Neat!

Totodile and Fuecoco help Quaxly.

i've been writing a book and the feedback i've gotten from family members is that i have been using a lot of description, that the plot is moving along pretty slowly, and "something" needs to happen. do you have any tips or advice on moving plots along quicker in order to keep the reader's attention? thanks so much!!

How to Move a Story Forward

When your character is just milling about in their world describing what they see, what they’re doing, and what’s happening to them, that’s not really a plot. It’s just a random string of events happening to your character, and typically it doesn’t make for very interesting reading. This kind of story moves slowly because nothing’s actually happening. Imagine following an average person through their average day versus following Katniss Everdeen through day three of The Hunger Games. It’s a big difference. And that’s not to say every plot has to be as exciting or dramatic as The Hunger Games, but there does need to be a conflict.

So, the first thing you have to do is sit down and figure out what your story is really about. What is going on in this person’s life that is worth writing about? Is there some sort of inner conflict they’re struggling with? Or is there an external conflict of some kind? Usually there are both with the focus being more on one than the other.

How stories begin…

Most stories start when a character’s life is still normal but just about to change. Katniss was getting ready to go hunting with Gale. Bella was settling in at her new high school after moving in with her dad, and Harry Potter was just living life as the boy in the cupboard.

What happens next…

And then something happens. This is called the “inciting incident” because it “incites” the conflict and brings on the important events of the story. Katniss volunteers as tribute when her sister is drafted into The Hunger Games. Bella meets Edward Cullen and an instant attraction develops between them. Harry Potter receives his letter to Hogwarts.

The character responds and forms a goal…

The character’s normal life has been turned upside down. Now what? For Katniss, the most important thing in the world to her was the safety and well being of her sister and mother, and since she is the one who keeps them safe and fed, her survival of The Hunger Games is vital. That’s her motivation, and her goal is to win the game. Bella becomes obsessed with learning more about Edward and who, or what, he is, and she falls for him and the magic his world brings into her otherwise boring life. Being part of that world is her motivation, staying alive in the process is her goal. Harry finally has a ticket out of his life of being abused and unloved, and he has a chance to connect with the legacy his parents left behind. Leaving his old life behind and embracing this new one is is motivation. Surviving his first year at Hogwarts is his goal.

But goals aren’t supposed to be easy to reach…

If the character can just sail smoothly right up to their goal, mission accomplished, that makes for a pretty boring story. You never hear people say, “WOW! THAT WAS AN INCREDIBLE GAME!” when the score was 20 to nothing. What makes the game exciting is when the teams are neck and neck, one getting ahead for a little while, then the other one being ahead for a little while. It’s the trying, and often failing, to get over obstacles that makes the conflict more interesting. In a lot of ways, that struggle actually is the conflict. What obstacles stand in the way of your character and their goal, and who (or what) put them there? For Katinss, the obstacles were the other tributes and all the frightening things added to the game by the gamemakers. For Bella, it was the nomad vampires who caused trouble at first for fun, and then later for revenge. The obstacles Harry faces are partly due to conflict with other students and teachers, and partly due to the first “shots fired” in what would become the overarching battle against Voldemort.

You win some, you lose some…

And it’s important that you show some wins along with the failures. Sometimes the character tries to overcome an obstacle, fails, tries again and succeeds. Sometimes they fail and have to come up with a work around. Either way, the fails add to the tension and drama while the wins add excitement and interest in what happens next.

The final showdown…

Eventually you get to the big showdown, aka “the climax.” This is when your character faces down the biggest challenge that stands in the way of reaching their goal. This could be an epic battle between your character and the villain. It could be the moment where your character realizes they’re in love with their best friend and they chase them to the airport to admit their undying love for them before they move away. Or it could be surviving one last night of a terrible storm before crawling out of hiding to assess the damage. Whatever it is, the culmination of that moment is achieving or failing to achieve their goal.

The dust settles…

Whatever crazy chain of events was set off by the inciting incident, they’ve come to an end now thanks to the actions of your protagonist and their friends. Or, if they haven’t come to an end, they’ve at least been waylaid for now, or things are at least moving in a better direction. Now your characters can clean up, rebuild, mend wounds, tie up loose threads, and get back to life as normal. Or, in the case of a series, they can re-group and figure out what happens next. And that’s the end.

… But some stories happen on the inside.

