#let's write

[novlr]

What is a good way to start a novel? (sentence frames)

Are you a creative writer struggling to get started on your next project? Do you find yourself staring at a blank page, unsure of where to begin? Fear not! Here are some sentence frames designed to inspire your creativity and help you generate story ideas.

Get to know your main character

[Character name] was not your typical [profession/role]; in fact, they…

Despite being [adjective], [character name] had always felt…

[Character name] had a secret, one that they had kept hidden for [time period]…

As [character name] looked out the window, they couldn’t help but wonder what life would be like if…

[Character name] had always been drawn to [hobby/interest], but had never had the courage to pursue it until…

The day [character name] met [another character], everything changed…

Setting the scene

The town of [name] was known for its [unique characteristic], but beneath the surface…

In a world where [fantastical element] was commonplace, [character name] stood out because…

The [building/location] had stood abandoned for [time period], but on this particular night there was [an event]…

The [place/location] was famed for its [unique characteristic], but [character] found themselves drawn to [thing]…

Introduce conflict

[Character name] had always believed that [belief], until [event] forced them to question everything.

When [character name] discovered [secret/revelation], they knew they had to…

The arrival of [character/object] in [setting] threw [character name]’s life into chaos, as they…

[Character name] had always been content with their [status quo], but when [event] occurred, they realised that they could no longer ignore their true calling.

The arrival of [character name] in [place/location] set off a chain of events that would uncover long-buried secrets and force the [people of location] to confront their darkest demons.

Show character growth

[Character name] had spent their entire life [doing/believing something], but now they began to wonder if…

As [event] unfolded, [character name] realised that they were capable of…

[Character name] had always been afraid of [fear], but in the face of [challenge], they discovered…

[Character name] used to [old behaviour], but now they [new behaviour]…

As [character name] faced [challenge], they discovered a [new strength/quality] within themselves…

[Character name] never thought they could [achievement], but with [catalyst], they learned to [lesson]…

Create suspense and mystery

[Character name] knew that [mystery/secret] held the key to [goal], but the closer they got to the truth…

As [character name] delved deeper into [investigation/quest], they began to suspect that…

The [object/clue] seemed insignificant at first, but as [character name] examined it more closely, they saw [detail].

[Character name] had a nagging feeling that something was off about [person/place/thing], but couldn’t quite put their finger on it until [event].

The [sound/smell/sight] was hauntingly familiar to [character name], but they couldn’t remember why until [event].

Explore character relationships

[Character name] had always looked up to [other character], but now they began to see them in a different light because [event/change].

Despite their differences, [character name] and [other character] found themselves drawn to each other because of [detail].

[Character name] knew that [other character] was hiding something, but they never expected [revelation].

[Character name] and [other character] were once inseparable, but [change] meant they grew apart.

[Character name] never expected to find a friend in [other character], but [character detail/event/location] brought them together.

[Character name] couldn’t shake the feeling that [other character] was hiding [secret] from them.

Remember, these sentence frames are just a starting point to help you generate ideas and get your creative juices flowing. Feel free to adapt, combine, or expand upon them to suit your unique story and writing style. The most important thing is to let your imagination run wild and enjoy the process of writing your novel!

[onceuponapuffin]

Fanatic Intervention Part 5!!

Hiya! Sorry about the delay! Life got in the way there for a bit ^_^" But I am here! With Part 5!!

Beginning || Previous || Next

*************

Crowley had liked Hozier (although Take Me To Church, predictably, wasn’t his favourite), and after whining at Aziraphale that it’s nooooooot ‘bebop,’ you finally managed to get an admission that all right, it wasn’t all that terrible. You took the win.

But the dance party couldn’t last forever. There’s still a world to save, after all.

And so, all of you sat, thumbing through Revelations. Well, Aziraphale and Muriel were. You and Crowley had given up on the fancy Bible-ness of it and googled the Cliff Notes version.

“Ugh,” You say, “John really hated the Romans.”

“Well, yes,” says Aziraphale, “He had decent enough reason, though, as far as humans go.”

“What, he hated indoor plumbing and heated floors?”

“Actually, he hated people of the Christian faith being arrested, tortured, and killed for their beliefs.”

“Oh….yeah that makes sense,” You say, and after a moment you add “...Sorry.”

“That’s quite alright,” Aziraphale replies kindly, “He wrote Revelation as a way to reassure Christians that all of their suffering would mean something in the end. That it must be part of the Great Plan.”

“The Ineffable Plan, you mean,” chimes in Crowley with a smirk. Aziraphale rolls his eyes.

“Yes, that one,” he replies. You notice the microscopic-Michael-Sheen-ian smile on his face as he says it. Honestly, the resemblance is uncanny. Aziraphale continues. “He wanted Christians to feel heard, and to encourage them to hold fast to their faith.”

You pause for a minute before saying anything. Then you remember a tumblr post or something from forever ago.

“Santa Claus,” You finally say. Crowley spurts wine from his nose, and begins to laugh. Aziraphale is confused.

“I beg your pardon?”

“It’s like Santa Claus,” You say again, “Like ‘be good, and you’ll get presents! it’s almost Christmas Eve! Santa’s watching!’ You know?” You look at Aziraphale imploringly. Crowley is still laughing. Aziraphale doesn’t look impressed.

“I think that’s rather an over-simplification.”

“Am I wrong?”

“…..It’s...it’s not...That’s not how it works!”

“Oh, okay, so I’m wrong then.”

