#writing a book for beginners

[thereadingbud]

How to Start Writing a Book

It is a big decision to write a book; but when do you know exactly when or how to start writing a book. It usually begins as an idea that won’t let go. A voice inside saying, “What if…?” And yet, many aspiring writers get stuck at the very first question: Where do I even begin? If you’re here, hovering on the edge of that first sentence, know this: You are not alone—and you are exactly where you…

[physalian]

How to make your writing sound less stiff

Just a few suggestions. You shouldn’t have to compromise your writing style and voice with any of these, and some situations and scenes might demand some stiff or jerky writing to better convey emotion and immersion. I am not the first to come up with these, just circulating them again.

1. Vary sentence structure.

This is an example paragraph. You might see this generated from AI. I can’t help but read this in a robotic voice. It’s very flat and undynamic. No matter what the words are, it will be boring. It’s boring because you don’t think in stiff sentences. Comedians don’t tell jokes in stiff sentences. We don’t tell campfire stories in stiff sentences. These often lack flow between points, too.

So funnily enough, I had to sit through 87k words of a “romance” written just like this. It was stiff, janky, and very unpoetic. Which is fine, the author didn’t tell me it was erotica. It just felt like an old lady narrator, like Old Rose from Titanic telling the audience decades after the fact instead of living it right in the moment. It was in first person pov, too, which just made it worse. To be able to write something so explicit and yet so un-titillating was a talent. Like, beginner fanfic smut writers at least do it with enthusiasm.

2. Vary dialogue tag placement

You got three options, pre-, mid-, and post-tags.

Leader said, “this is a pre-dialogue tag.”

“This,” Lancer said, “is a mid-dialogue tag.”

“This is a post-dialogue tag,” Heart said.

Pre and Post have about the same effect but mid-tags do a lot of heavy lifting.

They help break up long paragraphs of dialogue that are jank to look at

They give you pauses for ~dramatic effect~

They prompt you to provide some other action, introspection, or scene descriptor with the tag. *don't forget that if you're continuing the sentence as if the tag wasn't there, not to capitalize the first word after the tag. Capitalize if the tag breaks up two complete sentences, not if it interrupts a single sentence.

It also looks better along the lefthand margin when you don’t start every paragraph with either the same character name, the same pronouns, or the same “ as it reads more natural and organic.

3. When the scene demands, get dynamic

General rule of thumb is that action scenes demand quick exchanges, short paragraphs, and very lean descriptors. Action scenes are where you put your juicy verbs to use and cut as many adverbs as you can. But regardless of if you’re in first person, second person, or third person limited, you can let the mood of the narrator bleed out into their narration.

Like, in horror, you can use a lot of onomatopoeia.

Drip Drip Drip

Or let the narration become jerky and unfocused and less strict in punctuation and maybe even a couple run-on sentences as your character struggles to think or catch their breath and is getting very overwhelmed.

You can toss out some grammar rules, too and get more poetic.

Warm breath tickles the back of her neck. It rattles, a quiet, soggy, rasp. She shivers. If she doesn’t look, it’s not there. If she doesn’t look, it’s not there. Sweat beads at her temple. Her heart thunders in her chest. Ba-bump-ba-bump-ba-bump-ba- It moves on, leaving a void of cold behind. She uncurls her fists, fingers achy and palms stinging from her nails. It’s gone.

4. Remember to balance dialogue, monologue, introspection, action, and descriptors.

The amount of times I have been faced with giant blocks of dialogue with zero tags, zero emotions, just speech on a page like they’re notecards to be read on a stage is higher than I expected. Don’t forget that though you may know exactly how your dialogue sounds in your head, your readers don’t. They need dialogue tags to pick up on things like tone, specifically for sarcasm and sincerity, whether a character is joking or hurt or happy.

If you’ve written a block of text (usually exposition or backstory stuff) that’s longer than 50 words, figure out a way to trim it. No matter what, break it up into multiple sections and fill in those breaks with important narrative that reflects the narrator’s feelings on what they’re saying and whoever they’re speaking to’s reaction to the words being said. Otherwise it’s meaningless.

—

Hope this helps anyone struggling! Now get writing.

[kidnappedwriter]

What it means to write a book

Yes, I’m writing a book.

By which I mean, I made some characters, set them loose in a world and now I have no control over anything.

[lauferisms]

Monica's Weird, My First Novella!

Do you like Dark Science Fantasy, unconventional protagonists, and the storytelling of games like Half-Life?