Some stories are more about people and their experiences than about any big crazy thing that happens to them. Stories like these are more emotional and are more about dealing with the inner conflict than an outer one. But even in stories like these, you’ll still have a similar structure to what I laid out above. It’s just a lot looser and tied up with an emotional journey rather than the physical one. Which isn’t to say they can’t have a parallel physical journey, but the important stuff is happening on the inside.

Whichever kind of story you’re writing, if you make sure you’re hitting the important points I’ve laid out above, whether they relate to an internal conflict, an external conflict, or a little of both, you can be sure you’re writing a story that is moving forward and will keep your audience engaged. Everything I’ve outlined above is the “something” that needs to happen to make your story interesting.

Good luck! :)

If you can’t reblog this, unfollow me now.

To Write Better Antagonists, Have Them Embody the Protagonist's Struggles

(Spoilers for The Devil Wears Prada, Avatar the Last Airbender, Kung Fu Panda 2, and The Hunger Games triology).

Writing antagonists and villains can be hard, especially if you don't know how to do so.

I think a lot of writers' first impulse is to start off with a placeholder antagonist, only to find that this character ends up falling flat. They finish their story only for readers to find the antagonist is not scary or threatening at all.

Often the default reaction to this is to focus on making the antagonist meaner, badder, or scarier in whatever way they can- or alternatively they introduce a Tragic Backstory to make them seem broken and sympathetic. Often, this ends up having the exact opposite effect. Instead of a compelling and genuinely terrifying villain, the writer ends up with a Big Bad Edge Lord who the reader just straight up does not care about, or actively rolls their eyes at (I'm looking at you, Marvel).

What makes an antagonist or villain intimidating is not the sheer power they hold, but the personal or existential threat they pose to the protagonist. Meaning, their strength as a character comes from how they tie into the themes of the story.

To show what I mean, here's four examples of the thematic roles an antagonist can serve:

1. A Dark Reflection of the Protagonist

The Devil Wears Prada

Miranda Priestly is initially presented as a terrible boss- which she is- but as the movie goes on, we get to see her in a new light. We see her as an bonafide expert in her field, and a professional woman who is incredible at what she does. We even begin to see her personal struggles behind the scenes, where it’s clear her success has come at a huge personal cost. Her marriages fall apart, she spends ever waking moment working, and because she’s a woman in the corporate world, people are constantly trying to tear her down.

The climax of the movie, and the moment that leaves the viewer most disturbed, does not feature Miranda abusing Andy worse than ever before, but praising her. Specifically, she praises her by saying “I see a great deal of myself in you.” Here, we realize that, like Miranda, Andy has put her job and her career before everything else that she cares about, and has been slowly sacrificing everything about herself just to keep it. While Andy's actions are still a far cry from Miranda's sadistic and abusive managerial style, it's similar enough to recognize that if she continues down her path, she will likely end up turning into Miranda.

In the movie's resolution, Andy does not defeat Miranda by impressing her or proving her wrong (she already did that around the half way mark). Instead, she rejects the values and ideals that her toxic workplace has been forcing on her, and chooses to leave it all behind.

2. An Obstacle to the Protagonist's Ideals

Avatar: The Last Airbender

Fire Lord Ozai is a Big Bad Baddie without much depth or redemptive qualities. Normally this makes for a bad antagonist (and it's probably the reason Ozai has very little screen time compared to his children), but in Avatar: The Last Airbender, it works.

Why?

Because his very existence is a threat to Aang's values of nonviolence and forgiveness.

Fire Lord Ozai cannot be reasoned with. He plans to conquer and burn down the world, and for most of the story, it seems that the only way to stop him is to kill him, which goes against everything Aang stands for. Whether or not Aang could beat the Fire Lord was never really in question, at least for any adults watching the show. The real tension of the final season came from whether Aang could defeat the Fire Lord without sacrificing the ideals he inherited from the nomads; i.e. whether he could fulfill the role of the Avatar while remaining true to himself and his culture.

In the end, he manages to find a way: he defeats the Fire Lord not by killing him, but by stripping him of his powers.

3. A Symbol of the Protagonist's Inner Struggle

Kung Fu Panda 2

Kung Fu Panda 2 is about Po's quest for inner peace, and the villain, Lord Shen, symbolizes everything that's standing in his way.

Po and Lord Shen have very different stories that share one thing in common: they both cannot let go of the past. Lord Shen is obsessed with proving his parents wrong and getting vengeance by conquering all of China. Po is struggling to come to terms with the fact that he is adopted and is desperate to figure out who he is and why he ended up left in a box of radishes as a baby.

