggerated depictions of violence and action, often set in the American West. The themes typically involve revenge, justice, and survival, and the tone is often highly dramatic and operatic. The style is visually stunning, with striking landscapes, vivid colors, and innovative camera work.

Dystopian

Post-Apocalyptic Dystopia: In this sub-genre, the world as we know it has ended, and society has collapsed. The plot often centers around the characters' struggle for survival in a world where resources are scarce and danger lurks around every corner. Themes include the consequences of environmental disaster, the dangers of unchecked technology, and the importance of community in times of crisis. Tone is often bleak, but there can also be moments of hope and resilience. Style can be gritty and realistic or more imaginative and surreal.

Utopian/Dystopian Hybrid: This sub-genre features a world that appears to be a utopia on the surface but hides a darker side. The plot often revolves around a protagonist who uncovers the dark underbelly of the supposedly perfect society. Themes include the dangers of conformity, the corrupting influence of power, and the importance of individuality. Tone can be both optimistic and pessimistic, with a sense of tension and unease permeating the story. Style can be both realistic and fantastical.

Political Dystopia: In this sub-genre, the world is ruled by an oppressive government or dictator. The plot often revolves around a protagonist or group of protagonists who rebel against the ruling powers. Themes include the dangers of totalitarianism, the importance of personal freedom and democracy, and the corrupting influence of power. Tone can be dark and somber, with a sense of urgency and danger. Style can be both realistic and fantastical.

Technological Dystopia: This sub-genre features a world where technology has become a threat to humanity. The plot often centers around the unintended consequences of technological advancement and the struggle to regain control. Themes include the dangers of artificial intelligence, the loss of privacy, and the importance of human connection. Tone can be both pessimistic and optimistic, with a sense of wonder and awe mixed with fear and uncertainty. Style can be both realistic and fantastical.

Environmental Dystopia: In this sub-genre, the world is suffering from ecological collapse. The plot often centers around the struggle to survive in a world where natural resources are scarce and the environment is toxic. Themes include the consequences of climate change, the importance of sustainable living, and the dangers of greed and short-sightedness. Tone can be both somber and hopeful, with a sense of urgency and the need for action. Style can be both realistic and fantastical.

Medical Dystopia: In this sub-genre, society is threatened by a deadly disease or virus. The plot often revolves around the search for a cure or vaccine and the struggle to contain the outbreak. Themes include the dangers of biological warfare, the importance of medical research and innovation, and the importance of global cooperation in times of crisis. Tone can be both tense and suspenseful, with a sense of urgency and the need for quick action. Style can be both realistic and fantastical.

Cyberpunk: This sub-genre features a dystopian future where technology has become the dominant force in society. The plot often centers around characters who are marginalized or oppressed by the ruling powers and who use technology to fight back. Themes include the dangers of unchecked capitalism, the loss of privacy, and the importance of personal freedom. Tone is often dark and gritty, with a sense of danger and rebellion. Style can be both futuristic and retro.

Steampunk: This sub-genre features a dystopian world where technology has taken a different form, with steam-powered machines and Victorian-era aesthetics. The plot often revolves around characters who are struggling against a corrupt ruling class or using technology to achieve their goals. Themes include the dangers of industrialization, the importance of individuality and creativity, and the need for social reform. Tone can be both

Tropes

Let me break down the importance of tropes in storytelling for you. Tropes are literary or storytelling devices that are commonly used in a specific genre or type of story. They can help readers identify and understand the story's themes, providing them with a sense of familiarity and expectations about the plot and characters.

For instance, in fantasy and adventure stories, the "hero's journey" is a popular trope where the protagonist embarks on a quest, faces challenges, and eventually triumphs over adversity. When used effectively, tropes can create a sense of comfort and connection between the reader and the story, while also allowing authors to explore new ideas and variations on established themes.

Tropes can also be used to subvert or challenge reader expectations, which can create a sense of surprise or intrigue. For example, a romance story that plays with the "enemies to lovers" trope by having the two characters come from opposing sides of a political conflict can create a fresh and unexpected twist on a familiar theme.

Overall, despite sometimes being viewed as cliché or overused, tropes serve an important purpose in storytelling by helping readers engage with and understand the story. Plus, they offer authors a useful framework for exploring new ideas and themes.

Romance

Enemies to Lovers - two characters who start out as adversaries or even enemies, but eventually fall in love.

Friends to Lovers - two characters who have been friends for a long time, but eventually realize their feelings for each other go beyond friendship.

Second Chance Romance - two characters who have a history together, but for various reasons, didn't work out. They get a second chance at love.

Forbidden Love - two characters who are attracted to each other but are prevented from being together due to societal or cultural constraints, such as a workplace romance or a relationship between a boss and an employee.

Fake Relationship - two characters who enter into a fake relationship for various reasons, but eventually develop real feelings for each other.

Love Triangle - two characters who compete for the affection of a third character.

Billionaire Romance - a wealthy character falls in love with someone from a different social class, creating a conflict between money and love.

Small Town Romance - two characters fall in love in a close-knit community or small town setting.

Alpha Hero - a strong, dominant male character who falls in love with a strong, independent female character.

Marriage of Convenience - two characters agree to marry for practical reasons, such as financial stability or immigration purposes, but end up falling in love.

Single Parent Romance - a character falls in love with someone who already has a child, creating a family dynamic.

Time Travel Romance - a character travels through time and falls in love with someone from a different era.

Bodyguard Romance - a character falls in love with their bodyguard, creating a dynamic of danger and protection.

Sports Romance - two characters fall in love in the context of a sports team or competition.

Beauty and the Beast - a physically unattractive character falls in love with someone who sees beyond their appearance.

Amnesia Romance - a character loses their memory and falls in love with someone who helps them regain it.

Opposites Attract - two characters who are very different fall in love, creating a dynamic of contrast.

Office Romance - two characters fall in love in the context of a workplace or office setting.

Vacation Romance - two characters fall in love while on vacation, creating a dynamic of escape and adventure.

Royalty Romance - a character falls in love with someone from a royal or aristocratic family, creating a conflict between love and social status.

Mystery

Whodunit - the main focus of the story is to discover who committed a crime.

Detective Protagonist - a detective or investigator is the main character, who solves the mystery.

Amateur Sleuth - a non-professional character who is drawn into the mystery and works to solve it.

Closed Circle - a group of people is trapped in a confined space with a murderer, forcing them to solve the mystery before they become the next victim.

Cozy Mystery - a lighthearted and humorous mystery featuring an amateur sleuth in a small town setting.

Police Procedural - a detailed look at the inner workings of a police investigation, from collecting evidence to solving the crime.

Locked Room Mystery - a murder occurs in a room that appears to be locked from the inside, leaving investigators to solve how the killer could have escaped.

Serial Killer - a story centered around a killer who has committed multiple murders and is being pursued by law enforcement.

Noir - a dark and gritty mystery with a bleak outlook, often featuring an anti-hero protagonist.

Hard-boiled - similar to noir, featuring a tough, cynical protagonist who operates outside the law to solve the mystery.

Amateur Detective Team - a group of amateur sleuths work together to solve the mystery.

Red Herring - a misleading clue or character that is intended to distract the reader and throw them off the scent of the real culprit.

Femme Fatale - a mysterious and seductive woman who often plays a central role in the mystery.

Plant - a seemingly innocuous detail or character that is later revealed to be a crucial piece of evidence.

MacGuffin - an object or concept that drives the plot, but ultimately has little importance in the resolution of the mystery.

Culprit POV - the story is told from the perspective of the killer or the criminal, creating a unique twist on the traditional mystery formula.

Protagonist Framed - the main character is framed for a crime they did not commit, forcing them to clear their name and solve the mystery.

Covert Ops - a mystery that involves espionage or intelligence gathering.

Unreliable Narrator - the story is told from the perspective of a character who may not be telling the truth, creating uncertainty and confusion for the reader.

Supernatural Mystery - a mystery that involves supernatural or paranormal elements, such as ghosts, werewolves, or vampires.

Science Fiction

Space Opera - a story that takes place in a vast and complex universe with epic battles and larger-than-life characters.

Time Travel - the ability to travel through time, either to the past or the future.

Alien Invasion - a story that revolves around an extraterrestrial invasion of Earth.

Post-Apocalyptic - a story that takes place after a catastrophic event has destroyed civilization as we know it.

Cyberpunk - a subgenre of science fiction that features a dystopian future where advanced technology has led to a breakdown of society.

Artificial Intelligence - the creation of intelligent machines that can think and reason like humans.

Colonization - a story that explores the colonization of a new planet or the colonization of Earth by extraterrestrial beings.

Galactic Empire - a vast empire that spans across multiple planets and galaxies.

Genetic Engineering - the modification of DNA to create new forms of life or enhance existing ones.

Interstellar Travel - the ability to travel between star systems and explore the vastness of space.

Parallel Universes - the concept of multiple universes or realities existing simultaneously.

Cybernetics - the integration of machines and technology with the human body to enhance abilities or extend lifespan.

Post-Human - the evolution of humanity beyond its current form, either through technology or genetic modification.

Utopia/Dystopia - a society that is either a perfect utopia or a nightmarish dystopia.

Transhumanism - the belief in the ability of humans to evolve beyond their biological limitations.

Hard Science Fiction - a subgenre of science fiction that focuses on the scientific accuracy and realism of the story.

Soft Science Fiction - a subgenre of science fiction that focuses on the social, cultural, and philosophical aspects of the story.

Space Western - a story that combines elements of science fiction with the themes and tropes of a Western.

First Contact - a story that explores the initial meeting between humans and an extraterrestrial species.

Singularity - the point at which artificial intelligence becomes more advanced than human intelligence, leading to a transformation of society.

Fantasy

Epic Quest - a story that revolves around a hero or group of heroes on a perilous journey to achieve a great goal.

Magic - the use of supernatural forces to achieve extraordinary feats or solve problems.

Swords and Sorcery - a subgenre of fantasy that features action-packed adventures with battles and magic.

High Fantasy - a subgenre of fantasy that takes place in an alternate world with its own history, culture, and mythology.

Dark Fantasy - a subgenre of fantasy that incorporates horror elements and a darker tone.

Prophecy - a prediction or foretelling of future events that drives the plot.

Chosen One - a hero or heroine with a special destiny or purpose.

Magical Creatures - the inclusion of fantastical creatures such as dragons, unicorns, or griffins.

Medieval Setting - a story that takes place in a time period similar to the Middle Ages, with knights, castles, and kings.

Fairy Tales - the retelling or reimagining of classic fairy tales such as Cinderella, Snow White, or Beauty and the Beast.

Parallel Worlds - the concept of multiple worlds or dimensions existing simultaneously.

Coming-of-Age - a story that focuses on a character's growth and development as they transition from childhood to adulthood.

Hero's Journey - a story structure that follows a hero or heroine through a series of trials and challenges.

Mythology - the inclusion of gods and goddesses, myths, and legends from various cultures.

Quest Objects - a magical or mythical object that serves as the goal of the hero's journey.

Underworld - a mysterious and often dangerous realm that exists beneath the surface of the world.

Romance - a romantic subplot or love interest that drives the plot.

Time Travel - the ability to travel through time, either to the past or the future.

Folklore - the inclusion of traditional stories, beliefs, and customs of a particular culture.

Elemental Magic - the use of magic that is connected to the elements such as fire, water, earth, or air.

Historical Fiction

Time Period - a story that takes place in a specific historical time period, such as the Middle Ages, Renaissance, or Victorian era.

Historical Figures - the inclusion of real-life historical figures, such as kings, queens, politicians, or artists, as characters in the story.

Political Intrigue - a plot that involves political maneuvering, conspiracy, and power struggles.

War and Conflict - a story that focuses on a historical war or conflict and its impact on individuals or society.

Romance - a romantic subplot or love interest that is set against the backdrop of a historical event or time period.

Social Commentary - a story that explores social issues and injustices of a specific historical time period, such as class, gender, or race.

Court Intrigue - a plot that takes place in a royal court, with its politics, gossip, and drama.

Historical Mystery - a mystery story that takes place in a specific historical time period, often featuring real-life historical events or figures.

Historical Adventure - an adventure story that takes place in a specific historical time period, often featuring exploration, discovery, and danger.

Family Saga - a multi-generational story that spans a significant period of time and follows a family's history and relationships.

Historical Biographical Fiction - a fictionalized account of a real-life historical figure's life and experiences.

Secret Societies - a plot that involves secret organizations or societies, often with historical significance.

Historical Romance - a romantic story set in a specific historical time period, often with themes of social class, duty, and tradition.

Historical Fantasy - a blend of historical fiction and fantasy elements, such as magic, mythical creatures, or alternative history.

Historical Horror - a blend of historical fiction and horror elements, often exploring the darker aspects of a specific historical time period.

Time Travel - the ability to travel through time to experience different historical time periods.

Historical Crime - a crime story that takes place in a specific historical time period, often featuring real-life historical crimes or criminals.

Historical Epic - a grand, sweeping story that covers a significant period of time and multiple characters.

Historical Drama - a dramatic story that takes place in a specific historical time period, often featuring conflict, struggle, and personal growth.

