The Writer's Guide To Authentic Wounds And Fatalities

The Writer's Guide to Authentic Wounds and Fatalities

Writing fatal injuries in a story requires a delicate balance between realism and narrative impact. The portrayal of these life-altering events can evoke strong emotions in readers and shape the trajectory of your characters' journeys. In this blog, I will explore the intricacies of depicting fatal injuries in a manner that feels authentic, engaging, and respectful to the gravity of such circumstances. By understanding the nuances of fatal injuries, you will be equipped to craft compelling narratives that resonate with your readers.

Writing Fatal Injuries

When it comes to writing fatal injuries, it is crucial to approach the subject with care and accuracy. Fatal injuries carry immense consequences for your characters and can shape the trajectory of your story. By delving into the intricacies of portraying fatal injuries authentically, you can ensure that the gravity and impact of such events are effectively conveyed to your readers.

Choosing the right injuries for your story

Selecting the appropriate fatal injuries for your narrative involves considering various factors. Ask yourself: What purpose does this injury serve within the story? How does it affect the characters and the overall plot? Conduct thorough research to identify injuries that align with your story's context and resonate with the emotional journey of your characters.

For example, in a historical drama, you may research common fatal injuries during a particular era, such as battlefield injuries, diseases, or accidents prevalent at the time. In a crime thriller, you might explore the portrayal of fatal gunshot wounds or traumatic injuries resulting from violent encounters. By aligning the injuries with the context and themes of your story, you create a more immersive and believable experience for your readers.

Researching the mechanics of fatal injuries

To portray fatal injuries convincingly, it is essential to delve into the mechanics behind them. Understand the specific anatomical structures and systems involved, as well as the forces or mechanisms that can lead to fatal outcomes. Explore medical resources, consult experts if possible, and gather insights into the physiological and psychological implications of such injuries.

For instance, if your character suffers a fatal stab wound, research the anatomy involved, the potential organs affected, and the potential consequences such as internal bleeding or organ failure. By understanding the specific details and implications of the injury, you can describe the physical and emotional toll it takes on the character with greater accuracy and depth.

Depicting the immediate aftermath

When writing about fatal injuries, vividly describe the immediate aftermath to capture the intense emotions and physical realities. Consider the sensory details, the shock and disbelief experienced by characters, and the chaotic environment that often surrounds such events. Balancing realism with the needs of your story, create a scene that immerses readers and evokes empathy.

For example, if a character experiences a fatal car accident, you can depict the chaos at the scene, the character's disorientation, and the reactions of witnesses. Emphasize the sensory details such as the sound of screeching tires or the smell of burning rubber, creating a visceral experience for your readers.

Emotional and dramatic impact on the narrative

The impact of fatal injuries extends beyond the immediate moment. Explore the ripple effects on other characters, relationships, and the overall plot. Delve into the emotional responses, grief, guilt, anger, or determination that arises in the aftermath of loss. Utilize these emotional arcs to deepen character development and drive the narrative forward.

For instance, the loss of a loved one due to a fatal illness might lead to grief and strained relationships among the remaining family members. The emotional journey of a character grappling with guilt and seeking redemption after causing a fatal accident can become a central theme in your story. By delving into these emotional arcs and their consequences, you add depth and resonance to your narrative.

Writing Minor Injuries

While fatal injuries may capture our attention with their dramatic impact, it is equally important to pay attention to the portrayal of minor injuries in your writing. Minor injuries, though less severe, can still significantly affect your characters and contribute to the authenticity of your story. In this section, we will explore the art of depicting minor injuries, ensuring that they are not overlooked or trivialized. By delving into the nuances of minor injuries, you can add depth and realism to your characters' experiences.

Types of minor injuries to consider

When crafting your story, it is essential to consider a range of minor injuries that can occur. These injuries can include cuts, bruises, sprains, minor burns, or even minor fractures. Each type of injury carries its own unique characteristics, associated pain levels, and recovery processes. By understanding these distinctions, you can create accurate and believable depictions that resonate with your readers.

For example, a character who sustains a cut on their hand may experience sharp pain, the sight of blood, and the need for immediate first aid. On the other hand, a character with a sprained ankle may struggle with mobility, experience swelling, and require rest and care for a few days. By paying attention to these specific details, you can enhance the realism of your storytelling.

Conveying pain and discomfort

When writing about minor injuries, it is important to effectively convey the pain and discomfort experienced by your characters. Consider describing the sensation of pain, the throbbing or stinging feeling, and how it affects their daily activities or interactions. Showcasing the emotional impact of pain, such as frustration, irritation, or vulnerability, can deepen the readers' connection to the character's experience.

For instance, if a character suffers from a sprained wrist, you can describe the dull ache that persists, making simple tasks like typing or holding objects challenging. By capturing these small but significant moments, you immerse readers in the character's struggle and create a more realistic portrayal.

Balancing realism with narrative pace

While it is important to depict minor injuries realistically, it is also crucial to strike a balance with the overall pace and momentum of your story. Consider the significance of the injury within the larger context of your narrative. Some injuries may require more detailed attention and impact the plot, while others may serve as background elements. Adjust the level of detail and focus accordingly, ensuring that the portrayal of minor injuries aligns with the narrative's flow.

For example, a small cut on a character's finger may not require an extensive description unless it becomes infected or triggers an unexpected consequence. By aligning the portrayal of minor injuries with their narrative relevance, you maintain a consistent pace while still acknowledging their impact on your characters' lives.