“Sounds about right to me!” Crowley calls with glee from the other side of the room. Aziraphale looks all flustered, his face beginning to go red. Crowley hands him a glass of wine and Aziraphale downs it in one go.

Okay, winding him up is a great deal of fun, and so easy, but I’m guessing, dear Reader, that you love Aziraphale just as much as I do. You don’t actually want to hurt his feelings. Thus you decide to concede the point.

“So,” You say, “He said he had a dream about things getting really bad and then Jesus coming back and saving everyone.”

“In a nutshell, yes,” Aziraphale sighs, clearly relieved to be back on topic. You think back to old interviews with Neil and Terry about their back-then-hypothetical sequel would look like.

“Okay, well the only thing I know about it was something about it taking place in America. I read in an old interview somewhere that Jesus was meant to descend from the heavens in a private jet with a bunch of like...bodyguard angels or something.”

“America? Again? I mean really.”

You shrug. “Neil Gaiman really likes America.”

“But it doesn’t have to be,” says Muriel now, flipping back through their notes, “You said that the sequel was never written, and the third...season?was still being written too when you left. And you said that book isn’t the same as what happened in the tv show, or the radio show, or the musical. So how do we know it would be the same here?”

They make a good point.

“Maybe ask that author of yours,” says Crowley, looking over from his drink, “You said he answers questions sometimes. Who would he be to deny,” he swishes his glass around with what you suppose is meant to be grandeur, “The Famous Crowley and Aziraphale?” He empties his glass.

“Anathema might be able to find him,” You say after a while, “Jesus, I mean. She did a good job finding everything in Armageddon Part 1. Or Adam. I mean, Jesus is supposed to be all about love, right? Maybe we can convince him not to, you know, end the world.”

Aziraphale hums to himself. “Revelations states that Armageddon is meant to be started by the seven angels of the church, bringing together seven keys. I mean, John could be wrong of course, but I wonder...Could one of you find me a map and search these names? I might have an idea why Mr. Gaiman wanted to set The Second Coming in America.”

Good Reader, guess which country contains cities named after 5 of these 7 angels. I’ll give you three guesses, but you’ll only need one.

And so now we have three directions we can take this story in.

❤️ ❤️ ❤️ ❤️ 🖤

[writers-potion]

Words to Use Instead Of...

Beautiful

stunning

gorgeous

breath-taking

lovely

jaw-dropping

pretty

glowing

dazzling

exquisite

angelic

radiant

ravishing

excellent

ideal

sightly

wonderful

elegant

bewitching

captivating

mesmerizing

enthralling

magnetic

impressive

tasteful

charming

desirable

enchanting

Interesting

stricking

unusual

appealing

absorbing

srresting

gripping

riveting

alluring

amusing

exceptional

fascinating

impressive

provocative

prepossessing

exotic

readable

refreshing

entrancing

exceptional

Good

honest

upright

dutiful

enthical

pure

guiltless

lily-white

reputable

righteous

tractable

obedient

incorrupt

respectable

honorable

inculpable

irreprehensible

praiseworthy

well-behaved

uncorrupted

irreproachable

Awesome

wondrous

amazing

out-of-this-world

phenomenal

remarkable

stunning

fascinating

astounding

awe-inspiring

extraordinary

impressive

incredible

mind-blowing

mind-boggling

miraculous

stupendous

Cute

endeaing

adorable

lovable

sweet

lovely

appealing

engaging

delightful

darling charming

enchanting

attractive

bonny

cutesy

adorbs

dear

twee

Shy

modest

sel-effacing

sheepish

timid

way

reserved

unassured

skittish

chary

coy

hesitant

humble

introverted

unsocial

bashful

awkward

apprehensive

If you like my blog, buy me a coffee☕ and find me on instagram! 📸

[septembercfawkes]

[tryingtowriteastory]

Oh, These Poets

'Poets are such amusing creatures. They can sit and wonder for hours about the imponderabilia that love is, and then complain about how eager the day is to set into the night!'

[davidfarland]

The Influence Character: One of The Most Important Roles

(by @septcfawkes )

The Influence Character is one of the most important roles in your character cast. It is third only to the protagonist and antagonist. The term “Influence Character” originates from Dramatica Theory, and has since been used and adopted (and sometimes adapted) by others in the writing community. This is a role that has power based on impact–impact on other characters, impact on plot, and impact on theme. When you understand the principles behind the Influence Character, you can use them to strengthen any story.

The Influence Character Impacts the Protagonist

The Influence Character’s power comes from impacting others, specifically the protagonist. Most commonly, the Influence Character helps persuade the protagonist to confront her flaws, weaknesses, and misbeliefs, so she can complete her character arc.

For example, in The Greatest Showman, P. T. Barnum is the protagonist and his wife, Charity, is the Influence Character. Throughout the film, Charity works to persuade P. T. that what he already has in life is enough and that he only really needs his closest loved ones to accept him. When she leaves, he must confront his biggest failures and make things right, completing his arc.

In Star Wars: A New Hope, Luke is the protagonist and Obi-Wan is the Influence Character. Obi-Wan introduces Luke to the Force and aims to persuade him to trust it. It’s because of Obi-Wan’s influence that Luke chooses to listen to the Force at the climax. He turns off technology, and makes the winning shot to destroy the Death Star by trusting the Force.

Worth noting, is that one variation of this, is the reverse. Sometimes the protagonist helps the Influence Character to confront his flaws, weaknesses, and misbeliefs to complete his character arc (in which case, it may be helpful to think of the Influence Character as the Influenced Character).