Historical Fictionalization - a fictional story that takes place in a specific historical time period, often featuring real-life historical events or figures.

Thriller

High Stakes - a story where the protagonist is facing extreme danger or risk to their life or the lives of others.

Psychological Thriller - a story that focuses on the psychological and emotional state of the characters, often involving mind games and manipulation.

Serial Killer - a plot that involves a murderer who kills multiple victims over a period of time, often with a specific motive or pattern.

Conspiracy - a plot that involves a secret organization or group that is working against the protagonist and their goals.

Race Against Time - a story where the protagonist has a limited amount of time to achieve their goal before a catastrophic event occurs.

Action-Packed - a story with plenty of fast-paced action scenes, often featuring chases, fights, and explosions.

Law Enforcement - a plot that involves law enforcement agencies or officers investigating a crime or trying to stop a criminal.

Revenge - a plot that involves a character seeking revenge against those who have wronged them or their loved ones.

International Intrigue - a story that takes place across multiple countries and involves espionage, international conflicts, or political intrigue.

Kidnapping - a plot that involves the abduction of a character or characters, often for ransom or other nefarious purposes.

Spy Thriller - a story that features a spy or secret agent working to stop a dangerous threat to national security.

Cat-and-Mouse - a plot that involves a game of cat-and-mouse between the protagonist and their enemy, often with each trying to outsmart the other.

Betrayal - a plot that involves a character being betrayed by someone they thought they could trust.

Technological Threat - a story that involves a dangerous technological threat, such as a computer virus or rogue AI.

Locked Room Mystery - a mystery where the crime or danger takes place in a confined space, such as a locked room or an isolated location.

Political Thriller - a story that involves political power struggles, corruption, or conspiracies.

Survival - a story where the protagonist is fighting for survival in a dangerous or hostile environment.

Medical Thriller - a story that involves a medical mystery, such as a virus or disease outbreak, or a medical conspiracy.

Heist - a plot that involves a group of characters planning and executing a high-stakes theft or robbery.

Paranormal Thriller - a story that involves paranormal or supernatural elements, such as ghosts or psychic abilities, in a thriller setting.

Horror

Haunted House - a story that takes place in a house or building that is haunted by ghosts or other supernatural entities.

Supernatural Forces - a plot that involves supernatural entities or forces, such as demons, witches, or monsters.

Psychological Horror - a story that focuses on the mental and emotional state of the characters, often involving fears, phobias, or psychological trauma.

Body Horror - a plot that involves grotesque or horrifying physical transformations or deformities, often caused by disease or experimentation.

Gore - a story that involves graphic and bloody violence, often featuring mutilation or dismemberment.

Slasher - a plot that involves a killer who stalks and murders their victims, often with a signature weapon or method.

Survival Horror - a story where the characters are fighting for survival against a threat that is overwhelming and seemingly unstoppable.

Found Footage - a plot that involves footage or recordings of an event or situation, often presented as a documentary or amateur recording.

Creepy Children - a plot that involves creepy or malevolent children, often with supernatural abilities or knowledge.

Possession - a plot that involves a character being possessed by a demon or other supernatural entity.

Monster - a plot that involves a monstrous creature, often with a unique or terrifying design.

Ghost Story - a plot that involves ghosts or spirits, often seeking revenge or trying to communicate with the living.

Curses - a plot that involves a character or location being cursed, often with a deadly or horrific consequence.

Urban Legend - a plot that involves a well-known urban legend or myth, often with a dark or gruesome twist.

Religious Horror - a story that involves religious or cult themes, often with a sinister or demonic presence.

Vampires - a plot that involves vampires, often with unique or interesting twists on the classic vampire lore.

Demonic Possession - a plot that involves a character being possessed by a demon, often with terrifying consequences.

Body Snatchers - a plot that involves aliens or other entities that take over human bodies, often with the goal of domination or destruction.

Cult Horror - a story that involves a cult or secret society, often with dark or violent rituals.

Cosmic Horror - a story that involves vast, unknowable entities or forces that are beyond human comprehension.

Young Adult (YA)

Coming of age - a plot that focuses on a character's journey from adolescence to adulthood, often involving self-discovery and personal growth.

Love Triangle - a plot that involves a character choosing between two potential love interests, often causing conflict and tension.

High School Drama - a story that takes place in a high school setting, often involving cliques, popularity contests, and social hierarchies.

Dystopian - a plot that takes place in a futuristic or alternate world where society has become corrupted or oppressive.

Superpowers - a plot that involves characters with supernatural abilities, often exploring themes of responsibility and identity.

Forbidden Romance - a plot that involves characters who are not allowed to be together due to social, cultural, or familial reasons.

Identity Crisis - a plot that involves a character questioning their identity, often exploring themes of race, gender, or sexuality.

Fish out of Water - a plot that involves a character being placed in a new and unfamiliar environment, often leading to culture shock and personal growth.

Rebellion - a plot that involves characters fighting against authority or oppressive forces, often with themes of social justice and empowerment.

Time Travel - a plot that involves characters traveling through time, often exploring themes of consequences and destiny.

Survival - a plot that involves characters fighting for survival in a hostile environment or situation.

Fantasy - a plot that takes place in a fantastical world, often involving mythical creatures and magical powers.

Mystery - a plot that involves a character solving a puzzle or unraveling a mystery, often with a twist ending.

Apocalyptic - a plot that involves characters trying to survive in a world that has been destroyed by a catastrophic event, often exploring themes of hope and resilience.

Boarding School - a story that takes place in a boarding school setting, often involving themes of independence and friendship.

Road Trip - a plot that involves characters going on a journey, often exploring themes of self-discovery and adventure.

Sports - a story that involves characters participating in a sports team or competition, often exploring themes of teamwork and perseverance.

Rich vs. Poor - a plot that involves characters from different socioeconomic backgrounds, often exploring themes of inequality and privilege.

Friendship - a plot that explores the relationships and bonds between characters, often with themes of loyalty and trust.

Teenage Rebellion - a plot that involves characters rebelling against their parents or society, often exploring themes of independence and self-expression.

Literary Fiction

Character study - a plot that focuses on the inner workings of a character's psyche and emotions.

Family drama - a story that involves familial relationships, often exploring themes of love, loss, and identity.

Coming of age - a plot that focuses on a character's journey from adolescence to adulthood, often involving self-discovery and personal growth.

Memory and nostalgia - a plot that explores the past and memories, often with themes of loss, regret, and longing.

Art and creativity - a plot that explores the creative process and the artist's relationship with their art, often with themes of inspiration and obsession.

Existentialism - a plot that explores the meaning of life and existence, often with themes of identity and purpose.

Love and relationships - a plot that explores the complexities of romantic relationships and the human condition.

Social commentary - a plot that uses characters and their stories to comment on societal issues and concerns.

Loss and grief - a plot that explores the themes of loss and grief, often with themes of redemption and acceptance.

Mental health - a plot that explores the struggles and experiences of characters with mental health issues, often with themes of stigma and acceptance.

Nature and environment - a plot that explores the relationship between humans and nature, often with themes of conservation and preservation.

Historical fiction - a plot that takes place in a historical setting, often with themes of nostalgia and nostalgia.

Travel and adventure - a plot that involves characters traveling to new and unfamiliar places, often with themes of self-discovery and adventure.

Mystery - a plot that involves a character solving a puzzle or unraveling a mystery, often with a twist ending.

Philosophy - a plot that explores philosophical concepts and ideas, often with themes of morality and ethics.

Politics and power - a plot that explores the dynamics of power and politics, often with themes of corruption and morality.

Religion and spirituality - a plot that explores the themes of religion and spirituality, often with themes of faith and doubt.

Aging and mortality - a plot that explores the themes of aging and mortality, often with themes of acceptance and legacy.

Experimental fiction - a plot that plays with narrative structure, language, and form, often with themes of innovation and creativity.

Identity and culture - a plot that explores the themes of identity and culture, often with themes of belonging and alienation.

Comedy

Fish out of water - a plot that involves a character being thrust into an unfamiliar or absurd situation.

Screwball comedy - a plot that involves absurd or zany situations, often with fast-paced dialogue and physical humor.

Satire - a plot that uses humor to mock or criticize societal norms or institutions.

Parody - a plot that mimics or exaggerates the tropes and conventions of a particular genre or story.

Romantic comedy - a plot that involves a romantic relationship, often with humorous misunderstandings and obstacles.

Workplace comedy - a plot that takes place in a workplace setting, often with exaggerated or quirky characters and situations.

Farce - a plot that involves chaotic or ridiculous situations, often with mistaken identities and physical humor.

Slapstick - a plot that involves physical humor and exaggerated movements and actions.

Black comedy - a plot that uses humor to address dark or taboo subjects, often with themes of mortality and existentialism.

Situational comedy - a plot that involves humorous situations or misunderstandings.

Spoof - a plot that parodies a particular movie or TV show, often with exaggerated and absurd humor.

Gross-out comedy - a plot that involves bodily humor and gross or taboo subjects.

Buddy comedy - a plot that involves two characters with contrasting personalities who become friends, often with humorous results.

Surreal humor - a plot that involves absurd or dreamlike situations, often with a philosophical or satirical edge.

Comedic irony - a plot that uses irony to create humor, often with unexpected twists and turns.

Stand-up comedy - a plot that involves a comedian's experiences and observations, often with humorous anecdotes and jokes.

Comedic monologue - a plot that involves a character delivering a humorous speech or monologue, often with satire or parody.

Prankster comedy - a plot that involves practical jokes and humor at the expense of others.

Wit and banter - a plot that involves clever and witty dialogue, often with wordplay and sarcasm.

Running gags - a plot that involves recurring jokes or situations, often with escalating humor.

Western

Gunslinger - a plot that involves a skilled shooter or outlaw seeking redemption or justice.

Lawman - a plot that involves a law enforcement officer pursuing criminals and bringing them to justice.

Cattle drive - a plot that involves a group of cowboys driving a herd of cattle across long distances.

Revenge - a plot that involves a character seeking revenge against those who wronged them or their family.

Outlaw with a heart of gold - a plot that involves an outlaw with a moral code who takes on a noble cause.

Homesteader - a plot that involves a character settling and cultivating land in the frontier.

Duel - a plot that involves a one-on-one confrontation between two characters, often with guns or knives.

Train robbery - a plot that involves a group of bandits robbing a train of its cargo or passengers.

Gold rush - a plot that involves characters seeking wealth and fortune in the frontier, often through mining.

Indian wars - a plot that involves conflict between settlers and Native Americans, often with themes of racism and colonialism.

Saloon - a plot that involves characters gathering in a western-style bar, often with gambling and drinking.

Bounty hunter - a plot that involves a character pursuing and capturing fugitives for a reward.

Stagecoach - a plot that involves a group of characters traveling by stagecoach, often with danger and excitement along the way.

Showdown - a plot that involves a final confrontation between the hero and villain, often with high stakes.

Frontier justice - a plot that involves characters taking the law into their own hands, often with themes of vigilante justice.

Lone wanderer - a plot that involves a character traveling alone through the frontier, often with themes of isolation and survival.

Land conflict - a plot that involves characters fighting for ownership or control of land in the frontier.

Old west town - a plot that involves a character navigating life in a wild and lawless western town.

Rancher - a plot that involves a character managing a large ranch, often with themes of family and legacy.

Horseback chase - a plot that involves a chase scene on horseback, often with themes of pursuit and escape.

Dystopian.

Totalitarian government - a plot that involves a government or ruling power that has complete control over society and its citizens.

Oppressive society - a plot that involves a society that enforces strict rules and regulations on its citizens, often with extreme punishments for disobedience.

Rebel uprising - a plot that involves a group of rebels or revolutionaries who rise up against the ruling power.

Propaganda - a plot that involves the use of media and messaging to manipulate and control the population.

Social hierarchy - a plot that involves a society divided into social classes or castes, often with those at the bottom suffering the most.

Surveillance state - a plot that involves constant surveillance and monitoring of citizens by the ruling power.

Lack of personal freedom - a plot that involves citizens having limited or no personal freedoms, often with restrictions on speech, movement, and expression.

Environmental disaster - a plot that involves a society struggling to survive in the aftermath of an environmental catastrophe.

Post-apocalyptic world - a plot that involves a society trying to survive after a global disaster, such as a nuclear war or pandemic.

Dystopian love story - a plot that involves a romance set in a dystopian world, often with themes of forbidden love and societal restrictions.

Totalitarian leader - a plot that involves a single leader who holds absolute power over society.

Brainwashing - a plot that involves the use of psychological manipulation to control the population.

Genetic engineering - a plot that involves the manipulation of genetics and biology to create a new type of human or animal.

Rebellion leader - a plot that involves a charismatic leader who inspires and leads the rebellion against the ruling power.

Resistance movement - a plot that involves a group of individuals fighting against the ruling power, often through acts of sabotage and rebellion.

Corrupt government - a plot that involves a government that is corrupt and self-serving, often at the expense of the citizens.

Apocalyptic event - a plot that involves a catastrophic event that threatens the survival of humanity.