Well, I just published my first novella! If you can spare a few dollars, I'd be happy to read your thoughts!

It's about a dystopia, a fairy, and Monica, the emotionless girl tying them all together.

[aelenist--writng--process]

5 MINOR DETAILS TO MAKE YOUR FANTASY STORY MORE REALISTIC :

Hofball in Wien, Wilhelm Gause (1900)

• 1. Titles Matter:

While terms like "My Lord" and "My Lady" are generic, they may not always be suitable depending on the relationship between the speaker and the royal figure. Understanding the hierarchy is crucial; a servant might call a prince "My Lord" if they are familiar, but "Your Highness" is typically preferred, especially in formal contexts.

Different titles serve specific roles:

- "Your Majesty" for kings and queens,

- "Your Highness" for princes and princesses,

- "Your Grace" for dukes,

- "Sir" for knights.

Consistency in these titles is vital to maintain the integrity of the narrative.

• 2. Clothing Restrictions:

Heavy gowns make movement difficult for women, impacting their ability to act swiftly in emergencies. If an author chooses to describe a character's elaborate dress, they should also depict the practical consequences of wearing such attire, perhaps showing the character struggling to navigate challenges. Also, Characters wearing long, flowing sleeves while attempting complex tasks, like slipping poison into a drink, are impractical. Similarly, those in soft slippers planning a hasty escape should realistically face consequences for their poor choice of footwear. Characters should either change into suitable boots or face the challenges of their attire, as impractical clothing can lead to failure in critical moments.

•3. Consider the Atmosphere in Your Court Setting

Authors often describe court settings as smoky due to candles, fires, or incense, yet characters can see clearly across the room, even recognizing distant expressions. This inconsistency raises questions about visibility in such conditions. Reflect on experiences in smoky environments and how they affect sight. If the air is filled with smoke, characters should struggle to see, rather than having clear visibility when it’s convenient for the plot. Consistency in environmental details is crucial for believable storytelling.

• 4. Luxury Items and Trade Routes:

When describing luxury goods, authors should align these items with their world’s geography and trade routes. For example, a remote kingdom should not possess abundant glass windows if transportation is difficult. The narrative must consider logistics to avoid unrealistic portrayals.

• 5. Hierarchies of Politeness and Impoliteness:

Understanding who can be armed in the presence of a king is essential. Characters should not carry weapons without reason, respecting the established rules of the court. Challenges to these rules must be justified within the story.

[xann-z-the-artsy-enby]

Me: im gonna make this summer STRICTLY for my art! My comics haven't gotten as much love, time to show it now that I have time!

Also me, and few weeks in: Hm why dont I listen back through all my book playlists, reread old stories and oops look at that now I wanna write my fantasy debut

And an apocalypse debut

AND my 20+ fics

...and 3 contemporary books

[licorice-and-rum]

We talk a lot about Romance tropes but...

We should start talking more about Fantasy tropes, (almost) exclusive to fantasy tropes. I mean like...

The Chosen One - Self-explanatory

The School - That's a classic and I'm eating it up every time btw, the more academics about a fantasy reality I don't know about the better

The character who was dead but not actually - this one is a must lol

The traitor - Always a surprise though it shouldn't really be

The traitor who's not actually a traitor, they just have more information than the protagonist

The traitor who's not actually a traitor except that they are because the information they have doesn't really change anything - I have a special hatred for them

The romantic interest who's not really the romantic interest because they're gonna do something unforgivable (see traitors above)

The bully - especially common in the academic setting

The best friend who's going to die and we all know it but we'll fall in love with them anyway

The fugitive protagonist - unlike the chosen one, they are going to have their ass blackmailed by every single adult around them in order to get the plot in motion

The extremely unreliable adults - either because they're bad, the protagonist has a secret, or they're just that dumb

The character who doesn't really like the protagonist but will eventually help them out and they'll become friends

The cliffhanger where the dead character suddenly is revealed to be alive (usually at the end of book 1)

The experimentation and/or top-secret abandoned ruins the villains are excavating for some reason (very common)

For some reason, everyone still uses swords to fight despite the technology that might be at hand because of the magical background (and everyone knows it's because it's cooler)

The interrogation moment (when the villain will torture and/or manipulate with their terrible charm the protagonist into talking)

Add them on!

[enby--ghost]

the worst part about writing a book is how many thoughts I have about movies and all that jazz, when I'm three chapters deep and haven't even introduced the third main character yet

I've genuinely put thought into how I'll handle discourse of my story online, and the first draft isn't even finished

[topazadine]

Okay, okay, here's perhaps my spiciest and most controversial take yet.