For example, in The X-Files, Mulder is the protagonist and Scully is the Influence(d) Character. Mulder’s journey and dedication impact Scully, by forcing her to confront her misbeliefs, until eventually she comes to believe in the paranormal, government conspiracy, and alien abduction.

Likewise, in Moana, Moana influences Maui, by helping him learn that who he is, is not what others praise him for (nor his hook). Who he is, comes from inside himself.

The protagonist and Influence Character have a special relationship in the story—in fact, it usually makes up the central relationship plotline of the story. Most frequently, these two characters will draw closer to each other by the end. Common relationship roles for the Influence Character are mentor, love interest, best friend, family member, coworker, or partner.

It’s helpful to give the Influence Character traits that contrast and challenge the protagonist. Choose traits that will naturally bring out what you want or need to emphasize about your protagonist. To emphasize Mulder’s beliefs in the outlandish, he’s paired with Scully, a major skeptic. To emphasize how P.T. is always looking for more (and more acceptance), he’s paired with Charity, who is easily satisfied by being accepted by loved ones.

The Influence Character Impacts the Plot

Since the protagonist and Influence Character are somehow linked (in a relationship), typically they will be on the same course and/or have similar goals. The protagonist and Influence Character are usually tied together in the external plot. Most commonly, the two must work together to resolve the main conflict. For example, in The Lord of the Rings, Frodo needs Sam to make it to Mount Doom. In Zootopia, Judy needs Nick to solve the case.

A variation is that the characters may be on separate, but similar journeys. In Legally Blonde, both Elle and Paulette want their dogs, and love, in their lives, and both are having trouble with their exes.

What’s often different with these two characters, though, is the way they address the goal or journey. Frodo wants to trust Smeagol to take them to their destination. Sam wants to be rid of him. Elle faces her problems with a strong belief in herself, while Paulette comes from a place of insecurity. Mulder wants to turn to the paranormal for explanation, and Scully wants to turn to hard science.

These differences can lead to arguments, power struggles, or complications, which often contribute to significant conflict in the relationship plotline, external plotline, or even internal plotline. The argument over Smeagol drives Frodo and Sam apart just before Shelob’s Lair. And therefore, it also jeopardizes the goal of the main plotline (making it to Mount Doom to destroy the Ring). The arguments and complications between Judy and Nick, lead to Judy’s internal struggles and turmoil.

The Influence Character Impacts the Theme

Usually the reason the Influence Character has different methods, is because he has a different worldview. This worldview will often tap into theme.

In fact, perhaps at the most basic level, the Influence Character typically works as a thematic opponent for the protagonist.

The thematic statement of Star Wars: A New Hope, is that we should trust in faith (over technology). Through the film, Obi-Wan voices and illustrates the thematic statement, which Luke eventually converts to by the end. Prior to this, though, Luke is resistant, at one point asking, how he can properly fight, if he can’t see (to which Obi-Wan responds, he must trust the Force).

In Moana, the thematic statement is that your identity comes from who you are on the inside. Deep down, Moana knows this to be true, and follows her inner calling. In contrast, Maui believes his identity is based on how others perceive him—first his parents abandon him over his appearance, and then he seeks the praise of humankind (which he can only receive if he has his hook). It’s these differing views on the theme topic (identity) that lead them to argue about what to do.

Likewise, in Marley and Me, the thematic statement is that we should embrace the adventures of domestic life. Marley, a dog (and the Influence Character), does this better than anyone. But this worldview is different than John’s (the protagonist), who sees the unpredictability of domestic life as a burden to his career. The theme topic is domestic life, and the two characters have opposing perspectives about it.

This set up allows the audience to explore different perspectives related to the theme topic, and the impact those perspective have when applied to “real life” (the characters’ “real life”). The audience is better able to see how different approaches to problems lead to different consequences.

Variations to Consider

This article is just an introduction to the Influence Character and is not comprehensive. There are plenty of variations you can play with, in regard to this role. For example . . .

While usually the Influence Character works as an ally, it’s possible for the Influence Character to be a rival or even the main antagonist. This is the case in Death Note, as well as in the film, Glass.

While the Influence Character may be one character, it’s also possible multiple characters step into and out of this role. In Hamilton, both Eliza and George Washington act as Influence Characters for Hamilton (though never at the same time).

While the Influence Character is usually the other key player in the relationship plotline, he doesn’t have to be. In Harry Potter and the Sorcerer’s Stone, Hagrid and Dumbledore work as Influence Characters, but the relationship plotline is about Harry, Ron, and Hermione.

This article just shares some principles to guide you. Once you understand them, you can manipulate them more for different effects.

If you are interested in learning more about the Influence Character, particularly in relation to the character cast, plot, and theme of your own story, we’ll be digging deeper into the concept in my upcoming class, The Triarchy Method of Story. Follow the link to learn more. Learn more at https://mystorydoctor.com/

About September C. Fawkes:

Sometimes September C. Fawkes scares people with her enthusiasm for writing and storytelling. She has worked in the fiction-writing industry for over ten years and has edited for both award-winning and best-selling authors, as well as beginning writers. She runs a writing tip blog at SeptemberCFawkes.com and will be teaching an upcoming class, The Triarchy Method of Story. When not editing and instructing, she’s penning her own stories. Some may say she needs to get a social life. It’d be easier if her fictional one wasn’t so interesting.

[rayas-ryoiki-tenkai]

ordo an chao - "from chaos, comes order"

Following the death of the Star Plasma Vessel and the parade she is graced, Geto solidifies a truth: he is more curse than himself.

They're clapping

link to ao3 attached. can also read below the cut

-.--.-

Clean. Tedious.

