#original writing and stuff

[thecatamaranlad]

[peaceishim]

[curatorotl]

I think one of the weirdest side effects of being a writer is that while I'm reading, I'll just start subconsciously editing the book. Like, if a sentence sounds odd or off to me, I'll fix it in my head and continue reading as if that were how it was written.

Does anybody else do this?

[charbroiledchicken]

"you're the writer, you control how the story goes" no not really. i wrote the first sentence and then my characters said "WE WILL TAKE IT FROM HERE" and promptly swerved into an electrical fence.

[theplotmage]

Principles and Laws of Magic for Fantasy Writers

Fundamental Laws

1. Law of Conservation of Magic- Magic cannot be created or destroyed, only transformed.

3. Law of Equivalent Exchange- To gain something, an equal value must be given.

5. Law of Magical Exhaustion- Using magic drains the user’s energy or life force.

Interaction and Interference

4. Law of Magical Interference- Magic can interfere with other magical effects.

6. Law of Magical Contamination- Magic can have unintended side effects.

8. Law of Magical Inertia- Magical effects continue until stopped by an equal or greater force.

Resonance and Conditions

7. Law of Magical Resonance- Magic resonates with certain materials, places, or times.

9. Law of Magical Secrecy- Magic must be kept secret from the non-magical world.

11. Law of Magical Hierarchy- Different types of magic have different levels of power and difficulty.

Balance and Consequences

10. Law of Magical Balance- Every positive magical effect has a negative consequence.

12. Law of Magical Limitation- Magic has limits and cannot solve every problem.

14. Law of Magical Rebound- Misused magic can backfire on the user.

Special Conditions

13. Law of Magical Conduits- Certain objects or beings can channel magic more effectively.

15. Law of Magical Cycles- Magic may be stronger or weaker depending on cycles (e.g., lunar phases).

17. Law of Magical Awareness- Some beings are more attuned to magic and can sense its presence.

Ethical and Moral Laws

16. Law of Magical Ethics- Magic should be used responsibly and ethically.

18. Law of Magical Consent- Magic should not be used on others without their consent.

20. Law of Magical Oaths- Magical promises or oaths are binding and have severe consequences if broken.

Advanced and Rare Laws

19. Law of Magical Evolution- Magic can evolve and change over time.

20. Law of Magical Singularities- Unique, one-of-a-kind magical phenomena exist and are unpredictable.

Unique and Imaginative Magical Laws

- Law of Temporal Magic- Magic can manipulate time, but with severe consequences. Altering the past can create paradoxes, and using time magic ages the caster rapidly.

- Law of Emotional Resonance- Magic is amplified or diminished by the caster’s emotions. Strong emotions like love or anger can make spells more powerful but harder to control.

- Law of Elemental Harmony- Magic is tied to natural elements (fire, water, earth, air). Using one element excessively can disrupt the balance and cause natural disasters.

- Law of Dream Magic- Magic can be accessed through dreams. Dreamwalkers can enter others’ dreams, but they risk getting trapped in the dream world.

- Law of Ancestral Magic- Magic is inherited through bloodlines. The strength and type of magic depend on the caster’s ancestry, and ancient family feuds can influence magical abilities.

- Law of Symbiotic Magic- Magic requires a symbiotic relationship with magical creatures. The caster and creature share power, but harming one affects the other.

- Law of Forgotten Magic- Ancient spells and rituals are lost to time. Discovering and using forgotten magic can yield great power but also unknown dangers.

- Law of Magical Echoes- Spells leave behind echoes that can be sensed or traced. Powerful spells create stronger echoes that linger longer.

- Law of Arcane Geometry- Magic follows geometric patterns. Spells must be cast within specific shapes or alignments to work correctly.

- Law of Celestial Magic- Magic is influenced by celestial bodies. Spells are stronger during certain astronomical events like eclipses or planetary alignments.

- Law of Sentient Magic- Magic has a will of its own. It can choose to aid or hinder the caster based on its own mysterious motives.

- Law of Shadow Magic- Magic can manipulate shadows and darkness. Shadowcasters can travel through shadows but are vulnerable to light.