Oppressive technology - a plot that involves the use of advanced technology to control and manipulate citizens.

Civil war - a plot that involves a society torn apart by a conflict between factions or groups.

Protagonist as symbol of hope - a plot that involves a protagonist who becomes a symbol of hope for the oppressed and downtrodden citizens.

While I've only listed 20 common tropes found in these genres, there are actually many more out there waiting for you to discover! A quick Google search can help you track down all sorts of interesting and unique tropes to use in your writing.

Target Audience

It's important to understand who your book's target audience is, as it allows you to write a book that connects with them on a deeper level. Your target audience is the group of people who are most likely to enjoy your book, find it valuable, and recommend it to others. By writing with your target audience in mind, you can ensure that your book is relevant to their interests, speaks to their needs, and is more likely to be successful. After all, when you connect with your readers, you create a powerful bond that can make them lifelong fans of your work.

If you've already decided on your genres, sub-genres, and tropes, finding your target audience is a breeze. All you have to do is a quick Google search and voila! However, to help you out, I can provide you with some general information on target audiences. Do keep in mind that this information is not set in stone, as everyone's interests differ. For instance, plenty women enjoy thrillers, action stories, or horror. Nonetheless, this outline can serve as a starting point for your research.

Young Adult:

Genres: Fantasy, dystopian, contemporary, romance

Tropes: Coming-of-age, love triangles, chosen one, forbidden love, adventure

Themes: Identity, self-discovery, social justice, belonging, family, friendship, first love, mental health

Needs: Relatable characters, emotional resonance, accessible language, diverse representation, empowerment

Adult:

Genres: Mystery, thriller, romance, historical fiction, literary fiction

Tropes: Second chance at love, redemption, suspense, revenge, secrets and lies, unreliable narrators, twists and turns, complex relationships

Themes: Love and relationships, societal issues, personal growth, identity, history, culture, family dynamics, Love and loss

Needs: Engaging plot, well-developed characters, nuanced themes, evocative language, diverse representation

Middle-grade:

Genres: Adventure, fantasy, science fiction, historical fiction, humor, contemporary

Tropes: Overcoming obstacles, friendship, finding one's place, underdogs, magic

Themes: Family, friendship, self-discovery, perseverance, identity, problem-solving, Self-acceptance, courage, teamwork

Needs: Engaging plot, relatable characters, age-appropriate language, adventure and humor, positive messaging

Children:

Genres: Picture books, early readers, chapter books

Tropes: Animals as main characters, imaginative worlds, humor, adventure, family relationships, lessons learned

Themes: Family, friendship, growing up, learning new things, self-expression, empathy, problem-solving, diversity, kindness

Needs: Simple language, colorful illustrations, engaging storytelling, relatable characters, age-appropriate messaging

Women:

Genres: Romance, mystery, historical fiction, women's fiction, contemporary fiction, literary fiction

Tropes: Second chance at love, forbidden love, strong female lead, enemies-to-lovers, happily-ever-after, family secrets

Themes: Love and relationships, family, personal growth, empowerment, sisterhood, identity

Needs: Emotional resonance, well-rounded characters, diverse representation, nuanced themes, satisfying endings

Men:

Genres: Thriller, science fiction, fantasy, action/adventure, historical fiction

Tropes: Action-packed, gritty, hero's journey, good vs. evil, moral dilemmas, Tough-guy heroes, high stakes, intricate plots, historical accuracy

Themes: Honor, justice, redemption, brotherhood, duty, perseverance

Needs: Engaging plot, well-researched historical details, realistic action, diverse representation, nuanced themes

LGBTQ+:

Genres: LGBTQ+ romance, coming-of-age, drama, contemporary fiction, young adult, literary fiction, speculative fiction

Tropes: Coming out, forbidden love, self-acceptance, exploring sexuality, found family, overcoming prejudice, love conquers all

Themes: Identity, discrimination, love and relationships, acceptance, self-discovery, community

Needs: Authentic representation, diverse characters and experiences, nuanced portrayal of LGBTQ+ issues, positive messaging, happy endings

Seniors:

Genres: Historical fiction, literary fiction, memoir, mystery, romance

Tropes: Second chance at love, reflection on past mistakes, family drama, secrets and lies

Themes: Aging, family, legacy, life lessons, reflection, personal growth.

Needs: Thoughtful themes, well-rounded characters, evocative language, diverse representation, positive messaging

Note: "Nuanced" means that something is complex and has many different parts or aspects that make it unique. It's not just one simple thing, but has layers and details that make it more interesting and complicated. For example, a nuanced character in a book might have both good and bad qualities, and their personality and behavior might change depending on the situation they're in.

Here are some example's of nuanced themes:

Love and loss: exploring the complex emotions surrounding love and loss, such as grief, regret, and nostalgia.

Identity and belonging: examining the struggle to find one's place in the world and how our sense of self is shaped by our experiences and relationships.

Power and corruption: exploring the abuse of power and how it can corrupt individuals and institutions.

Morality and ethics: examining the gray areas of morality and the difficult choices we face when navigating right and wrong.

Mental health: exploring the complexities of mental health and how it impacts individuals and their relationships.

Social justice: examining issues of inequality, discrimination, and systemic oppression, and the need for change.

Cultural differences: exploring the nuances of different cultures and the challenges and benefits of navigating those differences.

Nature and the environment: examining the relationship between humans and nature, and the impact of human behavior on the environment.

Family and relationships: exploring the complexities of family dynamics and relationships, including love, loyalty, and betrayal.

Aging and mortality: examining the process of aging and the impact of mortality on individuals and their loved ones.

Starting to plot your novel is an exciting step, and choosing your genre, trope, and target audience are vital for laying the groundwork of your story. But it's important not to overlook other essential elements that can elevate your story to the next level. For example, have you thought about how you want your readers to feel when they read your book, or what you want them to learn? These questions can help you create a more impactful and meaningful story that resonates with your readers.

As an author, you likely have a specific purpose in mind when crafting your story. Whether you aim to entertain, convey a message, or educate your readers, it's important to consider the intended impact on your audience. To achieve your creative goals, you'll need to pay attention to key elements like plot, characters, setting, and themes, and ensure they work cohesively to create an engaging and immersive experience.

For readers, understanding the author's intent can enhance their appreciation of the story and lead to a more fulfilling reading experience. By recognizing the impact and meaning behind the words on the page, you can fully immerse yourself in the story and gain a deeper understanding of the author's message. So whether you're a writer or a reader, don't forget to consider the impact of your words and how they can connect with your audience.

Authors can convey various messages, lessons, and ideas through fictional writing. Here are a few examples:

Moral lessons: Fictional stories often have a moral lesson or message that the author wants to convey to the reader. The story may illustrate the consequences of certain actions or behaviors, and the characters may learn a valuable lesson by the end of the story.

Social commentary: Fictional stories can also be used to comment on social issues such as inequality, discrimination, or injustice. By using characters and situations that are relatable to readers, authors can help readers better understand and empathize with these issues.

Emotional connections: Through fictional writing, authors can help readers connect emotionally with the characters and situations in the story. This can help readers develop greater empathy and understanding of others in real life.

Imagination and creativity: Fictional writing can inspire readers to use their imagination and think creatively. Through vivid descriptions and imaginative storytelling, authors can transport readers to new and exciting worlds.

Personal growth: Fictional writing can also help readers learn more about themselves and their own values and beliefs. By exploring different characters and situations, readers can gain new perspectives and insights that can help them grow and develop as individuals.

I understand that all of this might sound a bit overwhelming and challenging, but please don't worry! If you're writing solely for the purpose of entertaining your readers and don't have any specific message to convey, you can simply skip this part when creating your novel outline. Don't feel obligated to include elements that you're not comfortable with, and focus on creating a story that you enjoy telling.

By the way, I'd like to share with you some examples of popular stories and their authors that effectively convey certain messages or teach valuable lessons through their fictional writing:

"To Kill a Mockingbird" by Harper Lee - This story teaches the importance of empathy, justice, and standing up for what is right.

"1984" by George Orwell - This dystopian novel warns about the dangers of totalitarianism and the importance of preserving individual freedom.

"The Handmaid's Tale" by Margaret Atwood - This dystopian novel warns about the dangers of patriarchal oppression and the importance of women's rights.

"The Lord of the Rings" by J.R.R. Tolkien - This epic fantasy novel teaches the importance of courage, loyalty, and sacrifice in the face of great evil.

"The Great Gatsby" by F. Scott Fitzgerald - This story critiques the superficiality and moral decay of the wealthy during the Roaring Twenties.

"Animal Farm" by George Orwell - This allegorical novel satirizes the rise of Soviet communism and warns about the dangers of political corruption and propaganda.

"Brave New World" by Aldous Huxley - This dystopian novel warns about the dangers of technological advancement and the dehumanization of society.

"The Catcher in the Rye" by J.D. Salinger - This story explores the themes of alienation, identity, and the struggle to find meaning in a world that can often seem cold and indifferent.

"The Color Purple" by Alice Walker - This story explores themes of race, gender, and the struggle for personal autonomy and self-determination in a society that seeks to deny these things.

"The Hunger Games" by Suzanne Collins - This dystopian novel critiques the excesses of consumer culture and warns about the dangers of totalitarianism and oppression.

Plot

Great job! We've completed the first part of outlining a basic novel. Now, let's move on to plotting. But wait a minute! Before you start plotting, there's some information we need first - your intended word count. This may sound like a small detail, but it's actually quite important. Knowing the total word count of your story can affect many things. For instance, publishers often have guidelines for the length of novels they will accept, so if your manuscript is too long or too short, it may be rejected. Additionally, readers may have certain expectations for the length of a novel in a specific genre, and if your book is significantly shorter or longer than expected, it may not be well-received. Lastly, the word count can influence the pacing and structure of your novel, with longer novels potentially allowing for more complex plot and character development, but requiring more attention to pacing and structure to avoid losing the reader's interest.

You might be thinking, "Hey, Taytjie, what if I want to post a web novel with over 1000 chapters? Do I have to plot everything in advance?" Well, my answer is no! However, I do recommend thinking of a web novel as a series of books, each with its own volume, rather than a single, massive work. So when plotting your web novel, it's best to approach each volume individually. This will make it easier to organize your ideas and create a cohesive story that engages your readers. Each 'Arc' of your web novel can be an individual volume of around 10 to 30 chapters or more, it's up to your preference.

Let me offer you a general guideline for word counts, but keep in mind that variations may exist based on factors such as sub-genre, target audience, and publishing goals. If traditional publishing is what you're aiming for, then different publishers may have different expectations. However, it's worth noting that while you don't have to stick to these word counts, readers typically expect them in the genres I've discussed in this post. Ultimately, what matters most is that your story is engaging and well-crafted, and if you achieve that, your readers will be hooked no matter the word count.

Romance: 50,000 to 90,000 words

Mystery: 70,000 to 100,000 words

Science fiction: 80,000 to 120,000 words

Fantasy: 80,000 to 120,000 words

Historical fiction: 80,000 to 120,000 words

Thriller: 80,000 to 100,000 words

Horror: 70,000 to 100,000 words

Young adult: 50,000 to 80,000 words

Literary fiction: 80,000 to 120,000 words

Comedy: 70,000 to 100,000 words

Western: 50,000 to 80,000 words

Dystopian: 80,000 to 120,000 words

You might be wondering why we're discussing word count under the 'plot' section instead of the 'book information' section. Well, it's because knowing your intended word count will help you figure out how many chapters your story will have. This, in turn, will affect your plot, as it gives you an idea of how much time you have to tell your story and how much you'll need to stretch it out.

Now it's time to decide on the number of chapters and the length of each chapter for your novel. To determine the chapter length, think about how many words you want to include in each chapter and use that to calculate the total number of chapters required to reach your desired word count for the whole story.

After figuring out the number of chapters, it's time to work on the plot. Don't worry, it doesn't have to be a lengthy essay, just a brief two-sentence summary will do. The main thing is to have a clear idea of what your story will be about.

Here's an example:

In a world of magic and intrigue, a young wizard falls in love with a powerful sorceress from a rival clan. Together, they must navigate the dangerous politics of their respective societies while discovering the true depth of their feelings for each other.

Alright, great job so far! Now let's dig a little deeper and focus on the beginning, middle, and end of your story. What's going to happen at the start to draw your readers in? What twists and turns will take place in the middle? And finally, how do you want it all to wrap up in the end?

Start: The story begins in a magical world filled with warring clans and powerful sorcerers. Our protagonist, a young wizard, is training at the academy of his clan when he meets a beautiful sorceress from a rival clan. Despite the tensions between their clans, they are drawn to each other and begin to secretly meet.

Middle: As their relationship deepens, our young couple finds themselves caught up in the dangerous politics of their respective societies. They struggle to keep their love a secret, while also trying to navigate the treacherous waters of their clans' rivalries. Along the way, they uncover a plot by a dark force that threatens both their clans and must work together to stop it.

End: In the climax of the story, our young wizard and sorceress face their greatest challenge yet. They must put aside their differences and unite their clans to defeat the dark force that threatens them all. Through their bravery and dedication, they prove that love can conquer even the most formidable foes. In the end, our young couple is able to come together openly and publicly, ushering in a new era of peace and prosperity for their people.