He flexes his fingers to rid of the creases in his hands, flattening burrows and killing all that decides to live in it. Whether that be nestled anxiety that squirms in the lines of his hands, or the spill of blood running off in loud droplets, he stretches until the skin turns white.

Suguru hates his hands, stares at his palms in silent fury. They don't deserve the words for him to ever say it out loud, keeps it locked, twists his voice and swallows it so it never finds ears to cling to.

Those damn fingers, tickling with an insurmountable urge to clench together. Uncomfortably dull yet lit ablaze with bare wires on his fingertips. They fall stiff, still, and the current worsens. His fingers edge to shy away into a fist but falter when his eyes grow sharper. 

His scowl deepens.

Those damn fingers, long and slender. The skin of his palms is beaten a little rough and calloused but still looks soft and supple under the light. The same gold that stretches long into the corridor, kissing the panels of the door on the other side, as if prompting him.

This way. Come this way. You know what you’ll find this way.

A hearty laugh resounds behind the door; it belongs to his best friend.

He feels a pinprick of a pulse passing through, flushing patchy pinks under his skin, spiraling between the ridges of his fingerprints. It tracks a buzz, diverges into its arteries, and replenishes it anew as if giving Suguru something new to hate. He lets his mind think of the blood. Blood that nourishes, cleans and provides. Blood that feeds to each knuckle, blood driven in the thrill of the fight.

Spilt and lost. Blood that gave and gave, all whilst his hands took, took, took.

He hates it.

Vile things. What bones and flesh dangles off his wrists were not worthy of this much attention. His forefinger twitches as he lines it, imagining how easy it is to bite a chunk at the joints and spit it out in degradation. Though, he can’t help but retch at the taste, that skin tainted with the residue of exorcised curses, their distorted wails stained into patterns in the shape of scars. The taste. The taste.

Exorcise. Absorb. The taste. 

He smacks his tongue as if he found bits and pieces of them between his teeth. Bile kicks the back of his throat.

Clean. Clean. Tediously so.

His shoes look fresh out the box. Even as he sits, clothes drape flawlessly. Not a crinkle on his shirt.

But his hands…

Lost in blackened goo. A thick odour. He knows his blood is no longer red but something made by the accumulation of this feeling. Crude. Wet in a way that never dries. A ticking that never stops. Dirty. Not Clean.

They're clapping.

Suguru kicks his head back. The air he draws in is too thick. Everything is wrong.

Exorcise. Absorb. It’s why he finds his body scrubbed red when washing up. It’s why he feels the overwhelming desire to scratch at his skin until it peels clean off.

Dirty. It’s tedious.

-.—.-

"How far do reckon he's willing to go?"

Shoko leans her head inches from Suguru's shoulder, not quite finding leverage but enough to resurface a little warmth around him. He catches the way her brown locks ghost in his peripherals, she's close enough to taint her scent with his own and understands this is her version of connection. Her lips purse and pulls to take a long drag of her cigarette.

Shoko's spoken of quitting, though Suguru steals the way her fingers warp around the paper, tapping the ash absentmindedly for the wind to wash away her sins. To ignore the wrong. The straining in her breath as if to savour the relief a little longer before she expels it in farewell - maybe she held onto something beyond the taste of tobacco.

She feeds the itch that sinks its teeth in flesh, numbs it so the puncture wounds don't sting as much. Sugu invites a little of that smoke residue into his lungs, along with a hollow irony when he realises: he desires the same.

To ignore the wrong. Ignore how everything feels lacklustre and out of sync. His hands.

Not Clean.

He takes a moment to register Shoko's question, tosses it between the flicker of his eyes then manages an extended one when tracking up his back whilst he yaps away. Shirt a size too big, whiter to his pale skin in a way that made him look a little tanned, and the way his neck cranes to solo the sky with his attention.

Completely oblivious. Or so he tends to be whenever the three are together. Suguru can't fathom how someone so gifted could be so damn careless. Clueless. Childish.

All six eyes, but can he feel a darker pair rest on the back of his neck? Does Gojo know of the little hairs below his taper fade or has Geto been graced with the only one to witness it?

"Far enough." Sugu's voice tethers a little lighter than usual, or maybe he can't help himself when it's them three. As bitter as his thoughts become, not has it once sharpened his tongue; he knows that even if he speaks evil, the voice to carry it would one made of love.

Satoru gestures to something grand with one arm, the other deep in loungewear trousers. Whatever scheme he proposes fall on lost ears and it doesn't take long until he turns to realise  he has no audience - not one favouring him anyhow. It translates on his face as a pout, defeated shoulders making his silhouette almost comical.

"Fine," Gojo spits out, haloed with white wisps akin to dove feathers on his head, his hair sharpening as if a show of his exaggerated frustration. Thick glasses edge the top of his nose, black lenses drawing perfect circles on snow skin, and he tilts his head back again, every ridge of flesh and bone traceable on his neck. The sky seems to be a better part of the conversation with him than the two shrouded in cigarette smoke.

"But when I master it, though I'm the strongest already, I'll make sure it never changes."

Yep. Feathered white hair and eyes that muted diamonds as beneath him, Suguru knows Satoru will stop at nothing. Gojo will turn into whatever drives his fist forwards.

Geto can't even look at his own hands.

-.--.-

Todd's Syndrome is a neurological condition that stretches and warps perception to make objects and spaces seem unrealistically large or small. Akin to holding out a phone in one's hand and counting the miles between the arm and screen, or tasting the expanse of the ceiling, ever-growing, as it shrinks the eyes that perceive it; a.k.a, Alice in Wonderland Syndrome.