Writing Bloodshed And Realistic Blood Loss

When writing about wounds and injuries, it is essential to consider the amount of blood loss your characters may experience. Realistic portrayal of bloodshed can enhance the authenticity of your scenes and immerse readers in the gravity of the situation. In this section, we will explore the factors influencing blood loss and techniques for accurately depicting it in your writing.

Understanding blood loss and its impact on the body

To authentically portray blood loss, it's crucial to have a basic understanding of how the human body responds to injury. Research the circulatory system and the role of blood in transporting oxygen and nutrients throughout the body. Consider the different types of blood vessels and their potential for bleeding when injured. This knowledge will help you create realistic scenarios and determine the appropriate level of blood loss for specific injuries.

Factors influencing blood loss in different injury scenarios

The amount of blood loss can vary depending on the severity and location of the injury. Factors such as the size of blood vessels, the rate of bleeding, and the body's ability to clot play a significant role. For example, a deep laceration in an artery will result in more substantial blood loss compared to a superficial cut on the skin. Consider these factors when describing injuries and their resulting bloodshed.

Techniques for accurately portraying blood loss in writing

There are several techniques you can use to convey the realistic impact of blood loss in your writing. Describing the color, consistency, and flow of blood can provide vivid imagery. You can also include physical symptoms such as dizziness, weakness, or fainting that may accompany significant blood loss. Additionally, consider the emotional response of your characters and how they react to the sight of blood or their own injuries.

By incorporating these techniques, you can create scenes that evoke a visceral response in readers and enhance the authenticity of your writing.

Bruises: Colors, Progression, and Pain

Bruises are a common result of injuries, and understanding how they form, change in color, and cause discomfort can greatly enhance the realism of your writing. By accurately describing bruises, you can bring depth to your characters' injuries and portray their healing process convincingly.

Understanding the stages and colors of bruises

Bruises go through distinct stages of color as they heal. Initially, they may appear red or purple due to the broken blood vessels beneath the skin. Over time, the color changes to blue, green, yellow, and eventually fades to a brown or yellowish hue. Understanding this color progression can help you accurately describe the age of a bruise and the healing process.

For example, a fresh bruise might be vivid purple, indicating recent trauma, while a fading bruise may have a yellowish tinge, suggesting that healing has begun. By incorporating these color details, you can add realism to your characters' injuries and track the passage of time within your narrative.

Depicting the progression of bruises over time

As bruises heal, they often change in appearance and size. Initially, a bruise may be small and localized, but it can gradually spread and become more extensive. Describing this progression can provide a sense of the healing process and the passage of time within your story.

For instance, a character who sustains a significant blow to the face may develop a bruise that starts as a small spot near the eye but expands to cover a larger area over the next few days. By accurately portraying the progression of bruises, you enhance the authenticity of your characters' injuries and their recovery.

Conveying the pain and sensitivity associated with bruises

Bruises can be painful, sensitive to touch, and affect a character's movement and daily activities. Describing the pain and discomfort experienced by your characters can create empathy and immerse readers in their physical ordeals.

Consider conveying the tenderness of a bruise when pressure is applied, the throbbing sensation, or the limitation of movement due to the pain.

Remember The Side Effects

Injuries, whether minor or severe, often come with a range of side effects that can significantly impact your characters' lives. These side effects can extend beyond the physical realm and encompass emotional, psychological, and social aspects.

Physical side effects

Injuries can have profound physical side effects that go beyond the immediate pain and discomfort. Consider the potential consequences such as limited mobility, impaired coordination, chronic pain, or the need for assistive devices like crutches or braces. Describing these physical side effects can add depth to your characters' struggles and provide a realistic portrayal of their healing journey.

For example, a character who sustains a leg injury may experience difficulty walking, require physical therapy, or have long-term complications that affect their day-to-day activities. By addressing these physical side effects, you create a more nuanced depiction of the aftermath of injuries.

Emotional and psychological side effects

Injuries can have a profound emotional and psychological impact on characters. They may experience fear, anxiety, trauma, or a loss of confidence. Consider how the injury affects their self-image, relationships, or mental well-being. Explore the emotional journey your characters undergo as they navigate the aftermath of their injuries.

For instance, a character who survives a near-fatal accident may develop post-traumatic stress disorder (PTSD) and struggle with recurring nightmares or panic attacks. By incorporating these emotional and psychological side effects, you can deepen the complexity of your characters and their responses to traumatic experiences.

Social implications and changes

Injuries can also lead to significant social changes for your characters. They may face challenges in their personal relationships, encounter stigma or discrimination, or experience changes in their roles or identities. Explore how the injury affects their interactions with others and their sense of belonging in the world.

For example, a character who sustains a facial injury may encounter judgment or stares from others, leading to self-consciousness or isolation. By addressing the social implications and changes resulting from injuries, you can create multi-dimensional characters and explore the impact of their injuries on their social dynamics.

By incorporating these various side effects into your writing, you bring depth and authenticity to your characters' experiences and showcase the wide-ranging impact of injuries.

Conclusion

Writing authentic wounds and fatalities requires attention to detail and a deep understanding of the physical, emotional, and psychological aspects involved. By following the guidelines and exploring the subheadings discussed in this guide, you can create compelling and realistic portrayals of injuries in your writing.

Remember to conduct thorough research on the specific injuries you want to depict, understanding their mechanics, symptoms, and potential outcomes. Consider the immediate and long-term effects on your characters, both physically and emotionally. Incorporate sensory details to immerse readers in the experience, describing the pain, bloodshed, colors of bruises, and the progression of healing.