Now, before I even say anything, please note that I am talking specifically about fantasy. Not retellings of myths, not historical fiction set in different countries, nothing like that. This is for second-world fantasy, where you're creating a whole different world.

Ready?

Stop making everything so damn complicated!

This is not to say that you can't have a rich and exciting world filled with lore, religion, different societies, traditions, unique geographies. Not that. Of course we want that: it's the whole reason we read fantasy. I'm talking about something else.

This is my simple takedown, and you can read the rest to better understand what I mean:

Stop jamming your story with five billion weird words.

Don't use super complicated nouns.

Keep the characters to a minimum so we can know and like them.

Don't yammer on about all the backstory.

Stop making readers do homework just to understand things.

Focus on the feeling a story gives instead of the intricate worldbuilding.

And lastly, a pre-emptive note to those who are putting their hackles up and telling me why they are an exception.

Why is it important to keep things simple?

A lot of people shy away from fantasy because they assume that every fantasy story is going to be so complicated that their head will hurt. Not in terms of plot - many people like complicated plots - but in terms of terminology and history. Things that ultimately don't really matter to the plot.

We as writers often assume that everyone cares about our story as much as we do and is equally captivated by every detail. This is simply not true.

To your reader, your story is not their life's work: it is entertainment that they want to be able to enjoy at their leisure. It's a distraction from their difficult lives and all their real-world frustrations. If they get really into it and, say, write fanfic or whatever, that's amazing! But they're not likely to do that if they feel like they'll be jumped on for doing something wrong or that they have to include every single little detail.

For example, I wrote over 1 million words of Touken Ranbu fanfic. Touken Ranbu, at its heart, has a very simple premise: you've got a bunch of legendary swords that were turned into hot men and fight evil time-traveling monsters. You can understand it with just that. There are layers to it, though, that you can slowly untangle. That makes for good writing because it works on multiple levels depending on how much you care about it.

I would have given up on the story if I felt like I needed a dictionary just to understand the plot. Most people would. Language needs to be accessible and premises need to be clear, or no one is going to want to go deeper.

Subtle little details that people can pick up are way more enjoyable than tossing every single factoid at people so that they feel overwhelmed and can't think. It's wonderful to have rich layers of symbolism, mythology, etc. That's excellent. But you can only get people to care about those things if they can actually comprehend your damn story.

A lot of the things that turn people off from fantasy are all about a writer's ego, and it oozes through the work. People can tell that you're wanting them to pat you on the back for putting so much shit in your story. It's annoying and a total turn-off when you make readers work so hard to comprehend what you're saying.

So what exactly am I talking about? This.

Using made-up terms for everything that could easily be explained with a normal English word

When I am writing fantasy, I imagine myself as a translator. After all, my made-up societies have their own made-up language (Seinish) that is referenced a few times.

However, I'm not using Seinish words all the time. I'm writing in English. I didn't write out a Seinish dictionary or even come up with most of the terms because, honestly? Most readers don't care. They want to understand what's going on in as simple of terms as possible, with only a few specific terms that remind us that we're somewhere different.

I may use some specialized terminology, but it's always couched in context clues that make us aware of what it is without actually having to just say "sdlkjfslkdjf, also known as a marketplace."

For example, in The Eirenic Verses, the High Poet Society has religious centers called meronyms. (Which actually isn't a made-up word.) We know they're religious centers because we see all the religious leaders living there. Someone sees the term "meronym" and goes "oh yeah, that's the religious place" and moves on.

It's one of the only confusing, specialized terms in the book other than place names, which people expect whenever they're reading fantasy. Because of that, it stands out and is easy to remember. It's not one of 1029310283012830132 different terms someone has to remember in order to follow along.

Even Tolkien, famed for literally writing an entire extra book full of lore for his stories, doesn't really use that much specialized terminology except for place names. My favorite author, China Mieville, only uses specialized terminology for things that have absolutely no basis in our reality and that can't be explained otherwise. And he's an extremely eloquent guy who uses the weirdest words possible whenever he can. If he can write a book that's mostly comprehensible without a cheat sheet, you can too.

If there is an English term for what you are trying to explain, just use that, for the love of god. The point of writing a story is not to show how smart and special you are: it is to tell a story. You need to remove as many barriers to access as possible.