Suguru lifts his eyes higher and higher, tracing a seemingly unending wall of his bedroom. His desk looks too big, too close to his bed. The little trinkets that house in the corner of it are drained of colour except one; Sugu takes note of how a bright blue keychain dangles off the edge like a hypnotics tick, blinding when it hits the moonlight just right and sharp enough to stimulate an edge in his brain. It reminds him of a certain blue-eyed sorcerer who won it for him at an arcade. It looks so small now.

He sinks in the mattress where it engraves the shape of him, finds a solace when he feels the cushioning hug him when no one else will. It feels familiar, to breathe in the air he breaths out.

But Suguru finds the longer he stills, the faster the world moves to catch up for his monotonous tight-lips and dropping eyelids. 

The cold punctures under the covers, reminds him that the blood in his body lacks warmth and will and a moment's hope was all that was destined to him by the universe. The blankets he nestles in lack weight and fail to ground him, the air is too thick. He feels like he's floating in the four walls, his limbs scrawling to gain purchase on anything within the limit of the moonlight because Sugu wants anything but to lose a hand into the darkness. Dirty. Dirty.

The ceiling grows closer and closer.

Some seeming power keeps him there and shrinks the wall to taunt him of an impending doom. His eyes widen at the roof above, his legs flail and push for leverage but fall slack in failure. The ground seems to shake, or rather he shakes in the air, tremored in fear.

His heart races. 

He silently pleads for the door to knock 

He scrambles and twists but he is the chosen victim of his moral qualms. 

Suguru tightly shuts his eyes to wade away the distortion of his bedroom and the nausea that comes with. In his mind, a knock resounds, two voices muffled outside the door. In his mind, he's back on his bed cross-legged whilst his best friends accompany the floor with attempts of feeding him into a sugary coma. In his mind, Suguru leans his head on his palm and can't help but smile at those solid shades on Satoru's silly little face, can't help knock his shoulder into Shoko's to light him a quick drag. 

In his mind, a dandelion peeks his head by the door and smiles sharply.

"Suguru, you've got us," the dandelion smirks, "we're not letting you go that easily."

The wind spins the keychain and its bold colour out of sight. 

Suguru Geto's door never knocks.

-.--.-

The feeling unravels and tightens in new ways, until Suguru feels his hands too taunt into a fist to open them. It grips his fingers together, clenches his jaw for him, sharpens the skin around his eyes and paints the sky and stars an ugly colour. That pit never leaves, every step shakes as if the ground below him doesn't, like his foot would fall through and wedge deep into the Earth and claim his body as its own.

But it unravels. And tightens in a way where his lips twist upwards, because at least he wouldn't feel the burden of his own flesh and bone anymore. Suguru realises he could only open his palms if to dig faster into the soil and carve his own way into his demise.

Take everything. Take my hands, my fingerprints. Take everything that I am.

And it unravels. And tightens.

It takes no genius to point at what the feeling aims to do, how it loosens and fits better around him, how his sorcerer's energy bandages the body he lashes with his own mind so that he would never be reminded he had one.

Now when he eyes his hands, he sees a deep-blue coat, a glove. No flesh. No matter.

Cursed energy as second skin. Tedious.

No one asks him. And no one sees how dirty he is.

Geto smiles when he speaks to his friends, omits the paired warmth with genuine heart because they are not him. He seeks for cursed energy alike, the sole saviour from his own hands, and grants it the love of all kinds. How could he not? How could he not thank the clothes it dressed him in when he showers so he doesn't spot his own skin?

They clap so loud. Riko laughs innocently.

They clap their hands, enunciating it clearly. Their message. They clap. Dirty. Dirty.

Water falls between the crevices of his back like beaded jewelry, the shampoo half-sodded whilst he leans against the shower wall. Suguru does not blink; the water should clean his eyes too.

Dirty. They clap their hands.

Geto chooses to not see his.

That young girl smiles. That young girl sleeps in her own blood. She smiles and takes the last look of pretty human skin with her. That young girl speaks of a wondrous future. Her heart is free. Her body slumps over.

Water meanders to the tip of his nose, teeters at the peak, teases his resolve. Gravity pulls it into the drain. Geto feels that same pull on his knees... though he's frozen.

They're clapping. The shower echoes similarly and he's taken back to their faces.

Hand-to-hand. Loud glee. A 'hurrah' those hands yell in unison. The Star Religious Group. They clap with open pride. Dirty, dirty, dirty, dirty, dirty!

Vile. Filthy hands are those belonging to humans, such who celebrate the growing pool of blood at his feet. Vile hands; the non-sorcerers. Suguru saw his own as human back when his steps were lighter, when he let his heart swell for his best friend. Human as can be: were all sorcerers and non-sorcerers not cut from the same cloth? 

He's mistaken. Geto has fists coaxed in flames, a beacon, lit for those he wishes to bring forth into his circle. Cursed energy to recognize each other, because they were special, unique, better. Not simple humans.

Jujutsu Sorcerers, stronger, faster, more than the average person.

That girl, destined as the Star Plasma Vessel, was the last non-sorcerer to smile at him. All those that follow after are wretched crinkles of skin, misshapen teeth, and stripped of Geto's sense of acknowledgement.

They're dirty. Reduced to their ancestors. For if they wanted to make a fool's choice and act like animals, they would be as such: monkeys.

Dirty, dirty monkeys.

