Reasons For Characters To Go From Lovers To Enemies

A Quick Guide on POVs and Tenses

First person

First person perspective uses I/my and typically also accompanies present tense:

"I walk over to see what’s happening"

However, it can be used with any tense. It is the closest you can get to the character—it tends to have unfiltered access to their thoughts, feelings, ideas, memories, etc. and is the most intimate. It goes great for stories that want to stay ‘in the moment’ and rely on lots of internal dialogue.

2. Second person

Probably the least common—I’ve only ever seen it in fanfic and maybe a choose-your-own-adventure novel or two. This perspective uses you/your, and also tends to go with present tense.

                “You walk over to the stall and survey the goods.”

It’s a really unique way of telling a story that brings the reader the closest to the action—however, it doesn’t have a lot of room for character development as it relies on fitting anyone who is reading it, leaving the POV ‘character’ a shell to be filled by the reader rather than its own character.

3. Third person omniscient

Third person perspectives are outside of the character. Typically they are joined with past-tense. They use pronouns he/she/they/his/hers/theirs, etc.

'Omniscient' means this narrator has full access to the knowledge of the narrative, as well as all the characters in it. It is a bit of an uncommon perspective, as it means the narrator can and will easily “head-hop” which can be a difficult technique to do well.

                “He inhaled, staring icy daggers at Kate across from him. She knew instantly she had said the wrong thing, but had no idea how to take it back.”

                (Notice how we’re both in the male character’s head, as well as Kate’s.)

                This perspective keeps the readers at a distance, but allows them access to every character in the story. Beware, it can be difficult to build tension or keep secrets when using this perspective!

4. Third person limited/subjective

This perspective is probably the most common and my personal favourite. It has the same rules for third person, but instead of the narrator having full access to all the information, they only have access to the information the character they are following knows, or the thoughts/feelings they are having.

                “He inhaled, staring icy daggers at Kate across from him. She had said the wrong thing, and now just looked back at him with big eyes, her mouth agape as she hesitated on what to say next.”

                (Notice how in this example, Kate’s thoughts are only guessed at from our character’s POV. He doesn’t actually know what’s going on in her head, so neither does our narrator)

                Third person limited is probably the most popular because it is really effective at being a very invisible way of telling story. As well, it’s great for building tension, keeping secrets, and can explore unique character perspective and miscommunication.

Tenses:

Present tense

Things are happening right now.

“I begin my walk to the store.”

“He says as he steps through the gate.”

“You follow a long path through the trees.”

2. Past tense

Things already happened.

“I began my walk to the store.”

“He said as he stepped through the gate.”

“You followed a long path through the trees.”

3. Future tense

Things will happen—things to come.

“I would begin my walk to the store.”

“He will say, stepping through the gate.”

“You will follow a long path through the trees.”

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Something like this would be so colossally helpful. I'm sick and tired of trying to research specific clothing from any given culture and being met with either racist stereotypical costumes worn by yt people or ai generated garbage nonsense, and trying to be hyper specific with searches yields fuck all. Like I generally just cannot trust the legitimacy of most search results at this point. It's extremely frustrating. If there are good resources for this then they're buried deep under all the other bullshit, and idk where to start looking.

Back by popular demand!

The REALLY BAD IF Jam is a month-long unranked game jam where the goal is to make the worst IF game possible. Bring your terribly written, bug-riddled coded, nonsensical story - game along!

Why go through the troubles of making a good game anyway?

If you're looking for inspiration, here's the first RBIF. Do note: some games are actually good tho - it's not that easy to make a truly bad game.

It's OK if you’re not OK right now. I’m certainly not. Mothman isn’t. We’re devastated. There’s a hollow crater in my chest where my heart ought to be. I’m sick with worry. But I can’t let it consume me. So we’re going to allow ourselves to grieve and then find actionable ways to counter what lies ahead.

That will look different for everyone, but one thing that will be universally required in the days and years ahead is compassion and an unshakable commitment to kindness.

We will help each other through this. We will find ways to help other people. We will protect the people we love and even those we don’t to the best of our abilities. Because that’s the only option we have.

We will do it angry, we will do it sad, we will do it terrified. But we will do it.

Please be gentle with yourself. Please don’t do anything to harm yourself. The world needs your light. It needs your anger and your hope. It needs you.

if you're feeling powerless right now—and god knows I am—here's a reminder you can donate to the National Network of Abortion Funds, the Trans Law Center, Gaza Soup Kitchen, the Palestine Children's Relief Fund, and hundreds of other charities that will work to mitigate the damage that has been and will continue to be inflicted

life continues. we still have the capacity to do good, important work. that matters

Slight note about the system of food.