Things that get a pass and can be made up most, if not all, of the time:

Place names (as in specific places, not categories of things)

Peoples' names

Languages

Species that don't exist in our world

Modes of transportation that don't exist in our world

Magic that can't be explained in any other way

Technology that can't be defined by our language

Look, if you have an animal that is basically a dragon, just call it a dragon. If you've got a wheeled carriage, call it a carriage. Call earth magic something based in earth terms, like "terravitae" or something, idk. There should be some connection to our world in your terminology because you are writing this in English for an English-speaking audience.

It doesn't make you a lazy writer, it makes you one that wants people to understand what you're talking about. Again, imagining yourself as a translator is a good way to keep yourself from going ham on the nouns.

Proper nouns that are way too complicated

Let's look at some well-known proper nouns from fantasy.

Middle Earth

Narnia

Earthsea

Discworld

Westeros

Ankh-Morpork

Bas-Lag

Wonderland

They're all ... simple. They're not a million syllables with weird intonations and accents and all that. If you showed this to a medieval peasant, they'd probably be able to pronounce them and would likely understand that they were place names.

Unless there's a good reason to have a weird name, don't use one. Come up with something simpler.

All of these I mentioned are three syllables or less, making them easier to remember. In fact, I'd argue that nearly every proper noun in your book should be no more than three syllables. Maybe one or two four-syllable ones.

Any very weird name should be balanced out by several easier ones so that it stands out.

40 million characters

Younger writers often want their world to feel very lived in, so they introduce dozens of characters with their own names, descriptions, backstories, etc etc etc. The problem is that this is a huge mental load on your reader, especially if a lot of the characters have very similar names. It makes reading your stuff into a chore rather than an enjoyable experience.

Now, some literary greats do have a lot of characters. But they get away with it because they're great.

I'm not great, so I don't do that.

I'd also suggest that you don't do that, regardless of how good you think you are.

To see if you have too many chracters, write out a dramatis personnae and rank it in terms of importance. Does your top tier have like 15 characters? Cut some. Figure out where they are in the story and if they don't exist for more than a few pages, delete them. Absorb them into someone else.

If a character is only in one scene, don't bother naming them. They don't matter enough. This reduces the cognitive load for your reader because they can see that character for what they are: a background person who exists only briefly.

Any time you name a character, they need to have deep plot relevance. The more unusual your character's name, the more important they should be. And they should have some sort of relationship to another character, preferably the main character. Otherwise, why are they there? Why do we care? Go away!

Way too much backstory

I am an adult and my brain is filled with 50 million other things. I have to remember stuff for my job, I have a to-do list, I have family I care about who needs me.

Your story is not the end-all be-all of my existence. Hell, my story is not the end-all be-all of my existence either. I want to be able to pick up your book, understand what's going on, and then delve a bit deeper or even make up my own headcanons.

I do not need the entirety of your story's world thrown at me right off the bat. It is overwhelming and tiring. Imagine if you visited a different country and someone immediately came up to you and started spewing the whole history of the country right after you stepped off the plane. That's what you're doing to your readers!

Think also about how you approach your everyday world. Do you reel off a million facts about your personal history the instant you meet someone? No, of course not. It'd be weird and creepy.

Are you constantly recalling facts about your city while walking down the street? Do you even know any major facts about your city? You probably know a few little trivia points and that's it. Because it's not relevant to you, and it's not relevant to your readers, either. I can't recall off the top of my head when Cleveland was settled, but I can tell you that we have the world's first Dunkleosteus fossil in our museum, because that is interesting to me. That's the kind of thing that makes a place feel lived-in, not four hundred thousand pages of exposition about the place's history.

Give your readers time to settle in, and reveal things slowly as they make sense. Maybe we hear a little bit about the country's government as they pass a parliament house, or because they have to visit the city center for a different reason. If it's not pertinent to the current scene, then don't put it there.

I've got tons of lore for my world. Some of it may be referenced one singular time, and some of it may be never referenced at all. That's okay, because it's just for me to get a better sense of the place I created. If a reader doesn't need it, then I don't bother putting it in, because it might detract from their enjoyment.

Overall: stop making your readers do homework!

We do not want our readers to feel like they are working when they are reading our stuff. Excellent writers can infuse deep themes and symbology into their stories without making it feel like work. These are the writers who are remembered forever, because not only have they made a good story that you can enjoy at a surface level, but they have also twined in deeper themes that you can dive into after you've digested the story.

