writingphoenix761

[writingphoenix761]

Some truths about the publishing industry because I certainly got blindsided when going in. Now I'm so broken by this industry I struggle to encourage aspiring writers lmao

[writingphoenix761]

Charlie Jane Anders:

First of all, I have to start off by saying what I always say about writing advice: there are no rules. You can do whatever you want, and nobody else gets to say you're doing it wrong. If anybody tries to tell you "the rules," you have my permission to throw them into the sun. 

So. Science fiction and fantasy, the genres I write most often, have been shaped by colonialism, two world wars, and a healthy dose of white supremacy on the part of folks like John W. Campbell and H.P. Lovecraft. But certain assumptions about the shape of storytelling rattle around Western fiction generally, including literary fiction. (See a previous newsletter for my thoughts on whether characters need to have "agency.")

So when we queer our storytelling, we have to peel away that legacy of countless stories about white saviors and heroic explorers, which feature a very specific notion of conflct and stakes. So let's take them one by one...

[writingphoenix761]

Something I never really realised before, and probably should have, is that just as you do warmup sketches before drawing, you can also do warmup writing before you start writing. No one told me that for a very long time, and the thing is it does help. It feels silly at first, but it does help. You just have to accept that the words you're writing don't have to be good and you don't have to show it to anyone.

I have posted some of my warmup writing on this sideblog before — it's usually a disjointed scene that doesn't belong to any wider narrative. Just whatever pops into my head. The point is to get the words flowing, so just start writing whatever. It's as easy as that, and as hard as that.

But yeah. Do warmup writing is my point here. It's stupid, but it works.

[writingphoenix761]

If you're a writer you're supposed to write a lot of bullshit. It's part of the gig. You have to write a lot of absolute garbage in order to get to the good bits. Every once in a while you'll be like "Oh, I wish I hadn't wasted all that time writing bullshit," but that's dumb. That's exactly the same as an Olympic runner being like "Oh, I wish I hadn't wasted all that time running all those practice laps"

[writingphoenix761]

So my problem with most ‘get to know your character’ questioneers is that they’re full of questions that just aren’t that important (what color eyes do they have) too hard to answer right away (what is their greatest fear) or are just impossible to answer (what is their favorite movie.)  Like no one has one single favorite movie. And even if they do the answer changes.

If I’m doing this exercise, I want 7-10 questions to get the character feeling real in my head. So I thought I’d share the ones that get me (and my students) good results: 

What is the character’s go-to drink order? (this one gets into how do they like to be publicly perceived, because there is always some level of theatricality to ordering drinks at a bar/resturant)

What is their grooming routine? (how do they treat themselves in private)

What was their most expensive purchase/where does their disposable income go? (Gets you thinking about socio-economic class, values, and how they spend their leisure time)

Do they have any scars or tattoos? (good way to get into literal backstory) 

What was the last time they cried, and under what circumstances? (Good way to get some *emotional* backstory in.) 

Are they an oldest, middle, youngest or only child? (This one might be a me thing, because I LOVE writing/reading about family dynamics, but knowing what kinds of things were ‘normal’ for them growing up is important.)

Describe the shoes they’re wearing. (This is a big catch all, gets into money, taste, practicality, level of wear, level of repair, literally what kind of shoes they require to live their life.)

Describe the place where they sleep. (ie what does their safe space look like. How much (or how little) care / decoration / personal touch goes into it.)

What is their favorite holiday? (How do they relate to their culture/outside world. Also fun is least favorite holiday.) 

What objects do they always carry around with them? (What do they need for their normal, day-to-day routine? What does ‘normal’ even look like for them.) 

[writingphoenix761]

STOP DOING THIS IN INJURY FICS!!

Bleeding:

Blood is warm. if blood is cold, you’re really fucking feverish or the person is dead. it’s only sticky after it coagulates.

It smells! like iron, obv, but very metallic. heavy blood loss has a really potent smell, someone will notice.

Unless in a state of shock or fight-flight mode, a character will know they’re bleeding. stop with the ‘i didn’t even feel it’ yeah you did. drowsiness, confusion, pale complexion, nausea, clumsiness, and memory loss are symptoms to include.

blood flow ebbs. sometimes it’s really gushin’, other times it’s a trickle. could be the same wound at different points.

it’s slow. use this to your advantage! more sad writer times hehehe.