[eevvvaa]

Alright ! I'm in the mood to write, byyyye✌

[caelcstis]

gonna play some games for a lil bit but who wants a starter?

[onceuponapuffin]

Fanatic Intervention Part 6!!

Not much to say here this time. I'm glad you all are enjoying this. I'm having a blast! :D

Beginning || Previous || Next

*****************

After a while you speak.

“Well,” You say, “I can tell you what we’re not doing. We are not going to see Mr. Gaiman. Honestly, Crowley, the man is a genius, but he is also a troll. He doesn’t give away plot – if anything he gives the most chaotic response he can think of, and then tells you to wait and see. SO, that wouldn’t help us at all.”

Muriel is the next to speak.

“Um, also I don’t think those other angels are on earth?”

“Would we know if they were?” You say, looking to Aziraphale. The principality shrugs.

“To be honest, I really don’t know. It was such a long time ago.”

“Okay,” You say, “So we call up Anathema, and we go to America to look for Jesus. I mean...the things that Neil and Terry plotted out did happen, even if they weren’t all identical to the book. So it’s probably safe to assume that the pattern will continue.”

“Right,” Aziraphale says, reaching for his rotary phone, “I’ll call Miss Device.”

“Hold on,” Crowley says, “Who’s this we who’s going to America?”

“You, Aziraphale, Anathema, Me,” You say, “Muriel needs to stay here and look after the bookshop. Maybe Newt could --”

“And what makes you think you’re coming?” The demon presses.

“The fact that I dropped in from another reality, know everything that has happened so far, and is the only one with half an idea of what’s going to happen next. Also Anathema is going to need help wrangling the two of you.”

“Whassat supposed to mean?”

“You’re a pair of Disaster Puppies.”

Crowley opens his mouth again, offended.

“Trouble does seem to find us an awful lot,” Aziraphale says. Clearly he’s decided to give you the benefit of the doubt. You make a mental note that he is not upset with being called a Disaster Puppy for some reason. Priorities maybe?? You let it go.

“Great,” You say, “So it’s settled.”

------------

All things considered, it doesn’t take very long for Anathema and Newt to arrive. Apparently they happened to be visiting London. What are the chances of that? It’s almost like this is a work of fiction that I am writing and so I can make things surprisingly convenient if I want to. Now, let’s continue.

It takes longer to answer Newt’s questions than it does to fill Anathema in on the situation. You’re grateful for her sharp mind and willingness to accept things that are...well...difficult to just accept. Probably comes with being a witch/occultist. Once they both know the full story, and Newt’s curiosities are satisfied, Anathema nods.

“Okay,” she says, “Right. So we need to save the world again, and we’re hinging all of our bets on finding Jesus and successfully convincing him to help us? Seems...like a long shot. Like, a really long shot.”

“These two have managed to succeed with implausible plans before,” You point out. Anathema hums. She doesn’t seem convinced.

“I mean, it’s not that I mind helping you. Jesus probably has the kind of aura that I could find and track without too much trouble. I would just...really have appreciated that if you were going to interrupt our getaway that you would at least have a backup plan. Or, maybe some intel that’s actually intelligence instead of guesses. Like if Aziraphale had actually been in Heaven as the Supreme Archangel, he could have been feeding us information and instructions. And then we would know for sure where to go and what to do.”

Oh. A rock sinks to your stomach. And you suppose that after making them ward the bookshop like that then...needing to leave it...you just might have accidentally put a target on your backs. Whoops. Turns out saving the world one step at a time is really, really hard.

“That would have been way too dangerous though!” You say, desperate for your own defense, “I’m not putting these two in anymore danger than absolutely necessary. I….” You look over at your beloved angel and demon, then turn back to Anathema. “I need them to be okay,” You admit quietly. That’s what it’s all about for us, isn’t it? All the theories, all of the South Down Cottage manifesting. The fanart, the fanfiction, the edits and animatics. We love them and while we understand that they need to go through angsty things to grow, in the end we need them to be okay.

Well, most of us anyway. I can’t speak for everyone.

You feel a hand on your shoulder. Aziraphale is there once again.

“And we will be,” he says softly. You hear Anathema sigh.

“Right,” she says, “okay, so we head to America. I need to go home first and get my supplies. Newt will stay here with Muriel and help them hold the fort.”

“Um...this is a bookshop?” Muriel adds uncertainly.

“I bet,” Newt says slowly, “That if I help a few people around here with their computers, I might make enough mischief to convince Heaven that there’s still a demon around here. Then that looks almost like you’re still here, right? Might buy you some time at least.”

“It’s worth a shot,” Anathema says. Muriel practically glows.

“Oh! I get to live with an actual human! You can teach me human things!”

“Oh, uh yeah,” Newt says, “I don’t see why not. It’ll be fun.”

Anathema agrees to return with Newt in two days. She expects you lot to sort out the plane tickets “Because,” she says, “I am not having you fly me over, or poof me over, or whatever it is that you do.”

“I am a demon! I do not poof!”

“I don’t care. I want plane tickets.”

“Ooh!” You say, raising your arm in the air with a jump. “Can they be first class? I’ve never flown first class before!”

Crowley groans. Aziraphale sighs.

“We are not genies,” Aziraphale says, “Or banking machines.”

“No, but you do have unlimited resources so in a way,” You say, pausing for dramatic effect, a mischievous smile spreading from ear to ear, “You are like Santa Claus!”

You make a fast exit from the room before Aziraphale can say anything. Crowley is laughing and you hear what you think is a chair falling over.