I did my undergrad in British literature, so I read a lot of Shakespeare and contemporaneous authors. Shakespeare is considered complicated by modern standards because of the Elizabethan language, but if you translated it into modern terms, his stories are simple. People betray each other and stab each other, or fuck each other, or get transported to weird magical worlds.

You could watch a Shakespeare play and think absolutely nothing of the themes, but still enjoy the story. You could know absolutely nothing about Greek history and still get the gist.

This is because Shakespeare specifically wrote his plays to appeal to a mass audience. He was a god-tier author when it came to balancing symbology and plot. To be like Shakespeare, be simple. Remember that your reader does. not. really. care. all that much. They don't.

It's very unlikely that your writing is going to become someone's life's work and they're going to spend their whole existence studying. Cool if true, but unlikely.

Your job is to make a story that people like and want to read. Only when you've gotten people liking and reading do you get permission to go ham with the backstory and the characterization and the weird names, because they trust you to create a story that they will like. Otherwise, your primary objective is making people feel things so they want to feel more things and read more stories.

People care more about how a story makes them feel than the specifics

Yes, of course there are outliers to this who really want every single detail of the world, but those are few and far between. You should not tailor your story to these exceptions. Think about the average everyday person.

I have many books that I love, but I can't tell you everything about them now. I can, however, tell you how I felt when I was reading them: the plot twists that made me gasp, the thing that made me cry. I can give you a general, sweeping impression of whether I liked or disliked the story and what made me feel something. This is what people recommend books based on: how they felt.

Your story should focus on the plot and the emotion. People watch movies, listen to music, read books, or look at art to feel something, not to memorize factoids for later usage. Even if they do want to memorize factoids, they won't do that if they haven't built an emotional connection to the story.

While in life, we want facts over feelings, it's opposite in creative writing. We want feelings over facts. The emotional resonance, the mood, the characters, the plot: that is what is important, not showing off how smart you are and how much you have thought about your story.

"But Topazadine, I am special and different! I'm not going to follow your advice."

Sure. Go ahead. I can't stop you. If you want to have a million characters and an entire dictionary to explain everything, that is your choice.

No one can tell you how to write; my advice is just advice.

If you don't like what I have said here, then feel free to ignore it. You don't need to justify it to me or anyone else.

However, you must recognize that this may not resonate with readers. It will turn people off.

I'm not a completionist, and neither are many others; they'll roll their eyes and click out when they are faced with ten pages of character names upfront.

Of course you should always write for yourself first, but if you are planning to write fiction for any level of commercial appeal and you intend to make any amount of money on your work, then audience does matter. If you want kudos or comments on your AU, audience matters. You won't get engagement if you are alienating people.

Your writing decisions are always your own and no one can demand you do something different. You just need to decide whether your personal satisfaction in writing your story in a certain way outweighs your desire for validation, and, perhaps, money. I can't tell you the answer for that; it's up to you.

If you enjoyed this, maybe you'll consider reading my fantasy book, 9 Years Yearning, which does not have 121238103 characters and 3230123 strange words. It does, however, have double-tsundere-mutual-pining-gay-boy-awakening. And horses. It's also just $3.

[bookshelf-in-progress]

Now that I know more about writing, I'm upset at all the writing advice that urged new writers to find the one best way to write stories, when they should be telling us to play with writing techniques like toys.

Don't tell us to avoid certain points of view! Don't box us into the one currently popular prose style! Let us play and see what effects different techniques achieve, so we can learn the best ways to make use of them! Give us a whole ton of possibility instead of one cookie-cutter template!

[writingprompt-ledgers]

Crafting a Fantasy Language: 25 Writing Prompts for World-Builders and Storytellers

Creating a unique language for your fantasy world is one of the most exciting and immersive ways to bring depth and authenticity to your world-building. It can shape how your characters interact, define their culture, and influence their history and magic systems.

But where do you start?

Below are 25 writing prompts to help you build a prosperous, culturally embedded language that feels as alive as the world you create.

Root Words and Origins

Start by developing core root words. For example, words like “life,” “death,” or “magic” are central to the culture. How do these root words evolve into other terms? Are they tied to mythology or historical events?

Phonetic Rules

What does your language sound like? Decide on familiar sounds and patterns. Do certain phonetic combinations carry spiritual or cultural significance? For instance, soft sounds are for peace, and harsh sounds are for power.

Honorifics and Titles

Design a system for titles and respect. Is there a specific way to address elders, warriors, or magical beings? Do different regions or classes use distinct honorifics?