Additionally, don't forget to address the side effects that injuries can have on your characters' lives. Explore the physical limitations, emotional struggles, and social implications that arise from their injuries. By delving into these aspects, you can create well-rounded characters and compelling narratives that resonate with readers.

I hope this blog on forging epic battles will help you in your writing journey. Be sure to comment any tips of your own to help your fellow authors prosper, and follow my blog for new blog updates every Monday and Thursday.

Looking For More Writing Tips And Tricks?

Are you an author looking for writing tips and tricks to better your manuscript? Or do you want to learn about how to get a literary agent, get published and properly market your book? Consider checking out the rest of Haya’s book blog where I post writing and publishing tips for authors every Monday and Thursday! And don’t forget to head over to my TikTok and Instagram profiles @hayatheauthor to learn more about my WIP and writing journey!

Poison list

While it's important to approach writing with creativity and imagination, it's crucial to prioritize responsible and ethical storytelling. That being said, if you're looking for information on poisons for the purpose of writing fiction, it's essential to handle the subject matter with care and accuracy. Here is a list of some common poisons that you can use in your stories:

Hemlock: Hemlock is a highly poisonous plant that has been used as a poison in various works of literature. It can cause paralysis and respiratory failure.

Arsenic: Arsenic is a toxic element that has been historically used as a poison. It can be lethal in high doses and can cause symptoms such as vomiting, abdominal pain, and organ failure.

Cyanide: Cyanide is a fast-acting poison that affects the body's ability to use oxygen. It can cause rapid loss of consciousness and cardiac arrest.

Nightshade: Nightshade plants, such as Belladonna or Deadly Nightshade, contain toxic compounds that can cause hallucinations, respiratory distress, and even death.

Ricin: Ricin is a potent poison derived from the castor bean plant. It can cause organ failure and has been used as a plot device in various fictional works.

Strychnine: Strychnine is a highly toxic alkaloid that affects the nervous system, leading to muscle spasms, convulsions, and respiratory failure.

Snake Venom: Various snake venoms can be used in fiction as deadly poisons. Different snake species have different types of venom, each with its own effects on the body.

Belladonna: Also known as Deadly Nightshade, Belladonna contains tropane alkaloids such as atropine and scopolamine. Ingesting or even touching the plant can lead to symptoms like blurred vision, hallucinations, dizziness, and an increased heart rate.

Digitalis: Digitalis, derived from the foxglove plant, contains cardiac glycosides. It has been historically used to treat heart conditions, but in high doses, it can be toxic. Overdosing on digitalis can cause irregular heart rhythms, nausea, vomiting, and visual disturbances.

Lead: Lead poisoning, often resulting from the ingestion or inhalation of lead-based substances, has been a concern throughout history. Lead is a heavy metal that can affect the nervous system, leading to symptoms such as abdominal pain, cognitive impairment, anemia, and developmental issues, particularly in children.

Mercury: Mercury is a toxic heavy metal that has been used in various forms throughout history. Ingesting or inhaling mercury vapors can lead to mercury poisoning, causing symptoms like neurological impairment, kidney damage, respiratory issues, and gastrointestinal problems.

Aconite: Also known as Wolfsbane or Monkshood, aconite is a highly toxic plant. Its roots and leaves contain aconitine alkaloids, which can affect the heart and nervous system. Ingesting aconite can lead to symptoms like numbness, tingling, paralysis, cardiac arrhythmias, and respiratory failure.

Thallium: Thallium is a toxic heavy metal that can cause severe poisoning. It has been used as a poison due to its tastelessness and ability to mimic other substances. Thallium poisoning can lead to symptoms like hair loss, neurological issues, gastrointestinal disturbances, and damage to the kidneys and liver.

When incorporating poisons into your writing, it is essential to research and accurately portray the effects and symptoms associated with them. Additionally, be mindful of the potential impact your writing may have on readers and the importance of providing appropriate context and warnings if necessary.

If you want to read more posts about writing, please click here and give me a follow!

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irolith

1 year ago

Interactive Fiction - Twine Resource Megalist

This Resource Megalist is intended to centralise the resources for the IF Tumblr community to create Interactive Fiction with Twine. While most will focus on the Twine formats, other useful resources will be included.

I don’t know much about other Interactive Fiction programs or format aside from Twine. Even then, I tend to only use Sugarcube. Though this list may try to cover all Twine formats in its resources, my bias for the SugarCube format will be obvious.

If you have a resource I should include, send it to me and I’ll add it !

Official Twine Links

Official Website : Twinery (you can download Twine or use it online) Official Discord: Twine Games, the creators of Twine and most formats, as well as Twine wizard hang out there to help. Official Reddit: Twine Games, answers Twine related questions too.

Twine Formats

Harlowe: Current version: 3.3.3 Repository, Documentation. Creator: Leon Arnott

SugarCube: Current version 2.36.1 Repository, Documentation. Creator: Thomas M. Edwards/TheMadExile/TME (Patreon - KoFi) also created the Tweego Compiler (all format).

Chapbook: Current version 1.2.2 Repository, Documentation. Creator: Chris Klimas (Patreon), who also created Twine!

Snowman: Current version 2.0.2 Repository, Documentation. Creator: Chris Klimas, but currently maintained by Dan Cox.

Many other formats have been created for Twine, and a non-exhaustive list can be found on this page. Please note that some formats may not be complete or available anymore.

Aside from Tweego, there are also other compilers. A non exhaustive list can be found here.

Forums and Guides

The Twine website has a guide to help with the Twine interface here, as well as Cookbook to help you choose the format you may want to use. The Cookbook includes explanation and tutorials on the ways the different formats operate. There is also the old Twinery Forum where many questions were solved before it closed in 2017 and the Twine Q&A (similar fate). Please note: Due to the Forum closure and the lack of update for the Cookbook, some examples/code may be out of date (though the logic may still be good).

