Dabriaanderlaine - Untitled

I think in the same way there's a 90/10 rule with horror and comedy (horror works best when it's 90% horror and 10% comedy and vice versa) there's a 90/10 rule for some relationships in fiction that's like. Wholesome and fucked up. A good friendship is at its most compelling when it's also 10% a bit fucked up. Fucked up relationship is at its most compelling when there's at least 10% of something actually sweet and substantive within. Do you get me

Does this story need to be written down? Is it not enough to have it simply live in my head?

📚 The Art of Subtext in Writing 📚

Let’s talk about subtext. It’s one of those things you feel when you read, but maybe don’t consciously notice, and yet—it’s everywhere. It’s in the way characters talk to each other, the details they avoid, the glances that linger, and the things left unsaid. Subtext is what gives a story depth, pulling readers into the unspoken layers underneath the surface. It’s like the heartbeat of a scene, or the feeling you get when you’re reading and know there’s more to what’s happening than meets the eye.

So, why is subtext important? Because it makes stories feel real. Life isn’t always clear-cut; people don’t say exactly what they mean, emotions can be complex, and motives aren’t always laid out on the table. Subtext reflects that complexity, making your characters and situations feel richer and more relatable.

Here are a few types of subtext and how to use them effectively:

1. Romantic/Emotional Tension

This is probably the most common type of subtext, especially in romance or drama. Think of characters who clearly like each other but won’t admit it. They argue, they bicker, they avoid eye contact, but all that is subtext for “I’m secretly into you.” Use this when you want your readers to root for a connection that isn’t obvious or acknowledged yet.

2. Conflict Subtext

Not all conflict is overt—sometimes it’s in the snappy dialogue or forced politeness. A character might “agree” with something on the surface while feeling the complete opposite. This kind of subtext is powerful because it lets readers see two conflicting layers: the polite conversation happening outwardly, and the resentment or anger bubbling underneath.

3. Dramatic Irony

This is when the reader knows something the character doesn’t, creating tension or humor. Subtext here involves leaving hints in the writing that make readers feel “in on it.” For example, if a character is convinced their plan is foolproof but readers already know something’s about to go wrong, you create an undercurrent of impending doom or anticipation.

4. Thematic Subtext

Subtext isn’t just for characters; it can also layer meaning into the theme of a story. If your book’s theme is about, say, identity, you might use subtext to show how a character hides certain parts of themselves around certain people. They might be saying one thing while subconsciously revealing their discomfort or need for acceptance.

5. Cultural/Social Commentary

Sometimes the best social commentary is subtle. Rather than outright saying, “This society values material wealth over happiness,” you might show a character who’s obsessed with buying status symbols while feeling deeply unfulfilled. This approach can make readers reflect on the message more personally and deeply.

How to Use Subtext

To work subtext into your writing, trust your readers. Give them just enough so they can pick up on what’s below the surface without spelling it all out. Here’s a small exercise: write a scene between two characters who are pretending to be friendly but actually dislike each other. Notice how tone, body language, and word choice convey the tension without anyone actually saying, “I don’t like you.” It’s all about restraint.

You run a Bakery, just a normal bakery, the only problem is that your customers at midnight to 6AM are mythical creatures who pay with gemstones and ancient gold and silver coins

Learn the Differences Between Novelettes, Novellas, and Novels

Since I am currently in the process of writing a story, but I'm not sure what I want it to be... I'd figure I'd go ahead and share the differences!

So let's get to it!

Writing the first draft of a novel can be a daunting, arduous task. That’s why the novelette format can be so appealing. In many ways, a novelette is like a short novel. It allows writers to hone their craft by learning how to tell stories under a strict word count restriction.

What Is a Novelette?

The definition of “novelette” is any short, fictional work of prose narrative. Novelettes have a lower number of words than a novel or novella, but a higher word count than other forms of prose fiction like short stories or microfiction. Despite lacking the page count of a full-length novel, novelettes generally tell a complete story. Some people refer to novelettes as “long short stories” or “short novellas.”

How Long Is a Novelette?

Any work of fiction with a word count between 7,500 and 19,000 is generally considered a novelette. A novelette is longer than a short story, which usually has a word range of between 1,000 and 7,500 words, and flash fiction, which is usually under 1,000 words. Any piece of creative writing that is longer than a novelette but shorter than a novel is considered a novella.

Three Differences Between Novelettes and Novellas

A novella is a standalone piece of fiction that is shorter than a full-length novel but longer than a short story or novelette. Novellas incorporate many narrative and structural elements of novel-length stories—but like novelettes, they often focus on single points of view, focusing on a single central conflict, and rely on fast pacing. Here are the differences between novelettes and novellas:

Word count: The primary difference between a novelette and a novella, then, is word count (novelettes are shorter than novellas).

Subject matter: Traditionally, novelettes tended to focus on whimsical, sentimental themes. The modern-day novelette, though, is more like the novella in that it can encompass different genres like sci-fi, drama, or historical short fiction.

Complexity: In terms of storytelling ambition, novelettes tend to split the difference between novellas and shorter forms like short stories. Novelettes tend to have a greater focus on character development, worldbuilding, and plotting than short stories. However, the stories are generally more concise and focused than a novella-length work, as the word count is often too restrictive to tell a long story.