❤️ ❤️ ❤️ ❤️ 🖤

[writers-potion]

Vocabulary List for Fight Scenes

Combat Actions

Hoist

Dart/Dash

Deflect

Shield

Sidestep

Snatch up

Stalk

Stamp/stomp

Stretch

Stride

Wagger

Oust

Leap

Lose ground

Mimick

Mirror

Negate

Overpower

Parry

Rear to full height

Resurgate

Suanter

Seize

Take cover

Throttle

Twirl

Unleash

Withdraw

Entwine

Flee

Gain ground

Grasp

Cling to

Breach

Duck

Dodge

Hits

Amputate

Bloody

Carbe

Castrate

Collision

Connect

Crush

Defenestrate

Destroy

Disfigure

Dismember

Dissever

Grind

Maul

Perforate

Rend

Riddle with holes

Saw

Smack

Splatter

Sunder

Torn Asunder

Traumatize

Whack

Writhe

Gut

Hammer

Maim

Mangle

Plow

Puncture

Melee

Assault

Attack

Barrage

Bash

Belebor

Bludgeon

Carve

Chop

Cleave

Clio

Club

Crosscut

Dice

DIg

Gore

Hack

Impale

Jab

Kick

Knock

Onsalught

Pierce

Plnt

Punch

Rive

Shove

Skewer

Slice

Smash

Stab

Strike

Sweep

Swipe

Swing

Transfix

Thrust

Visual Flair

Agony

Asphyxiate

Chock

Cough up bile

Cut to ribbons

Flop limply

Fractue

Freckled with blood

Gouts of blood

Grimane

Hemorrhage

Hiccup blood

Imprint

Indent

Resounding

Retch

Rip

rupture

Shiny with gore

Spew

Splash

Slumped in despair

Splatter

Split

Tear

Topple

Void

Vomit

Wedge

With a fell gaze

With a fiendish grin

With blank surprise

Audible Flair

Bang

Barking

Bong

Boom

Crack

Cackle

Clang

Clash

Crash

Cry

Echo

Elicit a curse

Frunt

Hiss

Howel

Hum

Moan

Muttering

Whoosh

Whistle

Whizz

With a keening cry

Thud

Thunk

Thawk

Splat

Snarl

Swoosh

Squeal

Sing

Sickening Pop

Silintly

Shriek

Shout

Snap

Thundering

Effects

Blind

Burn

Cause frostbite

Cauterize

Concussion

Combust

Daze

Dazzle

Deafen

Disintegrate

Electrocute

Freeze

Fuse flesh

Immobilze

Incinerate

Melt

Pralyse

Petrify

Purbind

Radiate

Reduced to

Shock

Sightless

Stun

Transiluminate

Death Blows

Annihilate

Behead

Decapitate

Disembowel

Eviscerate

Extirpate

Murder

Obliterate

Raze

Exterminate

[septembercfawkes]

When your WIP doesn’t write itself:

[lust-sinner]

“Good fucking morning my lovely fans. The mun stopped being a little bitch so we’re back to give you all some fun.”

[davidfarland]

How to Write and Raise the Stakes More Effectively

Writers are repeatedly advised to “raise the stakes.” Stakes are often defined as what the character has to lose. But when you understand—more accurately—the relationship between plot and stakes, you can create them more easily. And when you understand—more accurately—how they actually work, you can raise them by using the methods in this article. (This article is written by @septembercfawkes​)

How Stakes Relate to Plot

People often think of plot as “the stuff that happens.” But it’s more than that. In her book Story Genius, Lisa Cron discusses how a plot should be made up of cause-and-effect events. Instead of brainstorming, “This happened, and then this happened,” it’s more effective for writers to brainstorm, “This happened, and so this happened.” Cause and effect.

Most define stakes as what the character has to lose. But I think it’s more accurate, and more effective, to define stakes as potential consequences. To create stakes, we are looking forward to what could happen if we follow a particular cause-and-effect trajectory. Strong, defined stakes should be able to fit into an “If . . . then” statement, even if they don’t show up that way in the actual story:

If Frodo is the Ringbearer, then he could become corrupted by the Ring’s power.

If Moana doesn’t return the Heart of Te Fiti, then her home will be destroyed.

If a woman doesn’t overcome her own selfishness, then she could lose the man of her dreams.

If a character fails his acting audition, then he won’t get to play the lead.

In each of these examples, the character has something of value at risk. And the “value” part is critical. It means the potential outcome has significant ramifications. Not every cause-and-effect trajectory has them. Consider the following:

If George doesn’t brush his teeth, then he’ll have yellow teeth.

If Katie can’t eat the burrito, then her stomach will growl.

Does George having yellow teeth or Katie’s stomach growling change the plot in any significant way? Probably not.

Mentioning an insignificant stake is almost as bad as having no stakes.

So how do we make the stakes significant?

Making Stakes Significant (in the Narrative Arc & in Scenes)

When working for David Farland, one of the things he taught me (and many others in his Advanced Story Puzzle Course) is that you can escalate a conflict one of two ways.

You broaden the conflict so that it affects more things (usually people), or

You deepen the conflict so that it affects the character more personally.

While this is a great way to look at adding conflict to your story, it’s also a great way to come up with significant stakes.

If Frodo is the Ringbearer, then he could become corrupted by the Ring’s power.

Not only does this project forward a sense of cause and effect, but it’s significant, because it affects Frodo deeply and personally. He could essentially lose himself psychologically to the Ring. That’s a pretty big risk.

If Moana doesn’t return the Heart of Te Fiti, then her home will be destroyed.