Lord Shen symbolizes Po's inner struggle in two main ways: one, he was the source of the tragedy that separated him from his parents, and two, he reinforces Po's negative assumptions about himself. When Po realizes that Lord Shen knows about his past and confronts him, Lord Shen immediately tells Po exactly what he's afraid of hearing: that his parents abandoned him because they didn't love him. Po and the Furious Five struggle to beat Shen not because he's powerful, but because Po can't let go of the past, and this causes him to repeatedly freeze up in battle, which Shen uses to his advantage.

Po overcomes Shen when he does the one thing Shen is incapable of: he lets go of the past and finds inner peace. Po comes to terms with his tragic past and recognizes that it does not define him, while Shen holds on to his obsession of defying his fate, which ultimately leads to his downfall.

4. A Representative of a Harsh Reality or a Bigger System

The Hunger Games

We don't really see President Snow do all that much on his own. Most of the direct conflict that Katniss faces, but with his underlings and the larger Capitol government. The few interactions we see between her and President Snow are mainly the two of them talking, and this is where we see the kind of threat he poses.

President Snow never lies to Katniss, not even once, and this is the true genius behind his character. He doesn't have to lie to or deceive Katniss, because the truth is enough to keep her complicit.

Katniss knows that fighting Snow and the Capital will lead to total war and destruction- the kind where there are survivors, but no winners. Snow tells her to imagine thousands upon thousands of her people dead, and that's exactly what happens. The entirety of District 12 gets bombed to ashes, Peeta gets brainwashed and turned into a human weapon, and her sister Prim, the very person she set out to protect at the beginning of the story, dies just before the Capitol's surrender. The districts won, but at a devastating cost.

Even after President Snow is captured and put up for execution, he continues to hurt Katniss by telling her the truth. He tells her that the bombs that killed her sister Prim were not sent by him, but by the people on her side. He brings to her attention that the rebellion she's been fighting for might just implement a regime just as oppressive and brutal as the one they overthrew and he's right.

In the end, Katniss is not the one to kill President Snow. She passes up her one chance to kill him to take down the new threat of President Coin.

Are you Exploring your Concepts to their Fullest?

                There’s nothing worse than getting hooked into a piece of media by a really cool concept—only to be let down through shallow exploration. The entire story I’m distracted from what’s happening by what could have been had they gone more in depth into what they promised.

                The good news is, avoiding this in your own writing is fairly easy as long as you remember to continuously do one thing: ask questions.

                I talk about this a lot, but making room to explore the implications (especially of worldbuilding and events, not just actions) is only going to deepen your narrative and create a more satisfying, well-rounded world. As well, the decisions you make here are going to set the use of your concept apart from the other stories we’ve seen it in.

                If your concept is a character who has lived on a boat their entire life finally hits the shore, think about what it would mean for someone to have never seen land—how would they feel about trees, valleys, mountains, buildings. They would probably be very familiar with stars and constellations, navigation, the dark, swimming, fishing, and danger surrounding the water. They may prefer cramped spaces, sleeping under a low roof, a gentle rocking or white noise.

                If there’s magic in the world but say only some people have it, how does that impact politics, healthcare, parenting? Do people have biases against magic users or non-magic users? Are there laws set to prevent or limit magic use in certain places, or at all?

                You could ask endless amounts of questions about a concept, and you should. If you introduce something big, exciting, and full of consequences—you must also be willing to commit to it, and explore it to its fullest.

                Good luck! If you feel like sharing, tag a concept you’ve come up with and some interesting implications that go with it!

Do you have any advice for writing an intense, overwhelming chase scene?

So, this is a little unusual, in that it's something I haven't really thought a lot about.

For a real world situation, the process is to identify or create an opening, and escape. Usually this advice is more focused for situations for situations where someone's cornered you.

Also, the real world advice is to avoid a chase if at all possible. You don't want to get into a situation where you're directly testing your endurance against your enemy.

As for writing a chase scene. This is one of those times when you want to be efficient with your words, keep things as concise as possible. When you get more verbose it “slows down” the scene because it is literally slowing your reader's progress down.

Chases can be very logistically intensive for you, simply because you need a fairly coherent mental image of how the locations in your story fit together. Maps can be extremely helpful for this, whether you choose to share them or not.

I don't think I've talked about this on the blog, maps can be very helpful for getting a concrete image of how your world is put together, though, they can also, easily, start soaking up more time than the value they offer. That said, even pretty crude maps could be very useful in planning a chase scene. This is one of the times when your world needs to lock together into a unified space, instead of being able to move characters between loosely connected locations.