Congratulations, we've made progress! Now it's time to take our plot and start breaking it down into individual chapters. Think about the key events that need to happen in each chapter to move the story forward and write them down.

Chapter 1: Our young wizard protagonist meets the powerful sorceress from a rival clan and is immediately drawn to her.

Chapter 2: Our couple shares their first magical moment together, but the looming threat of their clans' rivalry casts a shadow over their happiness.

Chapter 3: Our wizard protagonist confides in his best friend about his feelings for the sorceress, but is warned about the dangers of falling in love with someone from a rival clan.

Chapter 4: The sorceress reveals that she feels the same way, and the couple begins to meet in secret.

Chapter 5: The first major conflict arises when our wizard protagonist's clan discovers his relationship with the sorceress and forbids him from seeing her.

Chapter 6: The sorceress' clan also discovers their relationship and the two clans begin to escalate their hostility towards each other.

Chapter 7: The couple's secret meetings become riskier as they try to find a way to be together without causing a war between their clans.

Chapter 8: A powerful sorcerer from our wizard protagonist's clan threatens the couple and warns them to end their relationship.

Chapter 9: Our protagonist turns to an older, wiser wizard for advice on how to navigate the dangerous politics of their clans.

Chapter 10: Our couple is caught in a dangerous ambush by members of the sorceress' clan who disapprove of their relationship.

Chapter 11: The sorceress' clan accuses our wizard protagonist of using dark magic to seduce her and threatens to retaliate.

Chapter 12: The couple decides to seek refuge in a neutral territory and try to find a way to resolve the conflict peacefully.

Chapter 13: Our protagonist discovers a sinister plot by a dark force that threatens both clans and realizes that they must work together to stop it.

Chapter 14: The couple's efforts to bring their clans together are met with resistance and suspicion from both sides.

Chapter 15: Our wizard protagonist and the sorceress embark on a dangerous mission to uncover the dark force's plans.

Chapter 16: The couple faces their greatest challenge yet as they confront the dark force and its powerful minions.

Chapter 17: Our couple must fight for their lives as they face overwhelming odds, but their love gives them the strength to prevail.

Chapter 18: The couple is hailed as heroes for saving their clans from the dark force, but their victory comes at a great cost.

Chapter 19: Our couple is finally able to publicly declare their love for each other, and their clans agree to a truce.

Chapter 20: The novel ends with our couple looking forward to a future together, as they embark on a new journey filled with hope and promise.

Great job! Now, for the final step: take each chapter and create a bullet-pointed outline of what you want to happen in it. This will help make your life easier when you begin writing the actual story because you'll already know what you need to write, and you just need to turn it into beautiful prose. But, Yes there is a but, If you just like to let the creative juices flow and don't want to write so rigidly, like I do, skip it. I personally just write the one or two sentences for my chapter when I build an outline, and then I just go for it.

Chapter One: A Meeting of Hearts

The chapter opens with our young wizard protagonist, whose name is Aaron, attending his morning training session at the wizard academy. During a break, Aaron wanders off into the forest for some quiet reflection and stumbles upon a clearing filled with glowing mushrooms. As he investigates the mushrooms, Aaron is startled by a rustling in the nearby bushes and turns to see a young woman emerge. The young woman introduces herself as Lyra, a powerful sorceress from a rival clan. Despite the tensions between their clans, Aaron and Lyra are immediately drawn to each other and begin to chat. Aaron discovers that Lyra is at the academy to research a powerful spell that could help her clan in their ongoing conflict with Aaron's clan. Aaron offers to help Lyra with her research, and they agree to meet secretly to work on the spell together. As Aaron leaves the clearing, he realizes that he is falling for Lyra and wonders how he will be able to reconcile his feelings with his loyalty to his clan. The chapter ends with Aaron returning to the academy, his thoughts consumed by thoughts of Lyra and the dangerous path they are embarking on.

By the way, in case you were wondering, the story we've been working on is a fantasy romance. Once you've completed outlining each chapter, congratulations, you've successfully outlined your novel! Now, let's move on to the next step: creating characters. You might be wondering why I saved this for after the plot section instead of before, but everyone has their own approach. Personally, I like to create my characters as I'm outlining my novel and really flesh them out while writing my first draft. Then, I use my second draft to make sure that the characters remain consistent throughout the book.

Characters

We've made it to the last section of our basic outline! As a writer, I prefer to develop my characters alongside my plot rather than before it. I start with some basic character details and adjust them as needed to fit the story. Sometimes, characters I initially thought were essential end up being cut, while others I created on a whim end up becoming integral to the plot. For example, in my current work in progress, I created a childhood friend of the main character on a whim, but he ended up becoming an antagonist who will go through a redemption arc and a friends-to-enemies-to-friends trope.

When it comes to creating your characters, there are some essential details you'll want to have nailed down. But don't worry, it's not necessary to have everything figured out until you finish your first draft. Just make sure you have all the important information for your main characters sorted out by the time you start working on your second draft. It's crucial to make sure your characters remain consistent throughout the story and that their actions and thoughts align with their established traits. After all, you don't want to project your own desires onto them - that's not good writing.

When it comes to creating your characters, there are some basic details you'll want to include, like their name and a brief history that matches their personality. For example, it might not make sense for a character with a tragic past to be overly optimistic and carefree all the time, not unless they're pretending.

List a few key traits that define your character's personality, such as being gruff yet secretly caring or sarcastic and cold. You don't need to create a whole resume, just a few words will do. As you write, you might find yourself adding more details to your character's personality, habits, or preferences, so make sure to jot them down.

Another important aspect is their appearance. Decide on this early on and make sure to note it down. You don't want to have to search through all your chapters to remember what your own character looks like! These are the basics, but there are three more things I want to mention that can help flesh out your character even more.

Outer conflict

Outer conflict is basically the challenges and hurdles that a character faces in their environment. It plays a significant role in the story as it generates suspense and propels the plot forward. The external obstacles that a character can encounter are diverse and varied, like dealing with natural disasters, social norms, cultural differences, achieving goals, or fighting against an adversary.

Moreover, the outer conflict can help to shape a character's personality and traits. As the character copes with and conquers obstacles, readers get to know their strengths, weaknesses, and motivations. This allows readers to form a deeper connection with the character and become more invested in their journey.

Furthermore, external conflicts can also symbolize inner turmoil. The external obstacles that a character faces can be a representation of the internal struggles they are going through, like battling fears or doubts. This creates a powerful emotional impact on readers and helps to convey crucial themes and messages.

Here are twenty examples of outer conflict:

A character struggling to survive in a post-apocalyptic world.

A character facing a physical illness or disability that limits their abilities.

A character fighting for justice against a corrupt system or organization.

A character facing discrimination or prejudice based on their race, gender, or other identity.

A character trying to escape a dangerous situation or person.

A character facing environmental or natural disasters.

A character navigating a war or political conflict.

A character struggling with addiction or substance abuse.

A character facing financial ruin or bankruptcy.

A character dealing with the aftermath of a traumatic event.

A character struggling to balance their personal and professional lives.

A character facing a difficult decision that could have major consequences.

A character in a survival situation in the wilderness or at sea.

A character trying to break free from a toxic relationship.

A character dealing with the consequences of a mistake or poor decision.

A character facing a physical or mental challenge or disability.

A character struggling to protect their family or loved ones from harm.

A character trying to survive in a hostile or unfamiliar environment.

A character dealing with the loss of a loved one or grieving.

A character facing betrayal or deception from someone they trust.

Inner Conflict

Inner conflict is a crucial element of a story that delves into the psychological and emotional struggles that a character experiences. It's the battle between their desires and their values, their fears and aspirations, or what they want versus what they know is right. This struggle is what creates tension, complexity, and depth in a character, making them more relatable and interesting to readers. By exploring the character's inner conflict, readers gain insights into their motives, thoughts, and emotions, allowing for character development and growth.

Take J.D. Salinger's "The Catcher in the Rye" for instance, where Holden Caulfield grapples with an inner conflict of wanting to preserve the innocence of childhood and yet desiring to mature and grow up. This conflict leads to his erratic behavior and search for meaning and purpose.

Similarly, in F. Scott Fitzgerald's "The Great Gatsby," Jay Gatsby faces an inner conflict of wanting to win back his lost love, Daisy, while also grappling with the fact that she is married to someone else. This inner conflict ultimately leads to his downfall and tragic end.

As demonstrated in these examples, inner conflict drives the plot, develops characters, and adds depth to their motivations and struggles.

Here are 20 examples of inner conflict:

Fear of failure

Insecurity

Lack of self-confidence

Difficulty making decisions

Guilt over past actions

Jealousy or envy

Grief over loss or trauma

Difficulty with vulnerability or trust

Struggle with addiction or temptation

Confusion over personal identity or purpose

Struggle with one's own morality or ethics

Difficulty with forgiveness or letting go

Shame over past actions or experiences

Struggle with self-acceptance or self-love

Difficulty with emotional intimacy or connection

Conflict with personal beliefs or values

Struggle with one's own mortality or purpose in life

Difficulty with facing the truth or reality of a situation

Struggle with balancing personal desires with the needs of others

Conflict between personal ambition and loyalty to others.

As a writer, it's important to understand how to weave outer and inner conflict together to create a compelling and multidimensional character in your story. Outer conflict provides the external challenges and obstacles that the character must face and overcome, driving the plot forward. On the other hand, inner conflict gives readers a window into the character's thoughts, feelings, and motivations.

The two types of conflict can also inform and influence each other. Inner conflict can affect how a character responds to outer conflict, and vice versa. For instance, if a character is struggling with self-doubt, this may make it harder for them to face a physical challenge presented as an outer conflict. Similarly, if a character is facing an outer conflict like a life-threatening situation, this may trigger an inner conflict related to their deepest fears and desires. The interplay between inner and outer conflict can lead to character growth, as the character learns to face their fears, confront their weaknesses, and achieve their goals.

By using both types of conflict effectively, you can create a character that is not only relatable and interesting, but also one that readers can root for as they navigate the challenges of your story.

Here is a list of 28 ways outer and inner conflict can interplay with each other:

A character with a fear of failure (inner conflict) must overcome obstacles to achieve their goal (outer conflict).

A character struggling with addiction (inner conflict) must face consequences of their behavior that endanger their loved ones (outer conflict).

A character dealing with trust issues (inner conflict) must work with a partner they don't trust (outer conflict).

A character struggling with guilt (inner conflict) must clear their name and prove their innocence (outer conflict).

A character struggling with self-doubt (inner conflict) must take on a leadership role to save their community (outer conflict).

A character who is closed-off emotionally (inner conflict) must learn to trust and open up to their love interest (outer conflict).

A character with a tendency to control others (inner conflict) must learn to work in a team and share responsibility (outer conflict).

A character struggling with their identity (inner conflict) must navigate a world that doesn't accept their identity (outer conflict).

A character dealing with trauma (inner conflict) must confront the source of their trauma to overcome it (outer conflict).

A character struggling with commitment issues (inner conflict) must make a difficult decision that affects their relationship (outer conflict).

A character with a lack of self-worth (inner conflict) must prove to themselves and others that they are capable (outer conflict).

A character struggling with loss (inner conflict) must learn to move on and find purpose in life again (outer conflict).

A character with a need for control (inner conflict) must learn to let go and trust others (outer conflict).

A character dealing with past mistakes (inner conflict) must confront those they have wronged and seek redemption (outer conflict).

A character struggling with their beliefs (inner conflict) must stand up for what they believe in despite opposition (outer conflict).

A character who is closed off from the world (inner conflict) must open up and make new connections to achieve their goal (outer conflict).

A character struggling with a lack of direction (inner conflict) must find purpose in their life and pursue it (outer conflict).

A character with a history of abuse (inner conflict) must confront their abuser to achieve closure (outer conflict).

A character struggling with their sexuality (inner conflict) must come out and face the social consequences of their identity (outer conflict).

A character with a need for revenge (inner conflict) must overcome their desire for revenge to achieve a greater goal (outer conflict).

A character struggling with their family history (inner conflict) must confront the past to move forward (outer conflict).

A character with a fear of the unknown (inner conflict) must step out of their comfort zone to achieve their goal (outer conflict).

A character struggling with their past (inner conflict) must come to terms with it in order to move forward (outer conflict).

A character with a lack of trust in others (inner conflict) must work with a team to achieve their goal (outer conflict).

A character struggling with their identity (inner conflict) must confront the expectations of others to find their true self (outer conflict).

A character with a tendency to self-sabotage (inner conflict) must overcome their negative patterns to achieve success (outer conflict).

A character struggling with mental illness (inner conflict) must overcome the stigma associated with their illness (outer conflict).

A character with a need for control (inner conflict) must learn to accept and adapt to unforeseen circumstances (outer conflict).

Character Growth

As a story progresses, the characters within it can undergo a significant transformation that we refer to as character growth. This growth can manifest itself in various ways, including changes in beliefs, values, behaviors, or relationships.