If you are looking for a Forum style-community for help (or discuss Twine), you should go instead to the IntFiction Forum!

Other Guides, Tutorials and Communities

The documentation for each formats may still not be quite easy to get, as it often use very technical description. Below are some guides and tutorials with maybe easier explanations. There might be more (please let me know!).

Guides and Tutorials non-official

YouTube Channels:

Dan Cox

Adam Hammond

Yi Weng

Note: The Twine interface changed in 2022, some aspects of these tutorial may be outdated.

Written Guides:

The 100% Good Twine SugarCube Guide by @manonamora-if (me), includes all SugarCube macros and more.

The Twine Grimoires (Harlowe and SugarCube - focus on visual) by @gcbaccaris (Patreon)

Introduction to Twine (Harlowe 2.1)

Interactive, Nonlinear Stories and Guided Interviews with Twine by the UVic Libraries

Narroscope Chapbook Talk

Kira’s SugarCube Guide (code)

@townofcrosshollow SugarCube Beginner Tutorial & Tutorial 1.02

Guide for ChoiceScript to Sugarcube/Twee Transition by @manonamora-if

Tumblr coders

Below is a list of IF creators using Twine and having created tutorials/answered asks. Please check the creator’s FAQ before sending an ask/contacting them. There might be coders for other formats making tutorials, but I do not know of them.

SugarCube

@manonamora-if : I have #coding support masterlist

@idrellegames also answered a lot of Twine questions over the years (coding asks) (Patreon - Ko-Fi) Note: she does not currently take new coding asks.

@cerberus-writes answered asks here. (Ko-Fi)

@nyehilismwriting has a coding tag. (Patreon - Ko-Fi)

@townofcrosshollow made some tutorials too.

@ramonag-if Tutorials (Patreon - Ko-Fi)

@outoftheblue-if coding/tutorials posts (Ko-Fi)

@larkin-if has started making tutorials (Ko-Fi - Patreon)

Harlowe:

@heart-forge used to answer asks. (Ko-Fi)

Coding Communities

Below you will find Discord servers focused on coding with Twine or Interactive Fiction where you can ask question. I am sure there are others Discords or Forums out there (especially with other languages) !

Decoding Twine Discord - run by multiple IF Creators on Tumblr.

Interact-If Discord - mainly an IF discord, but coding questions can be asked there too.

Fiction Intéractive - similarly to the one above, this one is mainly an IF community but Francophone.

Other Twine Resources

Custom Macro (GitHub + Patreon/Kofi links)

There are A LOT of people who created custom macros for Twine (SugarCube especially).

SugarCube:

Official Add-ons

Akjosch (GitHub) : Modules

Chapel (Website - GitHub - Ko-Fi): Macros.

Cycy (GitHub) Macros. Also created the T3LT extension for VSCode (syntax highlighter and macro checker-ish)

Greyelf (Forum + Forum) : Harlowe style animations + Right-Sidebar

Gwen (GitHub) Macros.

HiEv (Patreon): Macros, Inventory System

Hituro (GitHub - Website): Macros (+ Gordian/Paloma Format)

Hogart (GitHub) Macros.

Maliface (GitHub - Ko-Fi) Macros

Mike Westhad (GitHub) Macros and some StyleSheets

SleepyFool (GitHub) Macros

SjoerdHekking (GitHub - Patreon) Macros.

TME (GitHub) : Language Setting

Harlowe:

Chapel: Audio Library, Macro API

Inventory System

Greyelf (Forum + Forum): CSS styles

Templates (Visual or Code)

Note: I have not tested all of these below.

SugarCube

100% Good Twine Sugarcube Templates by @manonamora-if (3 Visual, 1 Setting Code)

Sugarcube Template & Twine - Sugarcube Template by @nyehilismwriting (Visual)

twine sugarcube template by @cerberus-writes (Visual)

ChoiceScript-like SugarCube template (code for copy-pasting) by brushmen (Visual & Code)

Twine/Sugarcube 2 Template by @innerdemons-if (Visual)

Fallen London Twine Template by thesharkwrites (Visual)

Tutorial: Coding Pronouns and Verbs in Twine SugarCube by Sylveranty (Code)

Twine Template and Twine Template II by @outoftheblue-if (Visual)

Simple Visual Novel Template for Twine by Sun Labyrinth (Visual)

PC98 Layout for Twine by fia glas (Visual)

A Quick Guide to Character Pages by @gamesbyalbie (Code)

Coding Pronouns and Verbs by @sylveranty (Code)

Harlowe:

Twine 2 (Harlowe) CSS Pack #1 by Candy✩Giants (Visual)

Custom Pronouns - Twine Tutorial by chewiethedoggo (Code)

Gender Inclusive Twine 2 Harlowe Code Tutorial by autistmouse (Code)

Harlowe Stylesheet (Github, Visual)

Twine 1:

Twine Texting Project by shindigs (Visual & Code)

Other Twine Resources

Tweego

Tweego Installer from Chapel

Ready-To-Use Tweego Folder + Guide by @manonamora-if

Other

Turning a Twine Game into a Google App

Interact-If Twine Resources Tag (you may find some of the resources above there) : #twine #twine resources #twine templates

Other Coding/IF Resources

Knowing a bit about other coding languages can help you with customising the visual or the gameplay of the project. CSS/HTML are most helpful when understanding templates or how to build/edit the visual size; JavaScript for the gameplay/animation.