- Law of Sympathetic Magic- Magic works through connections. A spell cast on a representation of a person (like a doll or portrait) affects the actual person.

- Law of Magical Artifacts- Certain objects hold immense magical power. These artifacts can only be used by those deemed worthy or who possess specific traits.

- Law of Arcane Paradoxes- Some spells create paradoxes that defy logic. These paradoxes can have unpredictable and often dangerous outcomes.

- Law of Elemental Fusion- Combining different elemental magics creates new, hybrid spells with unique properties and effects.

- Law of Ethereal Magic- Magic can interact with the spirit world. Ethereal mages can communicate with spirits, but prolonged contact can blur the line between life and death.

- Law of Arcane Symbiosis- Magic can bond with technology, creating magical machines or enchanted devices with extraordinary capabilities.

- Law of Dimensional Magic- Magic can open portals to other dimensions. Dimensional travelers can explore alternate realities but risk getting lost or encountering hostile beings.

- Law of Arcane Sacrifice- Powerful spells require a sacrifice, such as a cherished memory, a personal item, or even a part of the caster’s soul.

---

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[michellekarnold]

This is your reminder that you are brilliant.

Your voice and writing style is unique and is unlike any other author/writer. Stop comparing your work to other artists.

There is only one YOU!

Only YOU can write your WIP the way it is supposed to be written. No one can replicate what you’re capable of.

[poorly-drawn-mdzs]

The Dungeon Meshi crew 'leap' into action!

[grimgoregrimoire]

Fanfuckingtastic writing advice!!

Beating yourself up about your writing DOES NOT HELP YOU WRITE! Cut that shit out, be nicer to yourself, take breaks, and remember it's a marathon not a sprint and also nobody likes running ¯\_(ツ)_/¯

[motojane]

[hi-its-cookie]

I love you original stories I love you fake screenshots I love you character sheets I love you oc playlists I love you oc ship names I love you pitch bibles I love you concept art I love you oc comics I love you rambles about worldbuilding I love you rambles about inspiration I love you writing advice I love you “I want it to be a show/comic/book one day” I love you small oc community I love you I love you I love you

[daddiesdrarryy]

Writers’ #1 problem: Naming characters

[thecatamaranlad]

WIP snippet, sorry for the annoying formatting.

[starbase777]

When you have the desire to write four paragraphs of deep lore about your OC's history including a fine combination of angst and character progression but have no energy to do it

[bunnygirllover45]

— The shape of love. ﹑◌﹒WARNINGS﹕Kidnapping, implied punishment, ugly jealousy, some descriptions of body harm ( just wounds or bruises, and it doesn't get too graphic), lots, and lots of deranged ramblings, it gets very dark at times. This is narrated from the POV of the Yandere, you can read this as a 'letter' of sorts.

♱ ✧ ⤷ Word count: 997 (felt lazy and I didn't reach 1k lmao.)

There you go again, looking at me with the same eyes as always.

I don’t know how many times I’ve repeated moments like this inside my head since the last time. It's been a while since I've been this close to you.

The trembling of your body lets me know that your excitement is as big as mine, is your body perhaps unable to contain all those bubbling feelings?

I grab your legs, my hands softly pressing against the flesh, feeling it under mine —so soft and delicate, for a moment I thought that maybe if I pushed my fingers inside of it I could spread it like a cloud made of cotton— when I pressed I could fee the shape of your bones underneath just a little, the sensation made my own body tremble.

It’s a shame you’re still shy to my touch, even if it’s something simple like a small caress or a kiss on the cheek you’re always trying to push away from me, I would love if you to cling onto me more when I do it or have you begging silently to do something more. I know you wouldn’t tell me with words, you’re not good with them.

Now that I think about it, I’ve never heard you say my name since I brought you here, no?

I should tell you what it is now so you could say it between sighs and I could engrave the sound on the back of my brain forever — those sweet sounds could captivate me forever.

I wonder if you’d say my name with a kind voice, or you’ll just talk to me with the same indifference and fear that’s so characteristic of you. I do admit that is kind of endearing, wild animals were always more interesting than domesticated ones thanks to their hostility, it makes me want to approach them, stick my hand, and see if they’ll bite me, or would just run away and hide in a corner.