Three Differences Between Novellas and Novels

The most obvious difference between novels and novellas is page length and number of words. However, beyond this superficial difference, many structural and thematic hallmarks of novellas make them their own standalone genre of writing. Some of these include:

 A single central conflict: Most novellas explore a single, compelling central conflict. Because of their shorter length, novellas have less time to explore subplots and tend to focus on the main plot. Novellas generally have one main character and a handful of secondary characters. Because of length constraints, most of the character development will be focused on the protagonist.

 Fast pacing: Novellas usually move at a quick pace. Whereas novels can spend time diverging from the central conflict to delve into backstory and explore multiple points of view, novellas generally offer a quick compelling story with a singular point of view.

Unity of time and place: When writing novellas, writers should root the action in continuous time within a limited space, ideally one location.

Benefits of Writing a Novelette

For short story writers or people who generally write shorter works, novelettes can be an opportunity to tell a longer-form, standalone story. For writers who are used to writing, say, full-length science fiction or fantasy novels, the word count restriction of a novelette offers a chance to tell a good story with a simple cast of characters and few subplots.

Seven Examples of Novelettes

Novelette writers know how to tell a complete story in a relatively short amount of time. Here are some famous examples of novelettes, many of which were originally published in literary magazines:

The Fall of the House of Usher by Edgar Allan Poe (1839)

The Strange Case of Dr. Jekyll and Mr. Hyde by Robert Louis Stevenson (1886)

The Metamorphosis by Franz Kafka (1915)

The Call Of Cthulhu by H. P. Lovecraft (1928)

The Little Prince by Antoine de Saint-Exupéry (1943)

Bloodchild by Octavia E. Butler (1995)

Hell Is the Absence of God by Ted Chiang (2001)

I hope this helps! Thank you for still being my followers and patiently waiting for a post!

Go to any town in America, big or small, and the nicest looking building is their public library. Followed by the Post Office.

They are built by the public for the public.

Regressives and conservatives can't fathom helping others without a transaction in return.

The first places fascists attack/destroy are libraries. Connect the dots.

You know, of all the different posts I've seen giving guidance and advice for writing, I've now realized and summarized for myself the 4 key factors that I found were most discussed in these various posts, if not the majority:

The 4 key factors when writing a scene

Behold:

M.F.S.M or MFSM

I like to sound it out in my head, "MotherF***er S.M" just so that it sticks, but whatever you prefer, really. 😅

Explanation:

M: Mood (the tone, the atmosphere; evoking an emotion from the reader)

F: Feelings (the character's feelings, in particular, in each scene based on their reaction to various dialogue or events happening)

S: Setting (it always helps to ground your scene with some description or detail of what's happening)

M: Motive (the most important factor. What is the reason behind every character's words and actions?)

I hope this helps anybody willing to read the post! xoxo

List of “unrequited love but turns out!! it’s actually requited” prompts

“What, did you think I kissed you all these times because I was doing it for the shits and giggles?” “…Let’s be real, you did have a lot of fun shoving your tongue down my throat in public.”

“Oh my God, why are you crying? Does me liking you disgust you that much?” “No, you dumbass, it’s because you like me back but I spent all of this time thinking you’d never like me that way!”

“Look, we can pretend I never confessed if it means you’ll stay—” “What?! No! You can’t just take back your confession! That’s such a coward move and I’ll not allow that! Especially when I feel the same way towards you.” 

“I’ll get over you. I promise. These feelings, they’re— they’re only temporary, I swear. I—I’ll get over you. Just please don’t leave me—” “Did you ever think, that maybe, I don’t want you getting over me? What if I don’t want these feelings to be only temporary? That maybe I… Like you, too?”

“I didn’t mean to fall for you.” “And neither did I.” “…Fucking pardon?” 

“So according to _____, you’re in love with me, too?” “Oh, that fucking bast— wait, did you just say too?” 

“You need to stop kissing me like you mean it; I’m going to read into things wrong and end up breaking my own heart.” “That’s because I do mean it every single time. You’ve just been too dense to realise.” 

“Why are you apologising for liking me back?” “Because I don’t want to ruin— wait a second. Pause and rewind, what did you just say?” 

“You don’t have to like me back, you know? I just wanted to let you know how I felt, that’s all.” “Well, too bad! Because these feelings are mutual, and now you can’t get rid of me.”

“Why are you lying to me? You can tell me the truth, it’s okay. I’m strong enough for the truth, I swear.” “What? I’m not lying to you! You’d think you’d pick up on the signs that I’ve been in love with you, for fucking forever, but apparently someone’s too obtuse to realise that!” 

You would think that the God of Death has no respect for life. However, nothing could be farther from the truth. In fact, out of all the gods, it is the God of Death who has the most respect for life, for all too often have they been forced to watch mortals throw their lives away.

I wish other authors thought like this

hi mr gaiman! how are you? i've been meaning to ask this question ever since i've heard the first queen song in go, and i can't handle my curiosity anymore. did crowley ever got to meet freddie mercury? like actual, face to face, meeting him. and if he didn't, does he regret not seeing him while he was alive?

That's one for fanfiction, not for me to answer.