🌀❤ 2, 5, 15, 26 ❤🌀
Aaaah okay hi. Oof some good ones but also some tricky ones to answer. Sorry, this will be long 🤪
2. When you’re writing a new story, what is the one thing you need to know before you can start?
Unhelpfully, this depends.
The simplest, shortest answer is I mostly need to start with the human element; generally people. A character or dynamic that I have a vested interest in exploring in some way. Sometimes I want to write for a world or larger concept, but mostly with me it is something human at heart.
The more in depth answer is that what I need to start with is often different. Sometimes the idea for a story will be built on some internal factor - a character confronting a fear, or achieving some goal. Sometimes the starting idea is external - wanting to explore a physical space or put people in a certain situation. And those things are just what inspiration happens to strike, sometimes at random and sometimes prompted by what I see or read in the source material.
For example:
When I wrote Raise the Black (Maze Runner), it was because I mostly wanted to write about 18th Century piracy and specifically sailing and tall ships. The rest of the story I built around that. When I wrote The Space Between Sleep (911) it was more that I wanted to explore paths of recovery after trauma and the many different forms that both trauma and love can take. (This is a popular draw for me, and many of my other fics have threads of this). I also have around 100k of a Teen Wolf fic that has never seen the light of day which exists purely because I had one character-oriented idea and it needed a lot of set up to get there.
5. How do you know when a story is “done”?
The short answer to this is closure.
Whatever the story set out to do, when you have been able to satisfy the sense of closure to the key characters and plot elements and questions that you have opened up, that is perhaps a good indicator. (Closure, is also not in conflict with an open ending. I think you can have an open ending, in many ways, while still feeling like you have resolved what you need to).
The longer answer to this is I think is trickier.
First off, because as my hard-drive will confirm, I am crap at knowing when a story needs to stop. I just keep adding to them and realising theres way more to tell than the small idea I started with. I also think, though, that stories are never really done, or over, but that authors have to pick a point to stop telling them. Part of that is, perhaps, knowing when you have addressed and resolved the things you set out to, and knowing when something else is part of an entirely new story instead of this one.
Examples again - When I wrote The Last Hearth (GoT) it was very much about that one conversation between two sisters. When I had addressed the things I set out to, the scene could come to an end. Shape of Grief (Maze Runner) was about exploring loss and pain and following that down a tragic path. The story I am currently working on, an aralas lotr brainrot, started on a few ideas spread out over time, and there are more dynamics involved than just two people so it encompasses much more in the telling. Ultimately all those I consider complete when they provide the closure for the threads I started pulling on, even if the endings aren't all neatly tied, or especially happy.
15. How do you write a really good metaphor?
(First - I think that whether you did write a good one or not is ultimately up to the individual reader, and this is something I always say of writing generally. You can do all the hard work in the world, but ultimately, a reader's first impressions and interpretation of a story is their lived experience and nothing you say or try to correct about it afterwards can take away from that. It might contextualise it, or provide greater understanding, or might offer them another viewpoint, but their first feeling is something that they have every right to even if it is not what you as a writer intended.)
So short answer again, my personal 'good' metaphor is making it immersive and relatable but also being able to find a common thread to the audience.
To elaborate on that - (imo) a good metaphor is one that pulls from the world and the story around it. It is using language that your viewpoint/narrating characters would personally have a reference for because they understand or have experience with them. For instance, in a medieval world, you might not use words or phrases to do with computers, or even advanced science. Back then you wouldn't say someone "bluescreened" with shock or they felt as though they had been electrocuted because they have no reference for that terminology.
Even within the same story or world, different characters have different experiences and they may think or relate to things in different terms.
So whoever is telling your chapter or story, use metaphors that relate to them and make sense in their understanding of their world.
In some ways the tricky part could be being able to use metaphors that make sense to the character and their lives, but ones that don't leave the reader with no point of reference, especially in stories where the world, culture, character or whatever else are so departed from the reader's experiences.
So ultimately, what I think makes a metaphor good is embedding it in the world and having it make sense within the context of its story while being able to deliver that to readers.
26. How do you go about world building?
Lmao damn. Short answer: a piece at a time.
The long answer....(and boy did this take some time to think about)
I think it is some core essentials and ultimately people come to them in their own ways. For me its working out from wherever your starting point is - be that an opening scene, a line of dialogue, a character concept etc - and at every stage, asking questions about who, when, how, where, why etc to fill in a history and paint a picture. Sometimes you need to know one person's backstory before anything else, and other times that kind of individuality comes way later because first you need the larger picture of a corrupt government or something. So the starting blocks will be different for every author and for every story, but in its core form, to me at least, its slowly working outward, asking questions and finding answers that all form building blocks for the overall image.
(Like, most of us know Harry Potter started with a boy and his scar. Tolkien started with languages and a map. Percy Jackson came to life because Riordan wanted a hero with ADHD. The Scorpio Races was written because Stiefvater pictured a brutal beach horseback race. The world comes together a bit at a time from that starting idea).
I think then, a Part 2 to this answer, is actually writing it into a story, not just how you come up with it, and for me that is also: a piece at a time. Show, don't tell.
If you drop several paragraphs of backstory on your world in the opening pages - or even a wall of text in the middle - the chances are your readers will skim it and move on. Generally speaking, with a few exceptions, you don't want your story to lose momentum, and that is what happens when you take a time out to explain a lot of things.
So for me, I favour drip feeding information. Share the bits that are relevant when the story is served by knowing them. Sometimes that is letting the reader learn things at the same pace that your characters learn them. Not only is it more likely that the information will stay in their minds because its necessary and useful in the moment, but it can also help to embed them in the story and develop a stronger emotional attachment if they feel like they're living it in the same breaths as your characters.
All of this obviously just... my opinions on things 🤓
Damn Dreams you asked some hard ones. I hadn't stopped to think about some of this before so that was fun. Thank you!
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