If you want the reader to have a detailed mental image for the locations, then you should probably have them in those spaces before the chase. Though, this is a situation where some, “stock locations,” could work for you. Liminal spaces can work pretty well for this, because most of your readers are going to have a preexisting basis for understanding what those areas look like. For example: even if their image of an airport causeway is different from yours, you'll both be close enough to the same space that you shouldn't run into many problems where you need to define the entire area.

It's also worth considering that as the chase progresses, it's possible to get gradually more verbose. As mentioned above, this will slow the reader, and as a result the scene, but it can convey the loss of inertia as your character tires or finds themselves having to slow down because they're now in unfamiliar (and possibly unsafe) territory, without being extremely direct about your character's exhaustion. This is an area that can benefit from some pretty careful word selection to hint at fatigue without outright stating it.

I do apologize that this is all pretty high level, concept advice, and a lot of this can be applied in other contexts. And, a lot of the above advice are things to keep in mind for all of your writing, but chases do stress these specific parts of your writing and world building.

Beyond that, it's the normal advice: Remember your world is a living place, so other people would be going about their daily lives while the chase rampages through. Remember persistence consequences, such as prior injuries, or injuries inflicted during the chase. Chases might lead into situations where other kinds of consequences might become unexpectedly relevant, such as your character being forced to run through the territory of a gang they angered earlier in the story. This is an opportunity to bring in unexpected consequences. Even if you don't stick to it, at least have an initial idea for what you want from the chase, then let the sequence play out as you go. (Cleaning this up is what rewrites are for, but it is important to let the chase flow, before you go back and worry about cleaning it up.)

Like I said at the beginning, this is something I don't generally think about, so it's been a bit before I could get back to this question, and I hope this helps.

-Starke

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Contact Your Representative and Tell Them To Fight Against Trump’s Camps

Additionally, if you can see if you can donate money to these organizations

Lawyersforgoodgoverment.com

fairfightbondfund.org

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communitybondproject.org

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freedomforimmigrants.org

A relaxing timeframe

curled up in a nice little nook, listening to Seven Lions, alternating between a cool cup of water and a nice warm mug of Jasmine tea, writing a story. It is very calm. I should do this more often. I wish you calm as well.

happy vlaentine :)

Okay non-European tumblr, I’m gonna explain to you why ‘white’ isn’t as simple here as it is in the rest of the world

- Shades of white in Europe range from ‘freshly fallen snow’ to ‘I am frequently mistaken as being from the Middle East’

- White European is a thing. When you fill out a form, under ethnicity, there are several options for white; white British, white European, white other. Because people make that distinction

- There are Europeans who don’t class their ethnicity as their skin colour, but as their nationality. I have family who don’t think of themselves as white, they just think of themselves as Italian and don’t really give much thought to their skin colour

- People here in Britain always question if darker skinned white Europeans are ‘actually white’. I get it a lot myself. My response is always ‘well I’m not anything else, so obviously I must be’

- Despite being white, a lot of Europeans from Italy, Greece, Spain etc, don’t feel white in the traditional sense. We’re not white like white British people. We’re not white like white Americans. We’re our own white. White British is one thing. White Italian is another thing. White Greek is another, etc

- Which is why we have this notion here in Europe of ‘nationality over race’. Being white isn’t as important as where you’re from

- So this really only becomes an issue if you’re an immigrant

- So being white in Europe doesn’t save you from racial discrimination, because sure, you’re technically white, but you’re not white white. Not the right white

- Here in England, Europeans with really blatantly foreign names, such as myself, find it more difficult to get job interviews, because they take one look at our name and don’t bother reading the rest of the CV. A guy I know was actually told by his boss to reduce the pile of CVs he had by ‘chucking away any with a name you can’t fucking pronounce’

- And then even when you do get an interview, half the time you walk into the joint several shades darker than everyone else and feel like you’ve walked into the ‘Swedish supermodel’ clubhouse and you just know you’re not getting hired

This is all basic stuff and it’s very much taken for granted here. Race and ethnicity are not as clear cut, so it can be very confusing for non-Europeans to wrap their heads around. Which is fine. But I implore you to stay in your lane, because when you say things like ‘no white person anywhere in the world ever knows what it’s like to face racial discrimination’, it’s really fucking offensive to all of the European immigrants who are denied jobs, harassed by the police and beaten by racists, because foreign is foreign to these people, and they don’t give a shit if you’re technically white. So when you mean white American, say white American.