W3Schools is more accessible to new users and the explications tend to be easier to understand overall. However, MDN is thought to have the superior code and will let you know more easily if a code/rule is compatible between browsers. Both websites will include explanation for JavaScript, HTML and CSS.

If you want to learn JavaScript, you may want to start on this website.

Accessibility Resources

An important point that should be included is how to make your project accessible (for screen-readers, colour-blind, visual sensitive, etc…). While the way Twine/Tweego compiles the project into an HTML file already takes some of these into account (especially for screen-reader use), but the way one codes may hinder this accessibility.

Colour Contrast Check

ARIA-rules (used by Twine)

Firefox Accessibility Inspector

Game Accessibility Guidelines

Misc Stuff

Codepen is useful to test HTML/CSS/JavaScript. There are also some cool code out there (but edits are required to work on Twine).

Pattern of CYOA Games is more of an IF Planning resource than a coding one, but is always useful to have.

Interact-If has also reblogged some resources (see the Platform Ref Tag Subsection).

~~~~~~~~~~~~

Again, this list is non-exhaustive. I’ve only added what I know/have seen around the internet. If you have Twine resources not included in this post, please let me know so I can add it.

If I have forgotten Patreon/Ko-Fi links for any of the people mentioned above, please let me know ask well!

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irolith

3 months ago

Some of the biggest fantasy worldbuilding fails that I see, in no particular order

Gods without religion. The Gods are real and a known historical fact, but virtually nobody is religious.

Cultural racism/discrimination without structural racism/discrimination. Discrimination that exists only in microagressions or mean comments, without existing in any sort of structural way.

Secret history with no clear reason for it to be secret and no clear method for maintaining that secrecy. Major parts of the world's history are kept entirely secret, even though there's not an obvious reason to do so and even when history has shown this is virtually impossible to enforce (especially in a world with any movement or communication across borders).

Large, homogeneous countries. Even without immigration, virtually no country larger than the Vatican will be fully homogeneous in terms of culture, dialect, beliefs, traditions, etc., much less a large one with limited communication technology as is often seen in fantasy. The Planet of Hats problem.

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irolith

1 year ago

Scene Transitions

Transitioning between scenes is something that you’ll have to do a lot. A good scene transition blends seamlessly into the next so we hardly notice it occurring—or it stands out in order to heighten an emotional impact.

I remember teachers saying, “transitions should blend seamlessly” to me in school without ever explaining how to do that, or what it looks like. The good news is, you’ve probably read so many books and consumed so much media that you’re already subconsciously transitioning your scenes. If you’re struggling, though, here’s what to watch out for:

1. The emotion ends off and begins at the same place.

This isn’t necessarily a hard rule, but it certainly helps maintain a sort of flow to the work, and asks a lot less from your readers than putting them through an emotional rollercoaster. This counts whether it’s transitioning from the same POV or different ones.

For example, if your character is being chased by the police and the scene cuts off without knowing what happens to them, the next scene needs to begin in this heightened sense of urgency and anxiety.

However, if your character is being chased by police and dives unnoticed into their hideout, the next scene should begin within this sense of relief. From here, you can take it wherever you want—just maintain a consistency between chapter cuts, POVs, or other time/place skips.

2. Finish what you start

Unless you’re intentionally keeping the audience in the dark about something (which would require at least some acknowledgement that there are answers, they just aren’t being revealed), you should finish what one scene starts.

Say your previous chapter ends off with the character finally reaching the end of the line for the super scary haunted house attraction. The next should probably begin with them getting to enter the house. If it begins the next day, we’ll be so caught up in the missing time and the obvious lack of answers surrounding the haunted house it’ll take us completely out of the scene and make a notable cut.

An example of a story that does this notable cut really well is ‘A Face Like Glass’ by Frances Hardinge, in which nearing the end, Hardinge inserts a page that playfully acknowledges the complete jump in time and space without revealing anything to the readers about why it’s there, leaving them to discover later on what occurred in that space.

I wish I could quote it exactly but I don’t have the book with me. If anyone does, please reblog this with the page! You’ll know the one I’m talking about.

3. Keep it the same

Don’t switch to a new POV in the middle of the story when you’ve never seen it before unless intentionally making a point. Do transition your scenes however you’d like, but maintain consistency throughout the story. That way, if you ever need to make a point, you can break all the rules you’ve followed to really hammer home the impact.

Good luck!

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irolith

1 year ago

Scene Building: If you don't have anything interesting to say--don't say it.

The basics of building a scene is this: it should have a reason to exist. However, “reason to exist” is a bit more specific than 'it exists to fulfill a purpose'. A scene in which two characters go to the store to get eggs for a cake technically fulfills this brief—the scene exists for a reason; the characters need eggs for their cake so they go get some.

The problem here is that a scene in which two characters go to the store and get eggs and then go back home is… boring, or at least actually unnecessary.

So really, your scene needs to fulfill a practical function (characters reach or fail their goal) and a secondary function—character dynamics or development is explored, background is revealed, arcs are furthered, friendships are formed or tested or broken, etc.

If two characters are baking a cake but they need eggs and nothing new or interesting happens at the store, the scene can be skipped in a sentence or two:

“given the unfortunate lack of eggs present in the fridge, John and Hector took a short trip to the corner store, gathering a carton of eggs for too much money before they headed home. 'Time to get cracking on this cake,' Hector said.”

