#developing a novel. how to develop a novel idea

[aizawashuichi]

I genuinely like Watari. I think his character is funny overall and has so many twists and turns, like you wonder how many things he can do. Sniper, chef, inventor, L’s right hand, etc. He’s so versatile that is comical and so unpredictable for being an old man. I love that.

Also, that one interaction with L, in which he tells the task force about the fund, because it was getting pathetic, and L is like: “who tf asked you” is iconic.

I believe he fucked up with the Wammy’s House when he decided to create the successor programme and put some fucking kids in it, because before L, it was just a normal orphanage in my opinion and, even after L’s arrival and his stay there, not everyone was part of it (Linda for example).

And he has several other orphanages, so while I think the successor programme like that is fucking weird and I strongly believe he was pretty much absent from these children’s lives, that doesn’t make him totally morally corrupt (like, sometimes I see him talked about even worse than fucking Light lol).

And if I must be totally honest, I feel like this fucked up thing is just something the author added in because he needed to, but didn’t think things through completely. I don’t know, he needed someone to succeed L, but not an adult when L died, because he didn’t want to make them old and needed the time skip to show that Light took over the world, so he thought “okay let me make them kids so they grow up and become adults and they can go after Light, but also, where do I take these kids? I can’t just have some parents give their children away, so okay, L is an orphan, so I’m going to take them from his orphanage, but how do I make it happen? Let me make a successor programme for them” and yada yada.

It’s a very superficial idea and doesn’t take in consideration how the characters are affected by it. Just like Misa’s imprisonment. Completely overlooked how she felt and if that affected her whatsoever.

Also, I feel like… L wouldn’t allow that. I just don’t think he would look at a bunch of kids and think: “yes, I’m going to put so much pressure on you that you’ll end up killing yourself at the mere age of 12 (Near’s age when L dies for example)”… like, what? I know L probably thought he would become old, retire and leave his job to someone in thier idk 40s? But I believe he would take in consideration the possibility of him dying way before. He even talked in the manga about him dying, so, it just feels wrong and out of character to do that, to put kids in the successor programme, knowing how hard his job is and all.

In short, for story’s sake, this thing was added in and never fully explained.

That doesn’t mean I excuse Watari, because he still created an environment that was extremely toxic for children. Putting a bunch of “smart” kids in the same place, showing them they are only there because they showed to have a talent, would obviously create competition, feelings of insecurity and inferiority, etc.

That is even without the successor programme. It’s the Wammy’s House. Only if you are sure in your abilities and you don’t let yourself be crushed by the system, you can easily live there. E.g. Matt didn’t fucking care and, while he was good at computers, he spent most of his time playing videogames. Linda had her own thing and became a famous painter, and the Wammy’s gave her the possibility to practice her talent.

We don’t have many other kids, in or out the program (which proves that this wasn’t well developed, because… Just two kids in the canon as actual successors? A and BB are from another novel entirely), and we know how Mello and Near are.

TL;DR:

- Watari: fun character in the canon manga; making one (1) orphanage based on intelligence, kinda weird, but I can get what he wanted to do. If I have to pretend that the successor programme was intended to be perceived as we do, fucked up thing. That’s inhumane. Poor kids.

- Wammy’s House (no successor programme): good if it accepted everyone, bad in practice, detrimental for the kids who have self-esteem issues, are prone to stress and anxiety. It’s okay for those who just need material support to develop their abilities.

- Successor programme: made up of kids? Literally, what the fuck. Made up of Wammy’s adults? That would make much more sense.

[novlr]

I’m not sure where the heart of my story is. How do I figure out the theme of the story so I can flesh out the details (without changing my mind next week)? Do you start with a theme and build a story around it, or does the theme emerge as you write?

Themes are so personal, and different writers with different goals will approach it differently.

Many writers struggle with pinning down their themes, and it’s no wonder. Themes are deeply personal, emerging from our own experiences, beliefs, and the questions that keep us up at night.

Some writers meticulously plan their themes before writing a single word, while others discover them organically as their story unfolds. Neither approach is inherently better. Personally, I do a mixture of both. What matters is finding a process that works best for you.