Grammar Rules

Create unique grammar rules. How does your language handle sentence structure, tense, or gender? Is time expressed differently, or does your language have an untranslatable concept?

Cultural Influence on Language

How does culture shape the language? Does it have specific words for rituals, nature, or emotions that don’t translate directly into our languages? How do spiritual beliefs influence everyday speech?

Language Evolution Over Time

Write a brief history of how the language evolved. Did it splinter into dialects or undergo drastic changes? How does the ancient version of the language differ from the modern one?

Idioms and Metaphors

Create idioms reflecting the culture’s beliefs. What do they say to describe someone wise, foolish, or lucky? How do natural elements like mountains or storms influence these expressions?

Magical Incantations

Develop a system of magical language. Are there special words or sounds that must be used for spell-casting? How does the culture perceive these words—sacred or dangerous?

Formal vs. Informal Speech

Establish formal and informal registers in your language. How do characters speak to authority figures versus friends? Is formal speech more flowery or simply more rigid?

Writing System

Does your language use runes, symbols, or an alphabet? Is writing reserved for the elite or magical classes? The activation of certain words might require inscribing them on stone or parchment.

Emotion in Language

Examine how the language conveys emotions. Does it have words for nuanced feelings, like a specific term for unrequited love or a parent’s pride?

Sound Symbolism

Consider how the sound of a word reflects its meaning. For example, long vowel sounds might be used for beauty or calm, while short, sharp sounds are reserved for urgency or anger.

Names and Naming Conventions

Create naming traditions. Are names passed down or chosen based on events or personality traits? Does a name hold magical power, shaping one’s destiny?

Dialect and Regional Variations

Imagine how different regions or social groups speak. Does one region speak in a formal tone while another uses a clipped, more casual dialect? How do these differences cause misunderstandings?

Proverbs and Wisdom

Develop proverbs or sayings that reflect cultural wisdom. What does the culture say about offering advice or warning against danger? How are these proverbs tied to religion or folklore?

Cursing and Insults

Craft curse words or insults. What offends people in this culture? Are insults based on personal bravery, family honor, or physical appearance?

Historical or Dead Language

Create a dead language that was once widely spoken but only used in rituals. How does it influence the current language? Is it studied by scholars or magicians?

Gestures and Body Language

Does the culture rely on body language alongside speech? What gestures complement or emphasize words? Are there specific hand movements or bows tied to certain phrases?

Language and Religion

Explore the relationship between language and religion. Are there sacred words only spoken by priests or during rituals? Does the language invoke gods or magical forces?

Borrowed Words

Create words the language has borrowed from neighboring cultures. How have they been adapted, and what tensions exist between the borrowing and original cultures?

Linguistic Taboo

Are there forbidden words or phrases? How is breaking this taboo viewed—does it bring misfortune or divine wrath? Are these taboos tied to ancient magic or politics?

Wordplay and Riddles

Develop a tradition of wordplay or riddles. How do these reflect cultural values? Is wordplay used for humor, or does it hold deeper, more philosophical meaning?

Poetry and Song

Write a poem or song in your fantasy language. How does the structure of the language shape its poetic forms? Are certain sounds or words reserved for religious or ceremonial songs?

Powerful Words

In some cultures, words are believed to hold power. Write a scene where a character uses a single word to summon magic or change someone’s fate. What makes this word so powerful?

Silent Communication

Create a silent form of communication—hand signs or gestures used for secrecy, combat, or ritual. Who uses it, and why was it developed? How does it interact with spoken language?

Building a fantasy language isn’t just about creating a cool set of sounds or words—it’s about breathing life into your world. Every phrase, idiom, and root word carries cultural, historical, and magical weight, giving depth to your world’s characters and lore. Use these prompts to develop a language that feels alive and connected to the people who speak it.

Have you crafted a unique language for your world? Reply and tell me about the most exciting aspect of your creation.

[bonnibelleangelica]

Writing: Things I Learnt the Hard Way #7

Status Quo Addition...

Having revamped the synopsis for my WIP book, I’ve learnt many things:

I talk too much

Because I had only just finished the planning and plotting of the book when I wrote the first blurb, I was excited to throw every idea out to the public in as much detail as possible. Now that I’ve explained the concept to every stranger on the street, I’m much better at getting to the point.

Names aren’t necessary. Just make it clear what their role is and move on.