Stab wounds:

I have been mildly impaled with rebar on an occasion, so let me explain from experience. being stabbed is bizarre af. your body is soft. you can squish it, feel it jiggle when you move. whatever just stabbed you? not jiggly. it feels stiff and numb after the pain fades. often, stab wounds lead to nerve damage. hands, arms, feet, neck, all have more motor nerve clusters than the torso. fingers may go numb or useless if a tendon is nicked.

also, bleeding takes FOREVER to stop, as mentioned above.

if the wound has an exit wound, like a bullet clean through or a spear through the whole limb, DONT REMOVE THE OBJECT. character will die. leave it, bandage around it. could be a good opportunity for some touchy touchy :)

whump writers - good opportunity for caretaker angst and fluff w/ trying to manhandle whumpee into a good position to access both sites

Concussion:

despite the amnesia and confusion, people ain’t that articulate. even if they’re mumbling about how much they love (person) - if that’s ur trope - or a secret, it’s gonna make no sense. garbled nonsense, no full sentences, just a coupla words here and there.

if the concussion is mild, they’re gonna feel fine. until….bam! out like a light. kinda funny to witness, but also a good time for some caretaking fluff.

Fever:

you die at 110F. no 'oh no his fever is 120F!! ahhh!“ no his fever is 0F because he’s fucking dead. you lose consciousness around 103, sometimes less if it’s a child. brain damage occurs at over 104.

ACTUAL SYMPTOMS:

sluggishness

seizures (severe)

inability to speak clearly

feeling chilly/shivering

nausea

pain

delirium

symptoms increase as fever rises. slow build that secret sickness! feverish people can be irritable, maybe a bit of sass followed by some hurt/comfort. never hurt anybody.

ALSO about fevers - they absolutely can cause hallucinations. Sometimes these alter memory and future memory processing. they're scary shit guys.

fevers are a big deal! bad shit can happen! milk that till its dry (chill out) and get some good hurt/comfort whumpee shit.

keep writing u sadistic nerds xox love you

ALSO I FORGOT LEMME ADD ON:

YOU DIE AT 85F

sorry I forgot. at that point for a sustained period of time you're too cold to survive.

pt 2

[writingphoenix761]

IT’S NOT ‘PEEKED’ MY INTEREST

OR ‘PEAKED’

BUT PIQUED

‘PIQUED MY INTEREST’

THIS HAS BEEN A CAPSLOCK PSA

[writingphoenix761]

Things I do as a writer:

Not write

Daydream

Cry over fictional characters

Complain about my book not writing itself

Wait for inspiration

Write a sentence

Scroll through Pinterest

Delete a sentence

Daydream again

Not write

[writingphoenix761]

[writingphoenix761]

[writingphoenix761]

Some tips for using a few words to describe voices:

1. Tone Words: Use tone words to convey the emotional quality of a voice. For example, you can describe a voice as "melodic," "soothing," "sharp," "gentle," or "commanding" to give readers a sense of the tone.

2. Pitch and Range: Mention the pitch and range of the voice. Is it "deep," "high-pitched," "raspy," or "full-bodied"? This can provide insight into the character's age, gender, or emotional state.

3. Accent and Diction: Describe the character's accent or diction briefly to give a sense of their background or cultural influences. For instance, "British-accented," "Southern drawl," or "formal."

4. Volume: Mention the volume of the voice, whether it's "whispering," "booming," "murmuring," or "hushed."

5. Quality: Use terms like "velvet," "silken," "gravelly," "honeyed," or "crisp" to convey the texture or quality of the voice.

6. Rate of Speech: Describe how fast or slow the character speaks, using words like "rapid," "slurred," "measured," or "rambling."

7. Mood or Emotion: Indicate the mood or emotion carried by the voice. For example, a "quivering" voice may convey fear or anxiety, while a "warm" voice may express comfort and reassurance.