However, if there is something new or interesting to say at the shop—the clerk is John’s ex, all the town’s stores mysteriously closed at 2pm, Hector takes the walk alone to tell his friend something he’s been too scared to say—that makes it a scene worth your time.

So really, the basics of building a scene is: if you don’t have anything interesting to say—don’t say it at all. Or otherwise, a scene should always be doing at least two things, goal and character, character and goal.

What are some other rules for building scenes you’ve heard of?

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irolith

11 months ago

20 Compelling Positive-Negative Trait Pairs

Here are 20 positive and negative trait pairs that can create compelling character dynamics in storytelling:

1. Bravery - Recklessness: A character is courageous in the face of danger but often takes unnecessary risks.

2. Intelligence - Arrogance: A character is exceptionally smart but looks down on others.

3. Compassion - Naivety: A character is deeply caring but easily deceived due to their trusting nature.

4. Determination - Stubbornness: A character is persistent in their goals but unwilling to adapt or compromise.

5. Charisma - Manipulativeness: A character is charming and persuasive but often uses these traits to exploit others.

6. Resourcefulness - Opportunism: A character is adept at finding solutions but is also quick to exploit situations for personal gain.

7. Loyalty - Blind Obedience: A character is fiercely loyal but follows orders without question, even when they're wrong.

8. Optimism - Denial: A character remains hopeful in difficult times but often ignores harsh realities.

9. Humor - Inappropriateness: A character lightens the mood with jokes but often crosses the line with their humor.

10. Generosity - Lack of Boundaries: A character is giving and selfless but often neglects their own needs and well-being.

11. Patience - Passivity: A character is calm and tolerant but sometimes fails to take action when needed.

12. Wisdom - Cynicism: A character has deep understanding and insight but is often pessimistic about the world.

13. Confidence - Overconfidence: A character believes in their abilities but sometimes underestimates challenges.

14. Honesty - Bluntness: A character is truthful and straightforward but often insensitive in their delivery.

15. Self-discipline - Rigidity: A character maintains strong control over their actions but is inflexible and resistant to change.

16. Adventurousness - Impulsiveness: A character loves exploring and trying new things but often acts without thinking.

17. Empathy - Overwhelm: A character deeply understands and feels others' emotions but can become overwhelmed by them.

18. Ambition - Ruthlessness: A character is driven to achieve great things but willing to do anything, even unethical, to succeed.

19. Resilience - Emotional Detachment: A character can endure hardships without breaking but often seems emotionally distant.

20. Strategic - Calculative: A character excels at planning and foresight but can be cold and overly pragmatic in their decisions.

These pairs create complex, multi-dimensional characters that can drive rich, dynamic storytelling.

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irolith

7 months ago

So... I found this and now it keeps coming to mind. You hear about "life-changing writing advice" all the time and usually its really not—but honestly this is it man.

I'm going to try it.

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irolith

3 months ago

RIP Joann, now what?

I wanted to make a post I could copy and paste and or link when I see folks asking where to buy fabrics when Joann is gone. I sew a lot, generally between 100-200 items a year and I don't do it on a big budget. Stores are not in a particular order.

Notions:

Wawak.com - start here, mostly stay here. Wawak is a supplier for professional sewing businesses and have the prices that show it. I will not pay for gutermann Mara 100 anywhere else. I buy buttons, tools, thread, and most elastic here.

Stitch Love Studio - this is where I buy lingerie supplies https://www.etsy.com/shop/StitchLoveStudio?ref=yr_purchases

Fabric:

Fabric Mart - this is one where you want to sign up for emails and never buy unless its on sale. They run different sales every day and they rotate. Mostly deadstock fabrics but I buy more from here than anywhere else. Fantastic customer service and if you watch you can get things like $6 wool suiting or $4 cotton jersey. https://fabricmartfabrics.com/

Fabrics-Store - again, buy the sales not the full price. Sign up for the emails but redirect them to a folder because it is TOO MANY. They stock linen or good but not amazing quality. https://www.fabrics-store.com/

Purple Seamstress - This is where I buy my solid cotton lycra jersey. They have other things, but the jersey is what I'm here for. Inexpensive and very good quality. If you ask she will mail you a swatch card for the solids. https://purpleseamstressfabric.com/

LA Finch - deadstock fabrics with a fantastic remnant selection https://lafinchfabrics.myshopify.com/

Califabrics - mix of deadstock and big brands, easy to navigate and always seem to have good denim in stock. https://califabrics.com/

Boho Fabrics - good variety, nice bundles. I have also gotten some really great trims from here. https://www.bohofabrics.com/

Firecracker Fabrics - garment and quilting fabrics, really nice selection and great sale section. I've bought $5 yard quilting cottons here several times. https://www.firecrackerfabrics.com/

Hancock's of Paducah - Quilting fabric and some limited garment fabric. AMAZING sale section. Do not sleep on the sale section. This is my first stop when buying quilting fabrics. Usually the last stop too. Not particularly speedy shipping. https://www.hancocks-paducah.com/

Itokri - This is something a little different. Itokri is an Indian business with incredible traditional fabrics. Shipping to the US is expensive, but the fabric is so inexpensive it evens out. I generally end up paying like $30 for shipping. Beautiful ikat and block prints. https://itokri.com/

Miss Matatabi - this is a little treat. This isn't where you go to save money, but there are so many beautiful things in this shop. Ships from Japan incredibly quickly. https://shop.missmatatabi.com/

Lucky Deluxe - Craft thrift store, always has an incredible selection and fantastic customer service. I need to close the tab fast because I never go to this website without finding something I need. https://www.luckydeluxefabrics.com/

Swanson's - the OG of online craft thrift stores, but I find their website harder to navigate. https://www.swansonsfabrics.com

Honorary Mentions: I haven't shopped at these places yet but I have had them recommended and likely will at some point.

A Thrifty Notion - https://athriftynotion.com/

Creative Closeouts - https://creativecloseoutsfabric.com/ being rebranded to sewsnip.com on March 1 - quilting deadstock