By portraying a character's growth, a writer can create a sense of depth and nuance that makes them more relatable and interesting to the reader. Furthermore, character growth is instrumental in driving the plot forward, as the changes experienced by the character often create new conflicts and challenges that must be addressed.

Witnessing a character's growth can be satisfying to the reader, providing them with a sense of catharsis as they watch the character overcome their obstacles and achieve their goals.

Character growth is crucial to the success of a story, and as a writer, it's important to ensure that your main characters evolve and change over the course of the narrative. People naturally experience growth and change in real life, whether it's positive or negative, as they navigate through life's challenges. The same principle applies to your characters.

When you're editing your second or third draft, take a close look at your characters and ensure that their development is evident. Keeping your characters stagnant and unchanged throughout the story isn't realistic and can hinder your reader's connection with them. By allowing your characters to evolve, you create a more relatable and believable story, one that resonates with readers and keeps them engaged until the end.

Here are some examples of good character growth in stories:

Katniss Everdeen in "The Hunger Games" by Suzanne Collins learns to trust others and become a leader.

Elizabeth Bennet in "Pride and Prejudice" by Jane Austen learns to let go of her prejudices and pride and become more empathetic towards others.

Harry Potter in "Harry Potter" series by J.K. Rowling learns to face his fears and take responsibility for his actions.

Frodo Baggins in "The Lord of the Rings" by J.R.R. Tolkien learns to sacrifice his own desires for the greater good.

Elinor Dashwood in "Sense and Sensibility" by Jane Austen learns to express her emotions and become more open.

Holden Caulfield in "The Catcher in the Rye" by J.D. Salinger learns to let go of his cynicism and find a sense of hope.

Ponyboy Curtis in "The Outsiders" by S.E. Hinton learns to appreciate the value of family and friends.

Scout Finch in "To Kill a Mockingbird" by Harper Lee learns to see the world from other people's perspectives and become more tolerant.

Andy Dufresne in "The Shawshank Redemption" by Stephen King learns to never give up hope and find redemption.

Hester Prynne in "The Scarlet Letter" by Nathaniel Hawthorne learns to stand up for herself and live on her own terms.

Jean Valjean in "Les Misérables" by Victor Hugo learns to find forgiveness and redemption through selflessness.

Atticus Finch in "To Kill a Mockingbird" by Harper Lee learns to fight for justice and become a role model for his children.

Bilbo Baggins in "The Hobbit" by J.R.R. Tolkien learns to step out of his comfort zone and embrace adventure.

Sydney Carton in "A Tale of Two Cities" by Charles Dickens learns to find a sense of purpose and redemption through self-sacrifice.

John Proctor in "The Crucible" by Arthur Miller learns to stand up for his beliefs and fight for what is right.

Scarlett O'Hara in "Gone with the Wind" by Margaret Mitchell learns to become more self-reliant and resourceful.

Charles Ryder in "Brideshead Revisited" by Evelyn Waugh learns to find a sense of meaning and purpose in life.

Captain Ahab in "Moby-Dick" by Herman Melville learns to confront his own obsession and find a sense of closure.

Marianne Dashwood in "Sense and Sensibility" by Jane Austen learns to find a balance between emotional and rational thinking.

Scout in "Go Set a Watchman" by Harper Lee learns to see her father, Atticus Finch, as a human being and understand his flaws.

Great news, you made it to the end of the basic novel outline! This is all you need to get started on writing your novel, and I'm excited for you to begin. Let's quickly recap what you'll need for your outline: a genre and sub-genre, a trope, a target audience, a word count, a chapter count, a two-sentence plot description, a more detailed plot description that covers the beginning, middle, and end of your story, and a chapter-by-chapter outline. For your characters, you'll need to include their names, brief histories, physical descriptions, personalities, outer conflicts, inner conflicts, and character growth. Once you have all of this information, you'll be ready to start writing your novel. Congratulations again, and happy writing!

Next up we'll be going into a bit more detail that focuses on world-building for fantasy or science fiction stories, anything that requires deeper world-building than a romance or regular modern paranormal fiction.

Going on from here, I won't be as detailed with explanations, what I'll be providing is mostly just information you need to get and it doesn't involve much hard research.

Races

Physical Traits:

Physical traits can play a huge role in creating unique and memorable fantasy races. By giving a race its own set of distinctive physical features, an author can make it stand out from other races and help it come to life within the story.

But physical traits aren't just about making a race look cool or interesting - they can also inform other aspects of a race's culture and history, making the story even more immersive and engaging. For example, a race with wings might have a rich history of flight, while a race with a natural resistance to fire might have developed unique technologies or traditions to harness that ability.

Religion:

Have you ever thought about the role of religion in a fantasy world? In many cases, it can provide a sense of depth and purpose to a race's way of life. Religion can shape everything from their beliefs and values to their traditions and customs, and even affect their interactions with other races and their environment.

By incorporating religion into your world-building, you can create a rich tapestry of different beliefs and practices that can help to shape the personalities of your characters. Whether it's through the way they approach challenges or the values they hold dear, religion can be a powerful tool for creating a unique and engaging fantasy race.

Here are something to think on while creating religions:

Deities and Mythology A. Different gods and goddesses B. Creation myths and legends C. Supernatural forces and entities

Religious Institutions A. Temples, shrines, and other holy sites B. Religious leaders and hierarchies C. Religious ceremonies and rituals

Beliefs and Values A. Moral and ethical codes B. Attitudes towards magic and other supernatural elements C. Relationship between religion and politics, culture, and society

Religious Conflict and Cooperation A. Religious differences and conflicts B. Religious tolerance and cooperation C. How religion impacts relationships and diplomacy between different societies

Culture:

Do you love exploring imaginary worlds filled with magic and wonder? If so, you'll know that culture plays a huge role in bringing these fantastic places to life. In a fantasy world, culture encompasses everything from shared beliefs and customs to art and social practices. By creating unique and vibrant cultures for each race and society, we can make these worlds feel alive and believable.

To craft a compelling culture for a fantasy world, we need to take into account many factors, such as the geography and climate of the world, the history and mythology of its inhabitants, and their level of technology. For example, if a society lives in a cold, mountainous region, they might have adapted their clothing and transportation to suit their environment.

In a well-crafted fantasy world, each race and society should have its own distinct culture that enriches the story and makes it more immersive. From the way they view concepts like honor and loyalty to the way they celebrate holidays and mark significant life events

Things to think on while creating cultures:

Beliefs and Values A. Religious and spiritual beliefs B. Moral and ethical values C. Attitudes towards magic and other supernatural elements

Social Structure A. Different classes and social groups B. Power dynamics and hierarchies C. Customs and traditions related to marriage, family, and social interaction

Art and Aesthetics A. Literature, music, and art B. Fashion and clothing styles C. Architectural and design styles

Technology and Industry A. Tools and weapons B. Transportation and communication C. Economic systems and trade

Language:

Language plays a crucial role in creating immersive and believable worlds. Language shapes the way people interact with each other and their environment, and can reflect the history, mythology, and values of a particular race or society.

In a well-crafted fantasy world, each race or society should have its own unique language or languages. This adds depth and complexity to the world, with the creation of new words, phrases, and even alphabets to reflect each race's unique linguistic characteristics.

Language can also be used to explore themes and ideas central to the story. For instance, the language used by those in power may reflect the power dynamic and make it difficult for the commoners to understand. In addition, language can create a sense of mystery and otherness. A completely invented language can make a fantasy race feel alien and distinct.

Furthermore, language can be used as a storytelling device, with characters translating between languages or struggling to communicate with other races. This can create tension, conflict, and opportunities for characters to learn about different cultures and deepen their understanding of the world around them.

Keep in mind that not every fantasy world or story needs detailed languages. If you prefer not to include them, that's okay too! However, if you're interested in exploring languages in your story, here are some factors to consider.

Language Families A. Different language families and their characteristics B. Historical and cultural factors influencing language development C. How languages relate to one another

Written and Spoken Languages A. Different writing systems and their evolution B. Spoken language and dialects C. How language shapes communication and relationships

Language Acquisition and Learning A. How characters learn new languages B. Cultural attitudes towards language learning C. The role of language in education and society

Translation and Interpretation A. How characters translate and interpret languages B. The challenges of language barriers C. The importance of accurate translation in diplomacy and trade

Magic

Having mystical abilities such as magic, mana, or superpowers can add excitement and intrigue to your story, but it's important to be mindful of how you use them. Many writers fall into the trap of creating limitless magical powers for their characters, which can make the story feel unrealistic and unsatisfying. To avoid this, it's helpful to answer a few questions about your magic system.

First, how does it work? It's important to understand the ins and outs of your magic system so that you can write your characters using it realistically. Knowing the mechanics of your magic system will prevent you from simply having your character magically power up in a crucial moment to get out of a tough situation.

Second, who can have it? Is there a criteria for who can use the magic or powers? Understanding why certain characters have magical abilities will prevent you from creating random characters that have the ability, and will also give your readers more information about your characters.

Third, what are the rules and limitations? Are there rules in your world about how the magic system should and should not be used? Are there physical limitations to what your characters can do? Setting rules and limitations will stop you from overpowering your character and will add conflict and tension to your story.

Additionally, it's important to consider how the general population feels about magic. Are there people who are against it, who hunt or experiment on those who possess it? Are magical individuals adored or seen as gods? Understanding how your world views magic will add depth and complexity to your story and create opportunities for conflict and tension. By considering these factors, you can create a well-rounded and engaging magic system that adds to the richness of your fantasy world. Here is a summery and some additional facts to think on when creating a magic system:

Types of Magic A. Elemental magic B. Divine magic C. Necromancy and dark magic D. Witchcraft and sorcery

Magic Mechanics A. How magic works in the world B. Limits and drawbacks to using magic C. How magic can be learned or inherited D. How magic can be controlled or regulated

Magic Users A. Different types of magic users B. Training and education for magic users C. Magic user communities and organizations

Magic in Society A. How magic impacts society and culture B. Magic in law and politics C. Magic in economics and trade

Magic in Conflict and Cooperation A. How magic can cause conflicts and tensions B. How magic can be used for diplomacy and alliances C. How magic can be used to resolve conflicts

History

Incorporating a world history into your story is an excellent way to add depth and richness to your world-building. By establishing a history, you can develop your world's cultures and religions, and intertwine it with your plot for added complexity. However, it's not necessary to have a history for the entire world's creation - just a basic overview of the setting where your story takes place is sufficient.

Another helpful aspect to include in your world-building is myths, lore, and major events that have shaped festivals or important days in your world. Additionally, highlighting significant historical figures can also provide valuable context for your story.

While it's not essential to introduce this information at the beginning of your story, it's a good idea to flesh out these details during revisions to ensure a cohesive and well-rounded world. This can help maintain consistency throughout your story and enhance the overall reading experience for your audience.

If you are creating an entire world history. Here are some things to think on:

Creation Myth and Cosmology A. Explanation of the world's creation myth B. Introduction of the cosmology of the world

Early Civilizations and Kingdoms A. The rise of early civilizations and kingdoms B. Development of early cultures and their impact on the world

Major Historical Events A. Wars and conflicts B. Great discoveries and inventions C. Natural disasters and calamities

Key Figures in History A. Heroes and heroines B. Villains and antagonists C. Leaders and rulers

Religion and Spirituality A. Explanation of the major religions and spiritual beliefs in the world B. Impact of religion and spirituality on world events and culture

Technology and Advancements A. Advancements in science and technology B. Development of new magic and spells

Current State of the World A. The current political and social situation in the world B. Ongoing conflicts and challenges C. Future possibilities for the world

Geography

Understanding the visual aspects of your story's setting is a valuable tool for crafting a rich and immersive world. By knowing the geography, you can better visualize how your characters will interact with their surroundings, what they'll wear, and what they'll eat. It can also play a major role in shaping the culture of the people inhabiting your world.

The geography of your world can even influence the physical characteristics of certain races, like those living near a volcano who may have tough, scaly skin to resist heat. Some key factors to consider when developing the geography of your world include the landscape, climate, weather patterns, natural resources, and the types of food available to your characters. These details can all work together to bring your world to life and make it feel like a fully-realized place with a unique identity.

Things to think on while creating your world geography:

Physical Features A. Landforms such as mountains, forests, and rivers B. Climate and weather patterns C. Natural resources and their distribution

Political Boundaries A. Different regions and territories B. Borders, boundaries, and conflicts C. How politics and culture influence geography

Cultural Landscapes A. Architecture and building styles B. Cultural and religious sites C. Impact of culture and history on the physical landscape

Mystical and Supernatural Features A. Magic and other supernatural elements B. Divine or cursed locations C. How these features shape the world

Politics

In the world of writing, it's easy to think that politics don't matter, especially when you're starting out. However, this is far from the truth. As you craft your story, there will come a point where your character will need to make a decision that affects the people around them. When others either agree or disagree with that decision, you're entering the realm of politics. In its simplest form, politics is all about how groups of people work together to make decisions and get things done. This can involve everything from choosing leaders and making laws to deciding how to use resources. In a fantasy world, politics can take on a different flavor. Different races and groups of creatures might be vying for control of territory or trying to gain power or fight for their rights.