8. Resonance: Describe the resonance of the voice, such as "echoing," "nasal," "booming," or "tinny."

9. Timbre: Mention the timbre of the voice, using words like "rich," "thin," "clear," or "smoky."

10. Cadence: Highlight the rhythm or cadence of speech with descriptors like "staccato," "lilting," "rhythmic," or "halting."

11. Intonation: Convey the character's intonation by saying their voice is "sarcastic," "apologetic," "confident," or "questioning."

12. Vocal Characteristics: If applicable, mention unique vocal characteristics, like a "lisp," "stutter," "drawl," or "accented 'r'."

[writingphoenix761]

This is a friendly reminder to never, ever publish your book with a publishing company that charges you to publish with them. That is a vanity press, which makes money by preying on authors. They charge you for editing, formatting, cover art, and more. With most of these companies, you will never seen a cent of any royalties made from sale of your book. A legitimate publishing company only makes money when you make money, they will never charge you to publish with them. If a company approaches you and says "Hey, we'll publish your book, just pay us X amount of money," tell them to go fuck themself and block them.

[writingphoenix761]

If you're struggling to write sex, write food. if you're struggling to write food, write gore. if you're struggling to write gore, write sex. They're all variations on the same themes.

[writingphoenix761]

Outlining

I have always been a pantser. I hate outlining. I feel stiffled. I feel uncreative and unallowed to shift or move things. But I think I finally found one that might work for me.

I'm sure this has been shared here before, but I hadn't seen it so here you go.

It works so well for pantsing (discovery whichever). It's not stiff. It's doesn't feel written in stone. The whole plot points, climax thing always leave me second guessing myself and unsure of my story. So, I think this shall be my go to for the foreseeable future.

[writingphoenix761]

I was a book signing a few months ago and in the Q&A section, the author answered a question about writing advice and said ‘you need to really edit yourself, don’t include scenes just because you like them, they need to move the story forward’

That was the moment I realised I had become more of a fanfic reader than trad pub books because the notion of not including silly little goofy scenes between you’re favourite characters because it makes you laugh or writing the most sickly sweet, fluffy moments just because it brings you joy to imagine your characters finally getting the love they deserved absolutely baffled me.

So just a little PSA write whatever you want wether it’s the filthiest of a smut or the fluffiest of fluff.

Yes this thought did come to me because I was writing the most stupid string of dialogue between my characters and I nearly deleted it because I was like cmon that’s so ridiculous but it made me laugh so it stays.

[writingphoenix761]

Ref Recs for Whump Writers

Violence: A Writer’s Guide:  This is not about writing technique. It is an introduction to the world of violence. To the parts that people don’t understand. The parts that books and movies get wrong. Not just the mechanics, but how people who live in a violent world think and feel about what they do and what they see done.

Hurting Your Characters: HURTING YOUR CHARACTERS discusses the immediate effect of trauma on the body, its physiologic response, including the types of nerve fibers and the sensations they convey, and how injuries feel to the character. This book also presents a simplified overview of the expected recovery times for the injuries discussed in young, otherwise healthy individuals.

Body Trauma: A writer’s guide to wounds and injuries. Body Trauma explains what happens to body organs and bones maimed by accident or intent and the small window of opportunity for emergency treatment. Research what happens in a hospital operating room and the personnel who initiate treatment. Use these facts to bring added realism to your stories and novels.

10 B.S. Medical Tropes that Need to Die TODAY…and What to Do Instead: Written by a paramedic and writer with a decade of experience, 10 BS Medical Tropes covers exactly that: clichéd and inaccurate tropes that not only ruin books, they have the potential to hurt real people in the real world. 

Maim Your Characters: How Injuries Work in Fiction: Increase Realism. Raise the Stakes. Tell Better Stories. Maim Your Characters is the definitive guide to using wounds and injuries to their greatest effect in your story. Learn not only the six critical parts of an injury plot, but more importantly, how to make sure that the injury you’re inflicting matters. 

Blood on the Page: This handy resource is a must-have guide for writers whose characters live on the edge of danger. If you like easy-to-follow tools, expert opinions from someone with firsthand knowledge, and you don’t mind a bit of fictional bodily harm, then you’ll love Samantha Keel’s invaluable handbook