Hawthorne Supply Co. - I just got this rec and I think I need to not look too closely or I'm going to slip with my debit card. https://www.hawthornesupplyco.com/

This is not an exhaustive list of everywhere you can buy fabric, or even a full list of where I shop. There are SO many options out there in the world. You also need to think outside the fabric store box. I thrift men's shirt fabrics for quilts and sheets for backing fabric. I don't do a ton of in person thrifting and my local stores don't get a lot of craft materials but every thrift store is its own universe and reflects the community it is in. Go out and find something cool.

Oh and final note: Don't shop at Hobby Lobby.

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irolith

11 months ago

How I learned to write smarter, not harder

(aka, how to write when you're hella ADHD lol)

A reader commented on my current long fic asking how I write so well. I replied with an essay of my honestly pretty non-standard writing advice (that they probably didn't actually want lol) Now I'm gonna share it with you guys and hopefully there's a few of you out there who will benefit from my past mistakes and find some useful advice in here. XD Since I started doing this stuff, which are all pretty easy changes to absorb into your process if you want to try them, I now almost never get writer's block.

The text of the original reply is indented, and I've added some additional commentary to expand upon and clarify some of the concepts.

As for writing well, I usually attribute it to the fact that I spent roughly four years in my late teens/early 20s writing text roleplay with a friend for hours every single day. Aside from the constant practice that provided, having a live audience immediately reacting to everything I wrote made me think a lot about how to make as many sentences as possible have maximum impact so that I could get that kind of fun reaction. (Which is another reason why comments like yours are so valuable to fanfic writers! <3) The other factors that have improved my writing are thus: 1. Writing nonlinearly. I used to write a whole story in order, from the first sentence onward. If there was a part I was excited to write, I slogged through everything to get there, thinking that it would be my reward once I finished everything that led up to that. It never worked. XD It was miserable. By the time I got to the part I wanted to write, I had beaten the scene to death in my head imagining all the ways I could write it, and it a) no longer interested me and b) could not live up to my expectations because I couldn't remember all my ideas I'd had for writing it. The scene came out mediocre and so did everything leading up to it. Since then, I learned through working on VN writing (I co-own a game studio and we have some visual novels that I write for) that I don't have to write linearly. If I'm inspired to write a scene, I just write it immediately. It usually comes out pretty good even in a first draft! But then I also have it for if I get more ideas for that scene later, and I can just edit them in. The scenes come out MUCH stronger because of this. And you know what else I discovered? Those scenes I slogged through before weren't scenes I had no inspiration for, I just didn't have any inspiration for them in that moment! I can't tell you how many times there was a scene I had no interest in writing, and then a week later I'd get struck by the perfect inspiration for it! Those are scenes I would have done a very mediocre job on, and now they can be some of the most powerful scenes because I gave them time to marinate. Inspiration isn't always linear, so writing doesn't have to be either!

Some people are the type that joyfully write linearly. I have a friend like this--she picks up the characters and just continues playing out the next scene. Her story progresses through the entire day-by-day lives of the characters; it never timeskips more than a few hours. She started writing and posting just eight months ago, she's about an eighth of the way through her planned fic timeline, and the content she has so far posted to AO3 for it is already 450,000 words long. But most of us are normal humans. We're not, for the most part, wired to create linearly. We consume linearly, we experience linearly, so we assume we must also create linearly. But actually, a lot of us really suffer from trying to force ourselves to create this way, and we might not even realize it. If you're the kind of person who thinks you need to carrot-on-a-stick yourself into writing by saving the fun part for when you finally write everything that happens before it: Stop. You're probably not a linear writer. You're making yourself suffer for no reason and your writing is probably suffering for it. At least give nonlinear writing a try before you assume you can't write if you're not baiting or forcing yourself into it!! Remember: Writing is fun. You do this because it's fun, because it's your hobby. If you're miserable 80% of the time you're doing it, you're probably doing it wrong!

2. Rereading my own work. I used to hate reading my own work. I wouldn't even edit it usually. I would write it and slap it online and try not to look at it again. XD Writing nonlinearly forced me to start rereading because I needed to make sure scenes connected together naturally and it also made it easier to get into the headspace of the story to keep writing and fill in the blanks and get new inspiration. Doing this built the editing process into my writing process--I would read a scene to get back in the headspace, dislike what I had written, and just clean it up on the fly. I still never ever sit down to 'edit' my work. I just reread it to prep for writing and it ends up editing itself. Many many scenes in this fic I have read probably a dozen times or more! (And now, I can actually reread my own work for enjoyment!) Another thing I found from doing this that it became easy to see patterns and themes in my work and strengthen them. Foreshadowing became easy. Setting up for jokes or plot points became easy. I didn't have to plan out my story in advance or write an outline, because the scenes themselves because a sort of living outline on their own. (Yes, despite all the foreshadowing and recurring thematic elements and secret hidden meanings sprinkled throughout this story, it actually never had an outline or a plan for any of that. It's all a natural byproduct of writing nonlinearly and rereading.)

Unpopular writing opinion time: You don't need to make a detailed outline.

Some people thrive on having an outline and planning out every detail before they sit down to write. But I know for a lot of us, we don't know how to write an outline or how to use it once we've written it. The idea of making one is daunting, and the advice that it's the only way to write or beat writer's block is demoralizing. So let me explain how I approach "outlining" which isn't really outlining at all.