The Players A. Different races and societies B. Leaders and powerful figures C. Factions, alliances, and conflicts

The Systems A. Government and governance B. Laws and regulations C. Use of magic and supernatural powers

The Issues A. Resource allocation B. Territorial disputes C. Power struggles and control

There are a lot of different factors that can affect politics in your fantasy world, and it's important to consider how your characters and societies will respond to them. Whether they're fighting for their rights, negotiating deals, or making compromises, the decisions they make will shape the world you're creating. So take some time to think about these things and how they'll impact your story

Technology

It's important to consider the level of advancement in your fantasy world. For example, if you're writing an old world fantasy kingdom, but there is technology present, your readers will likely be curious about where it came from, how it was developed, and who created it. Make sure to address these questions in your world-building

Here are some things to think on while working on technology for your world:

Types of Technology A. Explanation of various types of technology in the world B. Magic and technology: their relationship and interaction

Evolution of Technology A. The history of technology in the world B. Key figures and events that drove technological progress

The Creation and Distribution of Technology A. Who creates technology in the world B. How technology is distributed throughout the world C. Economic and social factors that impact technology development

The Impacts of Technology A. Positive and negative impacts of technology on society and culture B. Environmental impacts of technology

Limitations of Technology A. Constraints on technology development B. Limitations on the use of technology

Future of Technology A. Speculation on the future of technology in the world B. Potential implications for the world and its inhabitants

That's it! We are done! Cheers everyone! Great job on completing your detailed outline! Here's a recap of all the elements you should include: First, choose your genre, trope, target audience, and set a word and chapter count. Define your plot in 2-3 sentences, then expand it and break it down into beginning, middle, and end. Then create a chapter-by-chapter outline. For your characters, give them names, a brief history, physical descriptions, personality traits, conflicts, and character growth.

When it comes to world building, describe the geography and how it affects culture, politics, and history. Provide an overview of the various cultures, their practices and beliefs, and how they impact character interactions. Explain the political landscape, the systems, structures, and how they affect characters. Develop the world's history, including key events and figures that shaped it and how it affects the current state of the world.

Include an overview of the magical and technological systems in the world, how they interact, and their limitations and implications. Discuss the various religions, their beliefs and practices, and how they impact characters. Provide an overview of the languages spoken in the world and how they affect interactions between characters. Lastly, describe the various creatures and races in the world, their physical characteristics, cultural practices, and how they interact with each other and with humans.

For convenience, here is a scrivener template created with this style in mind and all the research is included in the template's resource folder. It's free, so don't stress and Download. Note that this is a google drive link. Simply Download and import into scrivener as a template.

Looking forward to seeing you again in the future! If you love fantasy, check out my free novel! HERE.

[phoen1xr0se]

New Fic on AO3: Don't Fall Away From Me

Thought I would be brave and post my post S2 fanfic - it's set shortly after the TRAUMATIC events of Season 2 and throws Crowley and Muriel together into an adventure neither of them expected when Aziraphale goes AWOL. Lots of angst, very fluff, a few giggles. Feedback welcome.

Image credit: @mistysblueboxstuff (AMAZING ARTIST)

Don't Fall Away From Me - Chapter One MURIEL

Today is my fortieth day on Earth as a human bookseller. It seemed important to keep records of my time here on Earth - after all, record-keeping is what I do best - and I was inspired by Mr. Fell the traitor the Supreme Archangel's own personal records. I discovered a whole heap of them at the back of the shop on my second day, and although I am unsure who "Diary" is, or what the purpose is of describing how a demon's hair moves in the breeze, I do very much admire dedication to accurate record-keeping. I will be keeping a log of my activities and the things I have learned about humanity.

Here are some of the things I have learned so far:

1 - There isn't much book selling that goes along with the job. Or interacting with humans, really , which is a bit disappointing. Rather, I sit in the shop all day and wait for customers that never come, and read. I like the reading, and I'm used to being alone after millions of years as a scrivener, so it's not all bad.

2 - Books are brilliant! They hold so much information, and somehow make you feel as if you are another person for a little while. I am learning so much about humanity by reading all their funny little stories. I still haven't quite figured out why humans do it, create wild stories and put them in print, but it's jolly good fun.

3 - Maggie (a human) is very kind. She comes in every morning and asks me if I want anything from the coffee shop. I always say no, of course, but she comes by anyway. She is always helping me to understand things better.

4 - Nina (another human) seems less kind but is actually nice. There is a human saying that says "don't judge a book by its cover" and I discovered that it doesn't actually describe books, but people who behave differently than their appearance might suggest. Isn't that funny? But it is a good description of Nina. Nina doesn't speak to me much but did give a bag of clothes to Maggie to pass on to me, which was super kind of her. After all, my human police officer outfit was no longer suitable, and I was a little unsure about miracleing myself a new outfit in case I got it wrong. As it turned out, apparently putting on every item in the bag was also a mistake, but Maggie helped me to fix it.

5 - Every night at sundown, a large black car drives slowly past the bookshop. I always try and wave to Mr Crowley but he doesn't seem to see me, which is odd as I believe he used to spend a lot of time here. This behaviour seems suspicious, especially for a former demon, which is why I am noting it.

Muriel closed the leather-bound journal with a satisfying clap and looked around the bookshop. The sky was darkening outside, and as if by magic, the flickering low-level lighting around the bookshop sputtered into life, casting Muriel and the books into a warm yellow glow.

"Three, two, one..." whispered Muriel, and, just as expected, they heard the low growl of an engine approaching. A black Bentley pulled into view, going as slowly as a car could. As always, Muriel approached the window and waved cheerily. From behind the wheel, the driver gave no indiciation that he had seen Muriel's wave - his face was set like stone and kept on driving, out of sight.

Across the road, Muriel saw that Maggie and Nina had also been following the car's movements from the coffee shop. They were exchanging words. Maggie shook her head and Nina's eyes met Muriel's. She raised her hand in a wave. Muriel went to wave back when they realised that Nina was actually waving at them to come over.

Muriel froze, flustered. They hadn't actually left the bookshop since being appointed to be its protector - they took the responsibility of protecting the Supreme Archangel's personal property very seriously indeed. But why shouldn't they venture out and interact with these humans? After all, they had been so excited to get out of the office and onto Earth, why waste an opportunity? It would look more suspicious to avoid them, Muriel decided, so they left the shop and crossed the street, smiling brightly at the two women.

"Hello Muriel," said Maggie, smiling. "I like your outfit today. Very... bright."

Muriel looked down at their choices for today, green knee length socks, a yellow corduroy skirt, a sparkly purple belt and a rainbow poncho. "Thanks! I love how much colour you... we... humans have to choose from. Colours are the best."

Nina and Maggie exchanged a look. "Hey, come inside for a coffee," said Nina. "We need to talk."

Muriel's face flickered with panic at being offered a beverage, but Maggie gently touched their arm. "It's alright, Muriel, you don't need to drink anything if you don't want to. It's just what... we... humans say sometimes as an excuse to sit and chat."

Muriel beamed. "Oh, well, of course, I knew that."

Muriel followed Maggie and Nina into Give Me Coffee Or Give Me Death, and let their eyes wander over the brightly painted walls. Sometimes it felt like their eyes couldn't take it all in, all the colour, all the EVERYTHING, everywhere. It was so vastly different from the infinite, empty whiteness they had been accustomed to in Heaven.

"Right," said Nina, after making two coffees and sitting down at a table in the empty cafe, "we need to talk about our friend Mr Crowley."

Muriel flinched. "He is not MY friend, I barely even know him. I mean, I arrested him once, but not really... and he's a de- de-" Muriel faltered, trying to think of a cover for her mistake.

"A... demon?" suggested Maggie softly.

Muriel let out a very unconvincing laugh. "A... what? A... no, don't be so... I mean, what are you... we humans don't believe in... in..." Their eyes flicked between Maggie and Nina wildly.

"It's okay, you don't have to lie," said Nina with a wry smile. "We may be human but we're not stupid. We know about Heaven and Hell and all you... lot," she finished lamely. "I mean I can't even believe that these words are coming out of my mouth, but here we are. I'm having coffee with an angel! I mean, I'm assuming you are, anyway - you don't strike me as the demon type."

Maggie smiled at Nina whilst Muriel struggled to find a reply. On the one hand, they were meant to be inhabiting Earth discreetly and it was entirely possible that they could get into a lot of trouble for having their identity revealed. But on the other, it would be so nice not to have to lie anymore... and Maggie and Nina had been so very kind to them so far.

"You don't need to worry, Muriel, we're not trying to cause trouble for you. I rather think we may have done too much of that already," said Maggie, her blue eyes clouded with worry. "Do you know what happened between Mr Fell and Mr Crowley on that day?"

Maggie didn't need to remind anybody which day she meant. Muriel shook their head. "No. Crowley said that he wanted them to have some "us" time at the Ritz, whatever that is, and then Azira... uh, Mr Fell, came in to tell him about his big promotion."

"Promotion?"

"Yes!" Muriel beamed, remembering. "You see, he was talking to the Metatron - that's the voice of God, you know - and he was offered the job of Supreme Archangel! Since, you know, Gabriel decided to go off with..." Muriel trailed off. They found the whole thing rather puzzling still. "So that's why I am here now, looking after the bookshop, and Az... I mean, Mr Fell, is, you know..." they pointed upwards. "Up there."

Maggie and Nina exchanged dark looks. "So... he left, then. And... how did Mr Crowley take this news?" asked Maggie. "After all, it seemed as though they had known each other for quite some time. Was he... okay?"

Muriel shrugged their shoulders. "I don't know. Apparently Metatron had told Mr Fell that he could restore Crowley into an angel and return to Heaven... but I don't see how that could have worked, after everything he's done. I mean, he is a demon, after all. I don't really see how any of this works. Mr Fell isn't exactly the first person I should think of when I think of a Supreme Archangel. I mean, he spends time with demons and humans, and... ingesting things..." Their eyes rested on the half-drunk coffee cups on the table and wrinkled their nose.

All three of them were silent for a moment.

"Well we know Mr Crowley didn't take him up on that offer, and we know that he's been coming by here every night since," said Nina matter-of-factly. "I think we can probably assume the poor man is heartbroken." Maggie nodded sadly in agreement.

"What... what do you mean?" questioned Muriel, looking quizzically at Nina.

"You know, Mr Fell and that Crowley. They're in love. We were trying to help them work it out so they'd stop hopping around the issue, but I feel like we were probably too late."

Muriel's eyes were wide as saucers. "In... love?"

Muriel felt a strange feeling pass through their body. They had read lots about love already, and not the celestial peaceful kind of love but the human kind - complicated, confusing emotional love - to Muriel, it all seemed a bit far-fetched but humans seemed to be totally mad about it! They'd read dozens of stories where humans did all kinds of incredible, unthinkable and unexpected things, and all for this very abstract concept of love. With a sudden sinking feeling, they recalled how many passages of Aziraphale's journal were devoted to describing the demon Crowley in painstaking detail. The description of his flame-red hair being tousled by a sea breeze and how the light would catch his shining yellow eyes. They recalled seeing Crowley drape across an armchair with barely an inch between him and Aziraphale. The way Crowley had called Aziraphale "angel" without a hint of irony. The way Crowley now stayed so close to the bookshop once owned by Aziraphale but refused to look directly at it.

Blinking, they looked over at Maggie and Nina, who had fallen into bickering over whether or not they had helped or hindered the couple, blithely unaware of the revelation Muriel was experiencing.

"I... need to get back to the bookshop now," said Muriel, standing up abruptly. "Thank you for inviting me for the 'coffee and chat'."

"Oh, okay... I also wanted to let you know that it's the monthly Whickber Street Traders and Shopkeepers Association Meeting tomorrow evening, I've had my arm twisted into holding it here. You'll come?" said Nina.

"It'll be a nice opportunity to meet some of the other traders," said Maggie with a reassuring smile. "If you're going to be sticking around a while, it'll be good for you to get to know the neighbourhood properly. And we'll be there in case you..." she paused briefly, "I mean, to help you if you need it."

"Er, yes, if that's what a human bookseller does then I will be there," said Muriel, pasting on a smile that didn't quite reach their eyes. They thanked Nina and Maggie again and returned to the bookshop, locking the door behind them and making their way to the small bedroom, the soft yellow lights extinguishing themselves as they walked by.

Muriel had taken over the bedroom that had been formerly occupied by Gabriel the amnesiac Archangel, and a small miracle had seen the tiny room turn a vibrant shade of lavender, and pictures of random things that Muriel had drawn lined the walls above their bed. Muriel changed into an oversized Back To The Future T-Shirt and climbed into bed. They had no need to sleep, but they had begun to spend their nights lying in bed reading and feigning sleep to keep up appearances. Tonight, though, Muriel's mind was whirring with brand new information, and they weren't sure that they would be able to concentrate on the unfinished copy of Persuasion on their bedside table.