Start with your opening concept, then make it clear where the story will be headed. This book could have been about an adventure across the country or a tale of survival, so it’s important that I highlight Canopy (the girl) as being the centre of the narrative. The last section also hints that the conflict with circles back to his home and upbringing as he starts to realise how twisted his worldview was.

Use Canva. Everything is better when you add leaves and pretty graphics.

A mutated world that turns out to be beautiful is already a concept people are familiar with. I didnt need all those examples, save them for the book.

It’s pretty easy to figure out what a scientist’s goal would initially be in a world like this, I didn’t need to specify that they were looking for a solution to the mass mutation.

The whole thing tied itself off too well, the tone made it feel like I had gone through all there was to tell. “They fall in love and live happily ever after... AND THEN-”

Interested in the story of a biologist from an underground bunker falling in love with a vibrant, mutated girl the surface? Check out my new book, Status Quo (coming this year) here: @status-quo-book

[physalian]

How to Make Your Writing Less Stiff Part 3

Crazy how one impulsive post has quickly outshined every other post I have made on this blog. Anyway here’s more to consider. Once again, I am recirculating tried-and-true writing advice that shouldn’t have to compromise your author voice and isn’t always applicable when the narrative demands otherwise.

Part 1

Part 2

1. Eliminating to-be verbs (passive voice)

Am/is/are/was/were are another type of filler that doesn’t add anything to your sentences.

There were fireworks in the sky tonight. /// Fireworks glittered in the sky tonight.

My cat was chirping at the lights on the ceiling. /// My cat chirped at the lights on the ceiling.

She was standing /// She stood

He was running /// He ran

Also applicable in present tense, of which I’ve been stuck writing lately.

There are two fish-net goals on either end of the improvised field. /// Two fish-net goals mark either end of the improvised field.

For once, it’s a cloudless night. /// For once, the stars shine clear.

Sometimes the sentence needs a little finagling to remove the bad verb and sometimes you can let a couple remain if it sounds better with the cadence or syntax. Generally, they’re not necessary and you won’t realize how strange it looks until you go back and delete them (it also helps shave off your word count).

Sometimes the to-be verb is necessary. You're writing in past-tense and must convey that.

He was running out of time does not have the same meaning as He ran out of time, and are not interchangeable. You'd have to change the entire sentence to something probably a lot wordier to escape the 'was'. To-be verbs are not the end of the world.

2. Putting character descriptors in the wrong place

I made a post already about motivated exposition, specifically about character descriptions and the mirror trope, saying character details in the wrong place can look odd and screw with the flow of the paragraph, especially if you throw in too many.

She ties her long, curly, brown tresses up in a messy bun. /// She ties her curls up in a messy brown bun. (bonus alliteration too)

Generally, I see this most often with hair, a terrible rule of threes. Eyes less so, but eyes have their own issue. Eye color gets repeated at an exhausting frequency. Whatever you have in your manuscript, you could probably delete 30-40% of the reminders that the love interest has baby blues and readers would be happy, especially if you use the same metaphor over and over again, like gemstones.

He rolled his bright, emerald eyes. /// He rolled his eyes, a vibrant green in the lamplight.

To me, one reads like you want to get the character description out as fast as possible, so the hand of the author comes in to wave and stop the story to give you the details. Fixing it, my way or another way, stands out less as exposition, which is what character descriptions boil down to—something the audience needs to know to appreciate and/or understand the story.

3. Lacking flow between sentences

Much like sentences that are all about the same length with little variety in syntax, sentences that follow each other like a grocery list or instruction manual instead of a proper narrative are difficult to find gripping.

Jack gets out a stock pot from the cupboard. He fills it with the tap and sets it on the stove. Then, he grabs russet potatoes and butter from the fridge. He leaves the butter out to soften, and sets the pot to boil. He then adds salt to the water.

From the cupboard, Jack drags a hefty stockpot. He fills it with the tap, adds salt to taste, and sets it on the stove.

Russet potatoes or yukon gold? Jack drums his fingers on the fridge door in thought. Russet—that’s what the recipe calls for. He tosses the bag on the counter and the butter beside it to soften.

This is just one version of a possible edit to the first paragraph, not the end-all, be-all perfect reconstruction. It’s not just about having transitions, like ‘then’, it’s about how one sentence flows into the next, and you can accomplish better flow in many different ways.

4. Getting too specific with movement.

I don’t see this super often, but when it happens, it tends to be pretty bad. I think it happens because writers feel the need to overcompensate and over-clarify on what’s happening. Remember: The more specific you get, the more your readers are going to wonder what’s so important about these details. This is fiction, so every detail matters.