What is a theme?

At its core, a theme is the central message or underlying meaning of your story. It’s what you want your readers to take away after from the story after they’ve turned the last page.

Your story’s theme is the truth or observation that your narrative explores. This can work on multiple levels:

Universal themes are the big ideas that resonate across cultures and time periods, like love, grief, redemption, power, or identity. These broad themes give your story a foundation that readers can connect with.

But themes can also be more specific and nuanced. A story about a chef might explore the theme of “food as memory,” examining how tastes and smells connect us to our past. A novel about siblings could delve into “the complexity of shared childhood trauma,” looking at how different people process the same experiences.

The most powerful stories often layer these themes, perhaps combining a universal theme like “the search for identity” with a more specific exploration of “how social media shapes modern self-expression”.

Starting with a theme

Some writers like to have their theme tied down before they write. Personally, I take a hybrid approach. I usually have a universal theme I know in advance that I want my story to cover, but I let myself discover the more specific themes as the story progresses. But I know many writers who work theme-first and develop the story around it.

Starting with a theme can be like having a compass for your narrative. It guides your creative decisions and helps you stay focused on what you want to say.

Benefits of starting with a theme

When you begin with a clear thematic intention, you gain:

A strong sense of purpose and direction.

A framework for making plot decisions.

Clear character motivations and arcs.

Natural unity across story elements.

Built-in conflict possibilities.

Focused opportunities for symbolism.

How to develop story from a theme

Let’s say you want to explore the theme of “sacrifice for family.” If you knew this in advance, you might consider the following when developing the plot. It may help you:

Create characters who embody different views on family obligation.

Design plot points that force difficult choices between personal desires and family needs.

Build a setting that reinforces the weight of family legacy.

Develop subplots that echo or contrast with your main theme.

Include symbols and motifs that reinforce ideas of family bonds.

These examples are to a specific theme, however, the same can be applied to almost anything. If you know your theme in advance, all your character, setting, and relationship decisions will combine with that knowledge so you can be targeted in how you approach them.

Making it natural

The tricky thing about having your theme fully decided before you start writing is that it can be hard to let your theme inform your story without dominating it. Your readers shouldn’t feel like they’re being taught a lesson, which can very easily happen if you overwork your theme. Instead:

Let your characters struggle with the theme in natural ways. Treat them like people and let them react to situations that way.

Allow for complexity and nuance. Not everything has to be simple or easy to understand.

Include moments that challenge or question the theme.

Balance thematic elements with a well-paced plot and character development.

Leave room for readers to draw their own conclusions. Don’t spoon feed them all the information.

Discovering your theme through writing

Letting your themes emerge naturally as you write can be like archaeology. You’re carefully uncovering the meaning buried within your own subconscious as you write. Some of the most profound themes come from this process of discovery, revealing truths you didn’t even know you wanted to explore, but it does require you to pay attention to yourself and your writing process.

A theme won’t necessarily just jump out at you. You have to be open to the process of discovery and be willing to make changes and edits when you finally settle on what you want to say.

Benefits of discovering theme

When you allow your themes to emerge naturally, you gain:

Thematic development that grows from your story, rather than building your story around it.

The freedom to explore your narrative without your own preconceptions.

Layers of meaning that surface organically.

Themes that will surprise you, and therefore will also surprise the reader.

How themes emerge through writing

If you’re letting your themes reveal themselves to you as you write, then there are some things you’ll need to pay attention to as you go. These might include:

Character decisions and their consequences.

Recurring patterns in your narrative.

Conflicts that keep appearing in different forms.

Questions your characters frequently wrestle with.

Imagery and metaphors that naturally arise.

For example, you might start writing about a character leaving their hometown, focusing on the plot and character development. As you write, you begin to notice patterns. Perhaps every major decision involves choosing between comfort and growth, or your descriptions keep returning to images of roots and wings. These patterns can reveal deeper themes about belonging, self-discovery, or the tension between stability and change.

How to recognise and develop emerging themes

Once you notice potential themes in your work, you must:

Pay attention to recurring elements in your story. Make sure you’re not overusing them, and that they form something cohesive.