Not only does this project forward a sense of cause and effect, but it’s significant, because it affects Moana’s whole people. In fact, it doesn’t just affect her island, but other areas as well. She could lose everyone and everything she knows to it. Those are high stakes.

In contrast, George having yellow teeth is probably not going to cut him too deep. And Katie’s stomach growling is probably not going to ruin anything.

But here’s the beauty of this approach to stakes. Either of those could be made to be significant, if they are tied to more potential consequences that are.

If George doesn’t brush his teeth, then he’ll have yellow teeth. –> If George has yellow teeth, then he’ll never get a job at the dentist’s office.

If Katie can’t eat the burrito, then her stomach will growl. –> If Katie’s stomach growls during her graduation speech, then she’ll be crippled by embarrassment.

Neither of these is quite where they need to be yet to be truly significant, but we can keep stacking on potential consequences to get them closer.

If George has yellow teeth, then he’ll never get a job at the dentist’s office. –> If he can’t get a job at the dentist’s office, then he can’t support his wife and five kids.

If Katie’s stomach growls during her graduation speech, then she’ll be crippled by embarrassment. –> If she’s crippled by embarrassment, then she’ll never have the guts to become a motivational speaker—her dream job.

Notice that George’s cause-and-effect trajectory was broadened by including more people (his wife and kids), while Katie’s has become more personal because it affects her more deeply.

We could continue brainstorming potential consequences to make the stakes stronger and more significant, but I hope you get the point. Once we have our significant stakes, we would naturally want to make it difficult for George to get his teeth brushed or Katie to eat her food.

Suddenly something that sounded boring or unimportant becomes more interesting and critical, because of the potential consequences tied to it.

Notice, however, that neither of these is as important as the first examples I gave. Admittedly, not all stories need to have huge stakes—they just need to have significant stakes. And George’s and Katie’s situations here would actually work better as part of a scene—not the stakes of the whole narrative arc.

In (almost) every scene, the character should have scene-level stakes. Naturally, this means that the outcome of the current scene will affect what happens next in the story. George manages to brush his teeth and get his job, which means soon he’ll be going to work and his wife and kids will have money. Katie internally dies from embarrassment, which means now she’ll have to grapple with the emotional and psychological fallout from that.

Layering on the Stakes to Help Further Raise the Stakes

When referring to stakes, most writers think of negative outcomes. But when brainstorming, it can be useful to think of positive potential consequences as well. Now, in some sense, these are admittedly two sides of the same coin. If George doesn’t get this job, he can’t provide for his family. If he does get this job, he can provide for his family. But you can also look beyond the most obvious.

For example, if Moana does succeed in returning the Heart of Te Fiti, she’ll also pave the way for people to start sailing. Notice this is a positive beyond that of only saving their lives.

You can attach multiple potential consequences to the same situation, to make that situation more significant. Suddenly Moana returning the Heart feels even more important because more is hinging on it.

Broadening, deepening, considering both positive and negative outcomes, and tying multiple potential consequences to the same situation, are some of the ways you can “raise the stakes.”

Why Stakes Matter

In storytelling, we often think of story as being conflict. No conflict = no story. But the truth is, conflict is only meaningful if it has consequences. Otherwise, it’s just cleverly disguised filler. There might be lots of struggling, but it’s not getting anyone anywhere. Nothing changes significantly. Nothing directly affects what happens next.

Including the stakes reveals why the current conflict or situation matters. So what if Moana returns or doesn’t return the Heart of Te Fiti if it doesn’t affect anything? So what if Frodo is the Ringbearer if it doesn’t change anything?

Stakes help answer the “So what?” question. They tell the reader why they should care about the conflict. Why they should care about what happens in the plot.

Many writers make the mistake of assuming they don’t need to put the stakes in the text, thinking they are obvious or that the reader can assume them. While they don’t need to be blatantly written on the page in an “If . . . then” statement every time, the reader wants the stakes on the page. And you want to put the stakes on the page because . . .

Stakes are Closely Tied to Tension and Hooks

Stakes work by projecting a cause-and-effect trajectory forward. If X happens, then Y will happen.

Guess what else works by getting the audience to look forward?

Tension and hooks.

Conflict is problems happening.

Tension is the potential for problems to happen.

When we lay out the stakes on the page, the audience can see potential problems. Frodo might lose himself to the Ring. Moana might lose her whole home. A woman may not get to be with the man of her dreams. An actor may not get cast in a lead role.

These are future problems, so they contribute to tension.

Likewise, hooks work by getting the readers to anticipate something that will happen in the future—that’s why readers are drawn to keep reading.

Significant stakes do that too. Readers will want to see if X happens, and then, if Y will indeed be the outcome. In order to find out, they’ll have to keep turning pages.

It’s better to err on the side of putting too many stakes on the page, than not enough.

(Pssst–want to hear from someone who actually worked on Moana? Joaquin Baldwin will be talking with the Apex Writers Group this Monday.)

Bio:

Sometimes September C. Fawkes scares people with her enthusiasm for writing and storytelling. She has worked in the fiction-writing industry for over ten years, with nearly seven of those years under David Farland. She has edited for both award-winning and best-selling authors as well as beginning writers. She also runs an award-winning writing tip blog at SeptemberCFawkes.com and serves as a writing coach on Writers Helping Writers. When not editing and instructing, she’s penning her own stories. Some may say she needs to get a social life. It’d be easier if her fictional one wasn’t so interesting.

[theresthesnitch]

My writing aesthetic tonight is on my back patio under my twinkle-light umbrella, with a cup of milky tea and surrounded by fireflies.