I wouldn’t mind if you bit me, I would love to bite you as well in fact, I would wear that mark proudly and I would make sure you do it as well, we could bite our fingers and pretend the marks are our wedding rings, a testament of our love engraved on our skin.

Hahaha — I’m rambling again, please don’t get nervous, you know I usually get lost in my thoughts when I’m here with you, especially when my hands are idly dragging across your skin  — nails and all — leaving red marks behind.

I’m just tracing small invisible circles on your skin and you’re already getting goosebumps, I think that when I touch you delicately like this is when you fear it the most, right? I’m always keeping the momentum, you’ll never know when I can dig my nails into your skin or grab you and never let go.

I press a simple kiss on the skin of your heel, dragging my lips across the length of your leg, what a celestial feeling, there’s nothing in this world that could compare to this mere sensation. You’re trembling again, that makes me smile.

Sometimes when night falls and there are no more thoughts left to think inside my head my mind begins to wander off the path, usually it doesn’t lead me anywhere in particular, but since some time ago I’ve had this constant thought; there are other  —people— that had touched you like this before?

I would like to think that I’m the only one who had the privilege to enjoy all of you, that no other mark of fingers or teeth that doesn’t have the shape of mine has been on your skin.

Thinking like that makes sleeping easier for me.

I’m thankful that right now you can’t speak to me, because if I made you that question and you responded to me that yes, other people had marked you like I did, I think I would had the impulse to tear apart each part of you that has been tainted by them.

Not because I hate you, on the contrary, I just think I couldn’t live with the idea. That you belonged to someone else even if it was just for a moment, what am I saying? I don’t even like the idea of you belonging to yourself.

But if I were to do that, I think I’d like to go to extremes no other people could; kiss your open wounds or taste your blood, that would be romantic, don’t you think?

I press my face against your thighs while I keep dragging my nails up and down your legs, I sigh again, tilting my head slightly to take a better look at you, I can see myself reflected in your own eyes now, how romantic, just like in the movies you like to watch.

I like the me I see in your eyes, I like the idea that it belongs to you alone, the idea of you keeping each small expression I make just for you, each blink would be like a small photograph you take of me and keep inside your head, aaaalll yours.

My mother used to tell me that love is only true if you can see it reflected in the one you love,

From your red cheeks — was I too rough last night?

Your bruised knees — If you would just learn how to sit properly at the table already, it would make our meals more easy.

Your beautiful hands — You should stop trying to take off your handcuffs.

Your shining eyes — Is that a small tear I see? Maybe I should reach it and lick it, I wouldn’t like to go to waste.

Yes, I think for the first time something she said made sense, now that I took a better look at you, I don’t think there’s any better proof of this —

You’re the truest, most beautiful form of ‘love’.

[topazadine]

Avoiding therapy speak in writing

I think we all know by now that therapy speak is irritating and unrealistic, especially if you are writing in a fantasy world that doesn't even have modern psychology.

Part of the reason that it is so annoying is that it is the definition of telling instead of showing: characters are just plainly informing us of their feelings rather than making us work for a better understanding. It's cheap and boring. Instead of making your characters seem like complex individuals with their own hangups and difficulties, they seem like plot points programmed to tell us things.

But obviously, you want to put these people in situations and have them talk about it! How do you do that without sounding maudlin? Here are some options.

Listen to real arguments/conversations

I cannot stress enough how important it is to listen to how actual real human beings talk to each other during heightened emotional states. They don't have to be nasty abusers, and they don't have to be perfect angels, just everyday people doing their normal thing.

Of course, I'd hope you're not seeing people argue all the time, but if you do happen to see it, listen carefully and notice how people actually address their problems. Think back to tough conversations that you have had, even if you wouldn't classify them as arguments. Consider how people acted and reacted to one another. Notice how normal humans talk about issues outside of therapy, even intelligent and emotionally evolved people.

I've had years of therapy, and even I do not talk in therapy ways about my issues when I'm talking to my family or friends. It just feels cheesy and fake outside of that particular setting - plus, it freaks other people out and can seem kind of manipulative. Try talking like that in a real conversation and see how uncomfortable it is. You'll understand why avoiding therapy speak is important.