A ridiculous example:

Jack walks over to his closet. He kneels down at the shoe rack and tugs his running shoes free. He walks back to his desk chair, sits down, and ties the laces.

Unless tying his shoes is a monumental achievement for this character, all readers would need is:

Jack shoves on his running shoes.

*quick note: Do not add "down" after the following: Kneels, stoops, crouches, squats. The "down" is already implied in the verb.

This also happens with multiple movements in succession.

Beth enters the room and steps on her shoelace, nearly causing her to trip. She kneels and ties her shoes. She stands upright and keeps moving.

Or

Beth walks in and nearly trips over her shoelace. She sighs, reties it, and keeps moving.

Even then, unless Beth is a chronically clumsy character or this near-trip is a side effect of her being late or tired (i.e. meaningful), tripping over a shoelace is kind of boring if it does nothing for her character. Miles Morales’ untied shoelaces are thematically part of his story.

Sometimes, over-describing a character’s movement is meant to show how nervous they are—overthinking everything they’re doing, second-guessing themselves ad nauseam. Or they’re autistic coded and this is how this character normally thinks as deeply methodical. Or, you’re trying to emphasize some mundanity about their life and doing it on purpose.

If you’re not writing something where the extra details service the character or the story at large, consider trimming it.

—

These are *suggestions* and writing is highly subjective. Hope this helps!

[java-dragon]

Bookbinding for Beginners by a Beginner

All of the stuff I've written thus far. [October 28th 2023]

Part One

Part Two

Part Three

Part Four

Part Five

Part Five and A Half

Part Six [Added October 31st 2023]

Trouble Shooting Aside [Added November 11th 2023]

Part Seven [Added November 16th 2023]

Part Eight- and Final Post (Until I ultimately write more, cause lets face it, I've already started tweaking how I do things) [Added November 29th 2023]

[deadghostgirl12345]

Creating a character things to keep in mind (not all always necessary and depend on the character).

Name:

Nickname(s):

Appearance/Design:

Personally:

Age:

Gender/pronouns:

Likes:

Dislikes:

Backstory:

Fears:

Aspirations:

Birthday:

Species:

Abilities/powers:

Weapons:

Title:

[aelenist--writng--process]

Religious Questions in your fantasy story

Let’s return to the questionnaire format. Here are some thoughts I consider when creating a religion.

1. What are the fundamental tenets of your religion?

These are essential. I’ve read many fantasy religions with detailed descriptions of temples, holy days, and rituals, but they often lack depth. What does this religion stand for? If a typical follower were asked to summarize their faith, would it be about sacred days and ornaments? Probably not, unless the faith is more respected during times of crisis than in daily life.

Often, fantasy religions default to models based on Christianity or Wicca—either focusing on forgiveness and love or on nature and agriculture. This doesn’t always make sense. For instance, a desert-dwelling people likely wouldn’t revere nature in the same way as a rural community would. Think about logical principles for your world. How do the inhabitants survive? Which gods do they believe are responsible for their well-being? What practical tasks could become religious rituals?

2. What are the relationships between the gods?

Many fantasy gods feel flat because they are created in isolation with stereotypical personalities. A goddess of fertility, for example, is often portrayed as calm and nurturing. What relationships do these gods have? Study mythologies to see how gods interacted. For instance, why was Apollo associated with poetry, medicine, and prophecy? These connections are complex and can enrich your narrative.

Even in a monotheistic setting, people will create stories about their gods. Explore how divine legends accumulate around a central figure.

3. How do gods interact with mortals?

In too many fantasy novels, gods interact in ways that bore the reader. The classic notion is that gods are so powerful they can solve everything with a wave of their hand, which leads authors to keep them distant. This is based on flawed assumptions about their power and influence.

Gods can be portrayed in various ways—distant, intrusive, or even indifferent. The key is consistency. If gods are distant, rituals and prayers should not yield visible results.

4. How does your religion handle apostasy, heresy, and non-believers?

Unless a religion is truly global, there will be issues with heresy. Historical conflicts show that religious wars can be brutal. Often, fantasy authors depict one religion as "good" and another as "evil," leading to cardboard characters and simplistic narratives. And where are the atheists and agnostics? Characters who don’t believe are rare in fantasy, yet many worlds should have them, raising questions about their silence or indifference.

Religion can be a deep source of conflict in fantasy if handled thoughtfully. Unfortunately, many authors simplify these complexities.