After a few minutes of staring blankly at the ceiling, Muriel got up from bed and crept back into the bookshop. From Aziraphale's desk, they picked up a book bound in green leather and padded quietly back to bed. They held the book carefully in their hands and, despite having already skimmed through some of it, somehow realised that reading it this time would be quite different. What Nina and Maggie had unintentionally revealed to them, they knew, deep down, somehow changed... everything.

Taking a deep breath, Muriel opened the first page and began to read, and for the first time, also understood.

[literaticat]

I know no author HAS to be on social media. But it seems like the most tenacious ones are active online in some way. If I'm a painfully shy person who is socially awkward-- could that be a potential roadblock for an author career? 

First off: LOTS and LOTS of authors are "painfully shy and socially awkward." That's OK. Don't borrow trouble. Having a career as an author is already hard. There are LOTS of potential roadblocks out there. I'd suggest you not look for extra roadblocks to put in your own way. :-)

You don't need to worry about promoting your book if you don't even have a book. So if you want to get to a place where that's even a concern you MIGHT have, you start by doing the actually most important part: Write a great book. Then revise and polish it. Then look for an agent, or whatever your next step is. Etc. Just go step by step.

By the time you actually have a publisher and know that your book is really really coming out, a couple of things might have happened: The social media landscape might be totally different than it is today. And, more crucially, YOU might be different. I'm willing to bet that during this long process, where you wrote and then dug into this great book and got to craft and know everything about it, going step by step, you will have then had to talk to agents, then editors, then sales people, booksellers, other authors, etc about it. You will have interacted with increasing numbers of scary strangers lovely new people in a safe way, and realized that actually, book people are pretty much uniformly nice, they all LIKE you and your book, and you will at least feel pretty confident when you are talking about books, and your own work. You're probably never going to become an extrovert, or suddenly want to take on Open Mic nights at the Comedy Store -- but you'll be able to get through a normal business phone call or zoom, or quick back-and-forth email/text convo about book stuff, without really even thinking about it. You just WILL. I promise.

So then, at some stage, before your book comes out, whatever "social media" looks like at that time, you get a little account, and follow some of these folks. Follow your publisher and agent, as applicable, and authors you admire, and booksellers and librarians you meet along the way, and people who are interesting to you. Participate a little. If your friend is having a book launch, you can post about it. If you read a great book, post about it. If somebody says something funny or cool, like it. If somebody you like posts great news or an awesome review of their book, congratulate them. Take a cute picture of your pets. Then when YOUR book is coming out, you can add in talking about that as well, a little, and your buddies will like and post about that, too, because you are nice, and they are nice, and they like your book. And when YOU have good news or a book launch or a nice review, other people will congratulate YOU.

Aim for 15 minutes a day, just dip in and out. Think of it like the water cooler at work. When you work hard, it's NICE to take a break and catch up with your writerly colleagues for a few minutes here and there. You're not looking to be a Social Media Superstar or Influencer. The water cooler is NOT your job. But, just like when you work at an office, it's nice to be able to take a break, have a little corner of the internet where you can feel comfortable enough to wander over from time to time, share fun news or things that are interesting to you, briefly see what's up with your colleagues that day, share a laugh, or whatever, then go back to your desk to work. No stress.

If you can manage that (and I suspect you'll be able to!) -- well, you'll be in the top 50% of authors on social media without even trying too hard. And if you really can't manage it -- well, hey, you tried, it's not for you, at least make sure your website stays updated.

[whumpshaped]

For the character ask game, Helle and Beck's opinions on any of the Rare Bookseller characters?

I'd love Helle's opinion on Fitz or Beck's opinion on Lily

-- @oliversrarebooks

INTERESTING... it got long sorry-

"Miss Lily sounds... eerily... familiar, in a way," Beck says slowly. "And not in a good way. I'm sure she's a very nice person, really, I just... I think I've had enough of, uh..." He taps his temple. "People messing with my head and making me think and feel things I don't really want to. Is that rude to say when it's her job?" He squirms a little. "But, like, if I... if I had to choose... Well, no, never mind. She wouldn't even keep me, she'd just pass me off to some other vampire. That's mean."

"I might get along with Lord Alexander? I say might because I'm not sure he'd like me... I'm pretty sure I'd like him. He's as decent as a vampire gets, I think. I don't know. I feel like I'm being so weird about this, sorry." He's visibly uncomfortable as he tries to rate these people. He's thinking way too deeply about how he'd be rated.

"One thing I know, I'd get along very well with Oliver. I mean, if he thinks I'm okay, too. He seems reasonable, kind, and I think I could hang out in his bookshop and he could tell me some cool book stuff and... and I could tell him about how Christie made me work overtime for the third day in a row." His eyes light up. "Do you think he'd let me work there? I'd love that."

Helle is already grinning when you say the name. "Ah, the magician? The illusionist? I would love to get my hands on a fun little guy like him. I know a couple magic tricks I think he would appreciate. Besides, I think he would be splendid company!"

"I cannot lie, Oliver caught my eye as well... He is on the other end of the spectrum, I think. An utterly adorable, shy little human, as opposed to that charming showman. Both have their individual appeal. I would take either in a heartbeat."

They think some more, trying to decide how to rate the vampires. But then they simply shrug. "I do not get on well with competition, usually. I cannot say I care much for the bureaucracy of it all, either. An interesting concept, certainly, and I could very much see myself having fun training dumb humans... But only for about a month. They get so tiring."

[mimisempai]

Missing you comes in waves and tonight i'm drowning

Summary

Crowley may tell himself they've been apart a lot longer than that, but when Aziraphale leaves for the day with Muriel, barely a few hours have passed and he's already missing him. So when his eyes fall on Aziraphale's indoor vest, he can't resist putting it on. Can a piece of clothing make up for what's missing?

Notes

Thanks to a lovely person, one of my favorite trope : Sharing Clothes

On Ao3

Rating G -  1739 words

"Aziraphale!"

Crowley had just woken up and was coming down the stairs. He frowned when he heard no reply, then remembered that the angel had said he would be spending the day with Muriel and the Bentley, visiting various booksellers in the area who had contacted him.

Feeling a little lonely in the unusually quiet bookshop, Crowley figured he wouldn't be able to decide anything until he had his coffee fix and headed for Nina's.

He left the shop, crossed the street, and when he opened the door of the Give Me Coffee or Give Me Death, he was relieved to find that no one was in front of the counter.

"Oh, if it isn't Mr. Grumpy himself."

"Morning, Nina. That joke's getting old, you know. Especially since I pride myself on being grumpy."

Nina, a small smile on her lips, asked, "A Handsome Demon as usual?"

Crowley raised an eyebrow and asked, "Excuse me?"

"That's the name of your 6 shots of espresso now," Nina said casually.

Crowley asked, "And whose idea was that?"

Nina replied, setting the cup down in front of him, "Your sweetheart. I asked him what to name it, and this is the result. Here, your Handsome Demon."

Crowley blushed slightly, grabbed his coffee, and turned on his heels, leaving the coffee shop to the sound of NIna's light, mocking laugh.

He muttered, "Angel..."

On his way out, he saw Maggie waving and beckoning him into the record store.

Even though all he wanted to do now was sip his coffee quietly in the shelter of the bookshop, he went to the record store anyway. As he walked through the door, she exclaimed, "I see you have bought a Handsome Demon!"

Crowley started to turn around, but Maggie stopped him and said quietly, "Just kidding."

Crowley grumbled and asked, "Why did you call me here if it wasn't to make fun of me?"

"It's about Aziraphale."

Maggie immediately had the demon's full attention.

She continued, "I wanted to thank him for our little arrangement, and I was wondering if you had any ideas."

Crowley asked matter-of-factly, "Do you know how to bake?"

Maggie nodded eagerly as Crowley added, "Make him some French-style crepes and he'll be absolutely delighted."

"Oh, thank you, Crowley!"

She made a gesture as if to take the demon in her arms, but he stopped her, shaking his head, "I'd rather not, there might be gossip, and the way things are going around here, you better be careful."

Then he pointed to his coffee cup and said as he headed for the door, "On that note, I'm off to drink my Handsome Demon in peace, at home."

"Have a nice day... Handsome Demon!"

Crowley stopped himself from responding and muttered as he hurried back into the bookstore, sighing with relief as he walked through the door.

He grabbed his newspaper and coffee and dropped onto the sofa.

Finally, peace and quiet.

Aziraphale will pay for this!

Handsome Demon...

He tried to ignore the small pang of pride at being called handsome by Aziraphale, but he couldn't, and with a smile he began to read his newspaper.

"Angel, this is incredible, listen to this! A duck chased a-"

He stopped when he realized that the angel wasn't there, and when he looked around, his eyes fell on Azirphale's vest resting on the back of the red armchair. Immediately, he thought of the cozy evenings he'd spent resting against the angel and the softness of the vest against his cheek.

Calling himself a sentimental fool, he went back to reading his newspaper, but periodically, as he turned a page or took a sip of coffee, his eyes fell on the vest.

"It's only a few hours, you've been apart a lot longer than that."

The problem was that since he'd been living here permanently, everything reminded him of Aziraphale, wherever he looked. Inevitably, he missed him.

His eyes slid back to the vest.

Unable to resist, he stood up and grabbed the vest like a thief, before hurrying back to sit on the sofa as if he'd done something reprehensible.

He lifted it and buried his face in it, breathing deeply as the Angel's familiar scent filled his nostrils.

His comforting fragrance of bergamot, lemon, and a light touch of rose joined the scent of old books and tea.

He couldn't resist inhaling again.

Then, after looking right and left, even though he knew no one was home, he put on the vest. It was a little loose, but Crowley wrapped it around him and immediately, it almost felt like the Angel was there.

Once again, he called himself a sentimental fool, but he didn't take the vest off, instead he curled up in it a bit more before lying down on the sofa.

After all, he could indulge himself, since Aziraphale wasn't due home for another few hours.

So, wrapped up in the angel's warm, soft vest and soaked in his scent, he drifted off to sleep, dreaming that the angel was holding him in his arms.

********

It was dusk when Aziraphale walked through the door of the bookshop. Surprised to see no lights on, he called softly, "Crowley.

Receiving no response, he moved slowly forward, intending to put down his things and hang up his coat, when his gaze was caught by a figure moving slightly on the sofa.

As he approached, he couldn't help but gasp at the scene unfolding before his eyes.

Crowley was asleep on the sofa, not for the first time, but what was new was that he was wrapped in Aziraphale's indoor vest.

Aziraphale, deeply moved, gazed at him for several moments before tiptoeing to the back of the shop where he set down his belongings and quietly took off his coat before making himself a cup of tea.

He did it in a daze, so overwhelmed was he by the emotion of what he'd just seen. 

Crowley snuggled into his vest.

As the kettle whistled, he heard Crowley call out to him.

"Angel?"

He replied in a loud voice, "I'm making myself a cup of tea!"

Barely seconds later, Crowley entered the room and hugged him from behind before resting his chin on the angel's shoulder and asking, "Have you been home long?"

Aziraphale shook his head and replied, "Just enough time to put my things away and make my tea. And you, my dear, have you had a good day's rest?"

Aziraphale couldn't help but blush as he thought back to the scene he had just witnessed when Crowley said softly in his ear, "Yes, I'm fine. But I missed you. You've been gone a long time." 

The demon spun him around in his arms before burying his face in his neck. Aziraphale, delighted by Crowley's clinginess and vulnerability, wondered if it was possible to die of an emotional overdose. He wrapped his arms around Crowley and they stayed like that for a few moments.

"How was your day?" asked Crowley, stepping back a bit.

Aziraphale appreciated that more than anything. Crowley's genuine interest in everything he did. The demon didn't ask the question out of politeness, but listened to everything Aziraphale said, made his comments, gave his advice, sometimes mocking a little, but always respectful.

Nothing to do with cold reports to heaven, only to find indifference at the end.

They chatted until tea was ready, then returned to the sofa and sat down. It was then that Aziraphale saw that the vest was in its place on the back of the armchair, as if it had not moved all day. 

But he knew that was not the case.

He couldn't stop the questions running through his mind. 

Was this the first time? 

Why had Crowley done this?

As Crowley recounted his day, Aziraphale's eyes were constantly drawn to the vest, until Crowley caught the direction of his gaze and said softly, cheeks slightly flushed, "I take it you saw me?"

Aziraphale stammered a little, "...yes, I didn't know you were there when I came in, and as I walked by I saw you were wearing it. I couldn't help but look over. Hm... I... how can I put this... uh... do you do that a lot?"

Crowley shook his head, "It was the first time."

Aziraphale scratched the back of his head and asked curiously, "And while I don't mind, may I ask why?"

Crowley said nothing, but stood up and grabbed the vest before letting Aziraphale put it on, then sat down next to him, embracing him and resting his head on his chest.

"Now put your arms around me, will you?"

Aziraphale, confused, obeyed anyway and wrapped his arms around Crowley.

Crowley's voice came to him, muffled.

"That's why I did it, you weren't there and I missed you, I know we've been apart longer than that, but that's the way it is. So when I saw your vest, I thought of you and there you go..."

"Oh Crowley...my dear, you are so ado-"

Crowley grunted and interrupted, "Stop, not a word. I know it's ridiculous, and I'm embarrassed enough as it is. And I'm not ado... adorable, I'm a demon and handsome, by the looks of it."