I write in a Notion table, where every scene is a separate table entry and the scene is written in the page inside that entry. I do this because it makes writing nonlinearly VASTLY more intuitive and straightforward than writing in a single document. (If you're familiar with Notion, this probably makes perfect sense to you. If you're not, imagine something a little like a more contained Google Sheets, but every row has a title cell that opens into a unique Google Doc when you click on it. And it's not as slow and clunky as the Google suite lol) When I sit down to begin a new fic idea, I make a quick entry in the table for every scene I already know I'll want or need, with the entries titled with a couple words or a sentence that describes what will be in that scene so I'll remember it later. Basically, it's the most absolute bare-bones skeleton of what I vaguely know will probably happen in the story.

Then I start writing, wherever I want in the list. As I write, ideas for new scenes and new connections and themes will emerge over time, and I'll just slot them in between the original entries wherever they naturally fit, rearranging as necessary, so that I won't forget about them later when I'm ready to write them. As an example, my current long fic started with a list of roughly 35 scenes that I knew I wanted or needed, for a fic that will probably be around 100k words (which I didn't know at the time haha). As of this writing, it has expanded to 129 scenes. And since I write them directly in the page entries for the table, the fic is actually its own outline, without any additional effort on my part. As I said in the comment reply--a living outline!

This also made it easier to let go of the notion that I had to write something exactly right the first time. (People always say you should do this, but how many of us do? It's harder than it sounds! I didn't want to commit to editing later! I didn't want to reread my work! XD) I know I'm going to edit it naturally anyway, so I can feel okay giving myself permission to just write it approximately right and I can fix it later. And what I found from that was that sometimes what I believed was kind of meh when I wrote it was actually totally fine when I read it later! Sometimes the internal critic is actually wrong. 3. Marinating in the headspace of the story. For the first two months I worked on [fic], I did not consume any media other than [fandom the fic is in]. I didn't watch, read, or play anything else. Not even mobile games. (And there wasn't really much fan content for [fandom] to consume either. Still isn't, really. XD) This basically forced me to treat writing my story as my only source of entertainment, and kept me from getting distracted or inspired to write other ideas and abandon this one.

As an aside, I don't think this is a necessary step for writing, but if you really want to be productive in a short burst, I do highly recommend going on a media consumption hiatus. Not forever, obviously! Consuming media is a valuable tool for new inspiration, and reading other's work (both good and bad, as long as you think critically to identify the differences!) is an invaluable resource for improving your writing.

When I write, I usually lay down, close my eyes, and play the scene I'm interested in writing in my head. I even take a ten-minute nap now and then during this process. (I find being in a state of partial drowsiness, but not outright sleepiness, makes writing easier and better. Sleep helps the brain process and make connections!) Then I roll over to the laptop next to me and type up whatever I felt like worked for the scene. This may mean I write half a sentence at a time between intervals of closed-eye-time XD

People always say if you're stuck, you need to outline.

What they actually mean by that (whether they realize it or not) is that if you're stuck, you need to brainstorm. You need to marinate. You don't need to plan what you're doing, you just need to give yourself time to think about it!

What's another framing for brainstorming for your fic? Fantasizing about it! Planning is work, but fantasizing isn't.

You're already fantasizing about it, right? That's why you're writing it. Just direct that effort toward the scenes you're trying to write next! Close your eyes, lay back, and fantasize what the characters do and how they react.

And then quickly note down your inspirations so you don't forget, haha.

And if a scene is so boring to you that even fantasizing about it sucks--it's probably a bad scene.

If it's boring to write, it's going to be boring to read. Ask yourself why you wanted that scene. Is it even necessary? Can you cut it? Can you replace it with a different scene that serves the same purpose but approaches the problem from a different angle? If you can't remove the troublesome scene, what can you change about it that would make it interesting or exciting for you to write?

And I can't write sitting up to save my damn life. It's like my brain just stops working if I have to sit in a chair and stare at a computer screen. I need to be able to lie down, even if I don't use it! Talking walks and swinging in a hammock are also fantastic places to get scene ideas worked out, because the rhythmic motion also helps our brain process. It's just a little harder to work on a laptop in those scenarios. XD

In conclusion: Writing nonlinearly is an amazing tool for kicking writer's block to the curb. There's almost always some scene you'll want to write. If there isn't, you need to re-read or marinate.

Or you need to use the bathroom, eat something, or sleep. XD Seriously, if you're that stuck, assess your current physical condition. You might just be unable to focus because you're uncomfortable and you haven't realized it yet.

Anyway! I hope that was helpful, or at least interesting! XD Sorry again for the text wall. (I think this is the longest comment reply I've ever written!)

And same to you guys on tumblr--I hope this was helpful or at least interesting. XD Reblogs appreciated if so! (Maybe it'll help someone else!)

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irolith

7 months ago

Please, spread this for those who might need it right now

U.S. suicide hotline: call or text 988 (available 24 hours)

U.S. trans lifeline: (877) 565-8860 (when you call, you’ll speak to a trans/nonbinary peer operator. full anonymity and confidentiality)

Substance Abuse and Mental Health Services Administration (SAMHSA) National Helpline: 1-800-662-HELP (4357) – provides 24/7 confidential support and referrals for individuals and families facing mental health and substance use disorders, including panic attacks and anxiety.

LGBT National Help Center: (888) 843-4564

Trevor Project: Call (866) 488-7386, text START to 678-678, or chat online.

Take care of yourself and each other. Please stay safe ♡

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