Look for connections between different plot threads. If you mapped them all out, is there a unifying strand that connects them all?

Consider what questions your characters keep facing. What are there primary conflicts, and do they have any connections?

Notice patterns in your metaphors and imagery. Do you use certain imagery regularly? What does it mean to you?

Think about what draws you emotionally to certain scenes. What did you have the most fun, or the hardest time writing? Why do you think that is?

Allow yourself to explore unexpected thematic directions. Did your plot move in a direction you weren’t expecting? Is there any underlying meaning to that shift?

Practical ways to develop theme

No matter what point of your plotting or writing journey you decide to look at theme, here are some questions you should always ask:

Look to your characters: What do they want? What are they afraid of? What lessons do they learn? How do they change?

Examine your plot: What conflicts arise? What choices do your characters face? What consequences follow their actions? Are there any patterns that emerge?

Look to yourself: What subjects interest you? What questions keep you up at night? What experiences have shaped you? What beliefs drive you?

Draw from real life: What universal struggles affect you the most? Which human experiences touch you emotionally? What social issues are you passionate about? Is there any moral ambiguity you see in the world around you?

Questions to ask yourself

When developing themes, consider:

What questions does your story ask (even if there’s no clear answer)?

What truths does it reveal?

Why does this story matter?

What do you want readers to think about?

How does your story reflect human experience?

Whether you start with a theme or discover it along the way, what matters is creating a story that resonates with meaning. Trust your creative process. Whether you control the narrative completely or stay open to discovery, just make sure you have something to say.

[rozmorris]

Same old same old – how to write a novel that doesn’t repeat your other novels

I’m starting on a new novel. And I don’t want it to be too similar to my previous ones. Is that possible?   The idea began with a setting. It would be easy to populate it with characters and problems, but there’s a danger they will be very like the characters and problems I’ve told stories about before. Instead, I want to see what happens if I resist my ‘usuals’. What might I find? But how…

[thewriteadviceforwriters]

🔪 3 Plot Twists That Slap (and 1 that should be arrested) 🔪

hello and welcome back to me yelling on main about storytelling crimes. today we are talking about plot twists. specifically: the good, the god-tier, and the why-would-you-do-this-i-trusted-you tier.

let’s go.

✨ The Twist That Reframes Everything ✨ a.k.a. the “wait. WAIT.” twist. This is when you drop a twist that doesn’t just add drama - it recontextualizes the entire story. It makes the reader go back and reread earlier scenes like “was this character ALWAYS sketchy or am I just stupid??” It retroactively changes the emotional weight of everything that’s happened. Suddenly that offhanded comment in chapter three hits like a brick. The romance subplot becomes 500% more tragic. The villain’s motive makes SENSE now. Delicious.

✅ Best used when: the breadcrumbs are subtle but real. The twist shouldn’t come out of nowhere - it should feel inevitable in hindsight. Like Sixth Sense, Knives Out, that one betrayal in your favorite anime you still haven’t recovered from.

2.🧨 The Emotional Betrayal It’s giving: “i would’ve died for you” energy. This is the kind of twist that hurts. You thought they were loyal. You thought they cared. They did care - and still did it anyway. Or they never cared, and now you’re spiraling. This twist slaps because it’s not just about plot, it’s about trust. It stabs the characters AND the reader in the same motion. Bonus points if it’s a slow burn betrayal. Bonus bonus points if the betrayer feels genuinely torn up about it.

✅ Best used when: the reader is emotionally attached. Don’t waste this one on a side character we barely know. Save it for the love interest. The best friend. The mentor figure with dad energy. Make it personal. Make it RUIN lives.

3. 🧊 The “They Were Dead the Whole Time” but Make It Interesting Listen. This one’s risky. It’s a classic for a reason but also easy to flop. But when done well? Haunting. Creepy. Unhinged in a gorgeous way. It doesn’t have to be death either - maybe the character’s been possessed. Or they’re not real. Or the narrator’s memory is lying. The KEY is to not lean too hard on the shock. Lean on the vibes. Give it eeriness. Make it a slow unraveling. Give us dread. Give us melancholy. Give us psychological decay with a side of unreliable narrator.