Aziraphale chuckled softly and replied, "I won't apologize for that, and if I'm not allowed to say a word, then let me kiss you to express everything I'm feeling right now."

He didn't wait for Crowley's answer and, grabbing his chin, lifted his head to give him a soft, tender kiss. A kiss filled with devotion. Aziraphale was overcome with emotion at the thought that Crowley had missed him so much that he had comforted himself by putting on his vest. Simply because it reminded him of his presence.

When their lips parted a little later, still holding the demon against him, he said softly, "You don't have to be embarrassed, you know. And even if you don't want to hear it, I think it's really sweet."

Crowley grumbled, "Aziraphale, I swear, if you don't shut up."

Aziraphale couldn't help but laugh and added, "But that's okay, I'm the only one who knows, my adorable de-..."

Crowley growled again, but this time it was he who pressed his lips to the angel's to silence him.

However, the kiss did not change Aziraphale's mind.

It was as sweet and tender as the demon who gave it to him.

His adorable, handsome demon

_________

Still not beta'd

Still not my native language

Still hoping you'll enjoy this story  🥰

Still thanking you for bearing with me 😝

Ineffable Growing Love series : here (After season 2)

Ineffable Husbands masterlist : here (Before season 2)

[jazzythursday]

Hi!

Your writing is so beautiful! Your characterizations of Wylan and Jesper are incredible in your oneshots and especially in Everyday, Just a Little or a Little Bit. Seriously, I think about that fic all the time. It's perfect. Sweet and angsty, domestic and wholesome. Are you interested in writing more for Wesper? Do you have any more ideas or WIPs that you'd like to write?

-sixofcrowdaydreams

I’m crying? This is incredibly sweet thank you so much 🥹💖

Wesper and the crows literally got me through the last year and are still my main source of serotonin atm so I promise I’m not even close to done writing about them yet!

I also think about Everyday… every day lol, I really do. I have a handful of offshoots and bonus scenes from that fic I still want to write/finish (Jesper’s pov of a few moments, his talk with Nina after Wylan leaves in ch3, so much with the bookseller from ch1 etc), along with a few wips and a giant list of ideas I haven’t even started.

Currently I’m working on my gift for an exchange we have going over on the @i-can-read-to-him server (which is becoming both incredibly stressful but also so so exciting with every scene I write) I wish I could talk about it but it’s a surprise™️ for the moment. It will hopefully be ready to start posting next week!

Until then, here's a snippet from one of the bonus scenes in Everyday. It's from the part in ch2 where Jesper comes back to the Slat after being jumped by debt collectors. (Fun fact: the original scene was supposed to be this version, but when I actually went to write it it was feeling too clunky with the rest of the chapter, so I changed it to the posted version)

Wylan wakes up alone one morning. 

He knows, immediately, that something is wrong. The only disturbance of the covers has been made by himself; the other side of the bed is untouched, except for where his hand had landed on Jesper's pillow during the night. The rest is left unruffled and empty.

He hadn’t come back.  Jesper had been sent on a job the night before that hadn’t needed a demo man. Wylan told him he’d wait up, and Jesper told him he didn’t need to. Wylan had planned to wait up anyway. 

Apparently, it hadn’t worked. Wylan does not remember falling asleep, and yet it’s undeniably morning now. Still early enough that the sun isn’t quite peeking through the curtains, but he can tell it will soon.

He tries not to get worked up. He gets worked up anyway. No matter how much he tries to rationalise it, there is a deep pit growing in his stomach, convincing him that something is very wrong. He gets out of bed and leaves the room. He doesn’t bother with boots, just creeps down the hall in his socks.  It doesn’t take long to hear voices. They filter out from Kaz’s office, freezing Wylan in place.  “You still might need a medik,” he hears—Nina’s voice. She sounds tired. “How many times do I have to tell you two I wasn’t trained for proper healing?” 

“You're doing fine.” Jesper. Jesper’s voice. He sounds… dim is the only way Wylan can think to describe it. Tinny. Like the rich, mellow timbre of his words have been syphoned off into something thinner. He coughs wetly. “Gold stars all around Neens, really.” 

“I’m not above knocking you out, you know,” Nina says, but even without being in the room he can tell there’s no real threat in it. It’s soft, fond, and concerned.

Wylan’s heart feels like it’s detached from his chest. Like it’s somewhere else entirely, and wherever that is, someones squeezing it very tightly. He walks closer, almost hovering outside the threshold. He places a hand on the knob. 

It’s been a very long time since Wylan has felt out of place with the Crows, but as he opens the office door, he cannot help but feel—not unwelcome, but uninvited, and left out of the loop.

Unnecessary, his mind supplies, and he tries very, very hard not to give it a chance to amend, worthless. 

He balls up the cuffs of his shirt—it’s one of Jesper’s, though Wylan can’t remember when he’d taken it up as his own. Long enough that it doesn’t smell like Jesper anymore, just Wylan, which is a tragedy—and casts a look around the room, feeling awkward and out of place and comparatively underdressed in only his sleep clothes and socks. 

Kaz looks as he always does, except worse. His hair is falling uncharacteristically messy over his face. He turns sharply from where he’d been facing the window when Wylan enters, eyes even darker than usual.

Nina looks worried, a deep weighty frown on her face as her hands press against Jesper’s abdomen. 

And Jesper looks— 

“What happened?” Wylan balks.  Everyone is staring at him now, and Wylan hates it, hates this, but it all pales in comparison to the awful feeling tearing itself through his chest at the sight of Jesper, Jesper’s face—

“Jes—” Wylan’s voice breaks.  

“I’m fine,” Jesper assures quickly. Nina scoffs. She takes her hands away from Jesper’s stomach to cross them over her chest. “I’ll be fine. I’ll be fine!”

“You’ll be fine when I say you’ll be fine,” Nina mutters.  

Jesper tries to smile at Wylan, tries to give him a surreptitious thumbs up with the hand farthest from Nina, tries to wink of all things. It doesn’t make Wylan feel any better. It also looks like it hurts, because both Jesper’s eyes are puffy and red, and the side of his face sports an angry mark that’s still bleeding sluggishly from his eyebrow. His jaw looks sort of swollen too, and he grimaces at his own smile, so it must hurt.

Looking at it makes Wylan want to cry, so instead he looks at Kaz. 

“What happened?” he asks again, very quietly. 

“Debt collectors. And an idiot.”

“Kaz!” Jesper protests. Kaz shoots him a glare that pierces slightly duller than usual, which makes Wylan worry even more. “It’s not as bad as it looks.” Jesper tries again. 

Wylan doesn’t respond. He keeps looking at Kaz. 

Kaz sighs. He sweeps his hair back in its usual style and pushes up from the window. “He’ll be fine. It’s not good, but nothing with debt collectors ever is. I’m working on it.”

This ask was such a lovely thing to read on a very tough day, so again, ty 🥰

[olderthannetfic]

Book recommendation anon here

Yeah you've hit the nail on the head. But also made me question if I know what I want looool. As things stand, the books I read of whatever genre are overwhelmingly straight and it makes me a little sad. I'm not looking for tropey things and yeah, when I search for lbgt fiction that's not what I want either. I guess i just want to find the books that are about gay relationships in the way that gen books are about straight relationships. I don't even need it to be a b plot! The older I get the more it feels that anything I buy in a highstreet bookshop is set in an au in which lbgt people do not exist. Does that make sense?

I know I can go to lbgt booksellers but I don't know how to avoid books that are centred around being gay. I guess, I feel like the real world has moved past 'gay' being a sticking point and I live my day to day life crossing paths with lbgt people just living their lives and then everything I read that's not fic is just lacking that. I know that is largely because of how new it is for lbgt life to be like this. Published fiction is 99% straight. But I guess I wish there was somewhere I could go to speak to other readers who happen to be lbgt but are readers first and for them to go 'oh I really liked this character, he was just like me or my friend or my partner'. I guess I just want background gays? Or main characters who happen to be gay but that's not the story.

Your books look fun actually! I think I'll check them out.

I'm a complete genre whore which is part of the problem lol. I'm not looking for 'gay scifi' or 'gay romance' I just want some of the books I read to represent the world as I see it. I love mystery books, thrillers, adventure stories, I'll read any kind of fantasy (not a great fan of really long series cause I either lose time and read 7 books in a few weeks or I lose interest half way), I'll read historical works. Ones set in mundane real life, ones set in created worlds. I try and avoid stories that are too scary lol as I get really taken in by them, but I do end up reading quite a few of them anyway. I do love a romance tbh but it has to be done well and I've never been able to figure out exactly what I want from them. A lot of men in het romance books are frankly terrifying, and their love interests wouldn't know a red flag if it hit them in the face. I don't like anything that's too forgiving of its characters i guess? I want them to feel real and part of that is them having the humanity to make mistakes but if I feel like the author doesn't Know they've written a Bad Person tm I get weirded out lol. Nothing better than a misguided character that the author has fully intended to be misguided. I don't need them therapised. I do like an acknowledgement from the author that people aren't good or bad and I like the characters I read to show that. I love a sympathetic bad person. And... this is telling you nothing about what I like to read lol.

I guess the main thing is that I'll read anything as long as it grips me. 'Well written' is very subjective isn't it. I want to be caught up in it, I don't want to be thrown out of the story by dialogue I can't follow or an arc which even the author doesn't seem to be sure of. I don't actually mind overly flowery writing, I love learning new words lol. But really long sentences annoy me (very hypocritical I know. My formal writing is about as convoluted as this). I'm pretty forgiving of most things if I like what I'm reading tbh. I'm not a past tense purist and I'll put up with a inconsistent character if I can see they are supposed to be like that.

I read the seven husbands of Evelyn Hugo recent-ish ly and I liked the f/f relationship in that. I've enjoyed Sarah waters books which are historical lesbian romance, so I'll def go for 'lbgt fiction' I just need other stuff going on. I need an actual story, not just a coffee shop au plunged in to a original story. Honestly if you go for space opera at all, you should read a matter of oaths, it was fab. I was guessing right till the end, did not expect it at all. The only thing I'd change about it is I'd love more tbh. A sequel would be fab. I love things with twists, so I'll read just about any kind of mystery. Anything where the narrative is untangling a story that already happened is fun. I enjoy gillian flynn, David Mitchell, honestly I'll pretty much read anything. I get a lot of my books second hand or from my libraries ebook service (this is pretty limited) so I read a lot of the award winners a few years late, where everyone bought it and now I can get it cheap. That said I've never had any interest in fifty shades or any popular ya books in the years since I've been a young adult lol. I mainly want to read about people around my age. 30s or so if it's more of a mundane life story. If the story takes you outside of every day life then I care less about ages. I've read some great stories with older protagonists.

Hmmmm I guess I don't know enough about what I'm looking for for ppl to recommend actual books which is fair enough as I'm massively picky and that doesn't work with ppl I know Irl either but like... where are you guys going for book reviews??? I'm gonna check out what ppl have mentioned in the notes of that post but yeah i think i need some go to places for reviews. Maybe that's where I should be starting.

--

It's definitely a problem. I'm not big on gay lit myself for similar reasons.

As far as I know, mystery has a longer history of including more queerness, though of course, the farther back you go, the more of it is tragedy.

where are you guys going for book reviews???

Frankly, nowhere.

All sources of queer book reviews I've found have been completely useless to me. Only lists of what exists have been useful, not lists that try to tell me what's "good".

I'll google "gay werewolf FBI" and then judge for myself what's garbage and what's at least up to the level of bad fic I'd read anyway. I've found plenty I've liked well enough to read. I haven't found so much I'd unequivocally rec, especially if someone is looking for high quality prose.

And horror of horrors, a lot of authors I once liked seem to have reacted to pandemic stress by taking all of the conflict out of their books.

[oliversrarebooks]

*Points with pointer.* He's my fictional bastard, I will cherish him.

Jameson is a bitch. But I love that about him. You say he ain't it but Oliver, Oliver, Oliver, he's so blunt. Isn't that sexy? 😛

*I'm playing, I'm playing, I'm playing. (I thought it was funny, but I wanted to explain. Cause reading tone over the internet can be hard.)

I am here on business. *Points with pointer.*

-i take it since we've seen 2 vampires be vocal

*alexander, Lily

- and 2 with hands

*Miss Florence (love her)

*Fitz

and we saw hands first? but also lily can use her hands for enthrallment? = hands are the most common way.

*this is how I surmised.

But I wanted to read your thoughts.

Love bookseller, love all these characters, am starting to crush on Miss Florence too, and yeah, I look forward to the next update on whatever its going to be, they're always good. I aspire to be able to captivate the way you do, ugh, in love with your writing as a whole tbh. 🥰 <3

Miss Florence is a fun character to me, glad you enjoy her!

Not all vampires have a special mesmeric power, we're just reading about the ones who do because that's what I like. I'd say a combination of voice, proximity and eye contact is what most vampires use.

There's nothing supernatural about Lily's touch, her power is all in her voice. But catching a subject's attention with fluttering fingers or a soft touch can help them sink into trance faster.