Consider the character's own hangups

Just as everyone has their own unique speaking style and mindset, so do we all have our own argument styles. These are often informed by our pasts and upbringing; they are as varied as our own histories. However, there are a few different options.

Someone with a happy upbringing may be more assertive and willing to address their problems because they had that demonstrated to them as children.

A spoiled child will grow up to be a demanding adult who refuses to give any quarter.

Those who got yelled at a lot as children may shut down and fawn to avoid getting hurt.

Someone who grew up in a violent household may mimic that behavior and get incredibly aggressive when upset.

Individuals whose parents didn't teach them emotional regulation will lash out and get loud.

Manipulative people may stay very calm and gaslight the other person, or they may get hysterical to garner sympathy and make people focus on comforting them.

Someone who has gone to therapy may revert to their original argument style, or they may imperfectly apply what they have learned in a way that feels a bit unnatural. They may start out with rage, then force themselves to calm down through grounding techniques.

People who have been coached through previous emotional outbursts could demand a time out, then fail to actually calm themselves down.

Some may refuse to acknowledge they are upset and insist, in increasingly forceful terms, that they are fine.

Others may get quiet or crack a joke to ease the tension, but it doesn't really help.

Keep each confrontation short

IRL, emotional confrontations are generally not that long. They don't go on for hours and hours, though it can feel that way. No one is going on and on about their feelings and sharing every little detail of how they feel (at least not that I know of personally, maybe other people are different).

Even the worst arguments I have had, the real nexus of the argument was maybe an hour or two, though the fallout lasted much longer. I'd say there was an hour maximum of real, active confrontation, preceded or followed by hours/days/weeks of simmering frustration.

Why? Because arguments are exhausting. You don't have the energy for that in the heat of the moment. Yes, feuds and fights can last years, but each actual confrontation is short.

For longer, more serious issues, hash it out over a few sessions rather than all at once. It's rare to get everything out of the way immediately unless the characters already have a strong, loving relationship.

Show incongruencies

Especially for more reserved people, they will likely have their emotions leaking all over the place but won't actually say anything. As such, focus on body language while keeping the conversation more focused on the plot. For example, Character A might be crying but still trying to argue their point about whatever is going on.

Address physical complaints instead of emotional ones

In many cases, people will use "I'm tired" or "I didn't sleep well" or "I'm not feeling great" as shorthand for whatever is actually bothering them. It relieves pressure by not making them talk about upsetting matters while still addressing their discomfort in some form.

You should also consider the fact that some people can't connect physical sensations to feelings, so they may genuinely feel ill and not really understand why. This is especially common in people who can't emotionally regulate or have been through trauma.

For myself, I tend to somatize my feelings, so I might not feel upset, but I will feel physically sick. My stomach will hurt, my chest will get tight, or I'll get a headache, but my emotional state will seem calm. This isn't all that unusual, and many people experience this to different degrees.

As such, you can have your character say that their stomach hurts, or that they have a headache and can't discuss this anymore, or that they need to go lie down because they're dizzy. If we know they're relatively healthy, this can be a clue that they're getting overwhelmed but either cannot pinpoint their emotions or don't want to discuss them.

Let characters advance and retreat

A lot of the time, someone will address a scary emotion and then retreat again, sometimes over a period of hours, days, or even weeks. This is normal: most of us don't have the emotional fortitude to forge ahead through something difficult all in one go. Character A may say something vulnerable, then change the topic, laugh it off, say they're done discussing it, or even leave the situation.

Leave emotions partially unaddressed

Again, it's rare for someone to spill out everything they're feeling all in one go. As such, have Character A address the most important thing - or the least important, depending on their level of emotional maturity - and let it be done for then.

They might say their small piece, but when someone tries to probe deeper, they don't have an answer, or they get "stuck" on that one emotional level and cannot go further.

If Character B keeps pushing, then they may get incredibly upset and push back, or retreat.

Have Character B point out the feelings

Works especially well if the other character is a close companion or a parental figure. Often, people who know us really well will have better insight into our emotions than we do. Or, we might have good insight into our emotions but are still too afraid to open up. Having Character B point out the issue gives Character A grace to be more honest.