✅ Best used when: you’re writing something surreal, gothic, speculative, or emotionally weird. This twist isn’t about plot logic, it’s about atmosphere and emotional rot.

🚨 The Twist That Should Be Arrested: “It Was All a Dream” 🚨 I’m sorry but. no. if I read 80k words of someone’s descent into madness just to find out it was their stress dream and now they’re normal again?? I will throw the entire book into a lake. This twist erases tension instead of escalating it. It invalidates everything the reader emotionally invested in. It’s the narrative equivalent of gaslighting. don’t do it. UNLESS - and this is a big unless - you’re doing it with INTENT. Meta intent. Dream-within-a-dream psychological horror intent. If you’re gonna do it, it better haunt me. It better RUIN me. Otherwise? Into the lake.

okay that’s all. go forth and commit plot crimes responsibly. bonus points if you use all three Good Twists in the same story and then look me in the eye like “oh was that too much?”

it wasn’t.

tag me when you emotionally destroy someone with it.

🕯️ download the pack & write something cursed:

[tricoufamily]

did my challenge <3 came up w this story about a hitman who falls in love with his boss's new fiancé and they have an affair

[cowboy-robooty]

im not going to lie i have an illuminati type theory that fanfiction has gotten so fucking bad recently as yet another consequence of the pandemic

[shinene]

HELLO~! I'm really bad at posting,, but i figured it would be good to share my visual novel here~!!!!!!!!!!!

Limbo Puppet Theatre Demo is available on itchio (click) ~!

It's a vn about being a fresh new puppet in a strange place deep at the bottom of the universe ! Limbo~!

To my fellow DCA fans, my DCA OC is a main character also um glances at you

IF YOU DECIDE TO PLAY IT I GIVE YOU MY HEART AND SOUL 💖💖💖

[vaniliens]

Im not even sticking around for the drama that stuff gives me heart diseases im just here to see where this guys gonna lead us and to make fun of him if it ends up bad and ignore it if it was good

[teh-nos]

repeated note to self: AVOID FANFIC REDDIT D: D: D:

[mothprincess]

ugh. i need to spend more hours on my personal projects and streamline them or smth. i have too many that i'm half-assing and i barely touch them. i've been doing the same unfinished projects for years and/or much of the pandemic. but at least i haven't given up on them? a bonus, i guess. i feel like you don't have to give up on these things... ever, really. they'll still be there later (but i do want to finish something, eventually) i don't think of coding as personal projects, so that eats up a lot of my time. i'm building my portfolio slowly but surely...

[silusvesuius]

i legit love when a character's gender is so integral to their personality (and perception obviously.) like so concrete that if genderbent their whole shtick would just be absolute dookie. anyways i'm just writing this text so i can talk in the tags (My beautiful safe haven)

this 14 minute song is soooooooooooo FYRE

[ying-doodles]

me when I'm rereading tged, staring at the "read for free with daily unlock!" when I've already paid for the whole novel like:

[schreibvibe]

Me every time I watch an LS project where he shares too much chemistry with his costar that writing fics about them isn't enough, I have to create whole new OCs by combining bits and pieces from their various characters and think up a million scenarios for said OCs:

[fatelcved]

i drank some wine, got possessed with the need to write about alvina and levina bc they're gonna be important for ciaran's story as well as the overarching story, hit a lil wall bc it became more like a scene out of a book than an info post, and now i'm like. what do i do :' )

[grumpyoldsnake]

Well. So.

I did not write any of the things I planned to write today

BUT

I did write 1000 words for Taking the Long Way, and had a lot of fun with the scene I was writing :D

[rozmorris]

From flash of lightning to finished novel: a writer's survival guide

Your muse is a gift and also a curse. It blesses you with a big idea, slaps it on the desk like a mad boss and runs around cackling about how clever it’s been. ‘Build me a tower with twiddles on top,’ it says, which sounds fun and entertaining and, in that heady moment, profound. After that the boss doesn’t turn up for work. And you realise your boss’s plan is idiotic, you didn’t understand it…