I can't tell you how many times I've been really upset, so I've distracted from the issue by getting angry about something completely different. Then, my mom will gently point out that I'm not actually crying about my new plastic cup being broken or whatever; I'm actually upset about XYZ. In that moment, I realize I've been caught out and admit that yes, that's what I'm really upset about.

Have Character A address it with a third character

Who among us hasn't gone to someone else to talk about our feelings? Having a third party serve as a sounding board is normal. Sometimes, Character A will feel such catharsis from this conversation that they don't address it as thoroughly with Character B.

Of course, you can use this to your advantage and create more tension if the third character gives bad advice or is biased.

Remember that just because the third party responded well does not mean that Character B does. You also have to avoid omniscience and remember that Character B wasn't privy to that conversation.

Have one confrontation be a stand-in for a larger one

I always think about the "The Iranian Yogurt Is Not the Issue" post when I think about this. Often times, things like not doing the dishes or whatever aren't actually the big deal: it's lack of boundaries, communication, or respect. A minor argument can be shorthand for a larger one that is too challenging for the characters to tackle.

This isn't just creating drama for the hell of it, though; it's about exploring the larger issues without making the characters lay it out on the table. A good reader will be able to see it's not about the Iranian Yogurt as long as you set up the relationship well.

Currently, I am writing a story where Uileac and his sister Cerie go to rescue Uileac's husband, Orrinir. On the way there, Uileac idly comments on how he wonders where a waterfall comes from because he's trying to distract himself from thinking about the fact that his husband is kidnapped and possibly dead.

Cerie, being pretty wound up too, starts arguing with him about it because she's like "why is this relevant? We're kind of too busy to think about geology right now!" Uileac gets annoyed at her for being so aggro, and she gets annoyed at him for being so irreverent. Both of them are upset about something completely different, but they're too scared and panicked to actually address that, so they release their frustrations by complaining about waterfalls.

Those bad vibes have to go somewhere, but neither of them are very good at talking about their feelings (though very good at stuffing them down). As such, they take the pressure off by sniping at one another. You've probably done this too, when you get into a dumb argument about something absolutely pointless because there's something you don't feel strong enough to discuss.

There's also the fact that if you're mad at someone about something but feel it's too stupid or petty to discuss, that frustration will leak out and everything else they do will annoy you, leading to a bunch of irrelevant arguments.

Use "reaffirmation" gestures

I talked about this in a different post, but after an argument, the "make up" stage doesn't always involve going "ohhh I forgive you" and big hugs and kisses, especially when the two characters aren't emotionally mature.

Instead, Character A makes gestures that reaffirm the relationship. This could be offering to do something Character B needs, making plans for later, or changing the topic to discuss something the other character cares about ("how are your cats doing?") etc.

Note that these "reaffirmation" gestures aren't the same as the cycle of abuse. This is more when two characters have had a difficult emotional conversation but aren't really sure how to continue being emotionally open, so they revert to something safer that still shows they care. They're not over-the-top gestures either, but more a special attention to something the other person loves. Knowing what the other person loves also demonstrates the depth of their relationship.

As always, I can't tell you what to do with your writing.

You are the crafter of your own story, and if you want people to talk like therapists for whatever reason, that's your choice. However, we want characters to feel like real people, and most real people don't lay it all out on the table every single time they're upset. If they do, they might be trauma vomiting, which is icky in and of itself.

Healthy communication isn't always perfect communication. People can have strong, loving relationships and still get things wrong - we're human. Having people calmly and rationally and easily talk about their feelings every single time is not only kind of boring, but it also feels weird, because unless we're primed to discuss those difficult topics and know we're perfectly safe, we're not going to do that.

People don't even do that in therapy, where they are paying for the service of talking about their feelings! Therapists also don't always do that IRL!

We're humans, and your characters need to feel like humans as well. That means letting them be imperfect communicators and using context clues rather than making them do all the work for the reader.

If you liked my advice, consider purchasing my book, 9 Years Yearning, for $3!

[michellekarnold]

Y’all… I just reached 10,000 words in my first WIP since I stopped writing 8 years ago!!