'cause adding it to the large doc might crash my computer?

I've realized that though historical fiction minds this more when set in pre-industrial times, that often fantasy set in agricultural societies doesn't seem to do this, though it should.

So I'll give you an example...

Almost everything in Korean food is centered and bred for two things: Kimchi and soy sauce.

But what you don't realize in your industrialized state how freaking long it takes to make these things and how much planning is involved and how much you have to mind the seasons in order to make it correctly.

Kimchi:

Baekchu (or other vegetables) that's often harvested in fall.

The salt, which was traditionally sea salt was harvested in the spring and summer months.

Garlic is a spring to mid summer crop.

The sweet rice that goes into winter kimchi takes a ton of work to make and can take from Spring to fall.

The fish sauce that goes into Kimchi that helps preserve it for over a year, takes and ENTIRE YEAR to make. Yes, a year. You really, really have to plan on that. And what do you do if the fishing is poor for that year?

Spring onions are faster to grow, but you still have to time it for the fall kimchi making.

The fish are seasonal. For example, Yellow Corvina is taken in Korea in the spring. Shrimp in the summer (June), and anchovies in early spring to fall.

Your timing has to be impeccable and you need an entire year to plan this one dish.

Meanwhile, you, industrialized person, take for granted that you can get fish sauce any time you like and can pour it over kimchi.

In fantasy this could add flavor to your fantasy make up, if your character can only get this dish once a year. It can add political unrest (What do you mean the salt harvest was poor and we're left with the shitty metallic salt), because your characters in an agricultural society will be subject to weather changes, which you get when reading historical fiction and so on. Three seasons of poor harvest, daaaamnn... the people might overthrow their government. There might be new religions that pop up, there might be uprisings because the King and Queen are eating feasts every day while the peasants are eating things that are empty calories.

What I'm saying is that you can't be too entrenched into industrial mindset if you're not writing an industrial setting.

That orange is seasonal and only comes about in a connected system that has winter and a warmer climate.

Maybe there are key foods for your climate that are highly treasured or sought after. Mandarins once were. Cacao. Think a bit about those things and how it might interact with the larger world. When does your plant mature and when can it be harvested? is it different from different climates? There's wars that have been fought over food. (Tea, famously, at least a few times).

A staple crop failing is going to have devastating consequences.

And yet, often in fantasy, I often see people going, ya know what I can eat in the dead of winter, strawberries. Do we have greenhouses? No. Did we have freezers? No. But you know what my character is eating? A strawberry. Yeah, think about that. Strawberries don't preserve well. So plan out the timing of your dishes a bit (to the climate and subsistence system) and it can give a bit of background worldbuilding to your dishes and food.

I do have to say that the small mentions from Rings of Power on what's in season or not and why kinda made me feel like the world and the traveling was more "real" with the Harfoot. There's small references to fall v. spring crops.

Writing Tips #2 - Lighting

You ever sit there for half an hour trying to think of another way to say "this surface is bright?" Yeah, me too. Well, no more! Without further adieu, let's talk about lighting. Below is a quick list thrown together to help make describing light, objects affected by light, or the absence of light easier to describe when setting a scene.

Bright

Ablaze, aglow, beaming, blazing, blinding, bright, brilliant, flaming, glaring, glowing, radiant, vivid.

Dark

Abyssal, caliginous, dark, dingy, dusky, gloomy, ill-lit, inky, jet-black, moonless, overcast, pitch black, shadowy, shady, starless, sunless, tenebrous, unlit, unilluminated.

Dim

Bleary, blurred, cloudy, dreary, dusky, faded, faint, foggy, fuzzy, gloomy, gray, lackluster, murky, opaque, overcast, pale, shadowy, shady, tarnished, unclear.

Dull

Ashen, cloudy, colorless, dead, dismal, drab, dreary, dusky, faded, flat, hazy, indistinct, lackluster, low, matte, mousy, muddy, murky, muted, obscure, opaque, plain, subdued, toned-down, unlit.

Shiny

Burnished, crystal, dazzling, flickering, glassy, gleaming, glimmering, glinting, glistening, glittering, glossy, jeweled, polished, satiny, sheeny, shimmering, shining, silvery, sparkling, twinkling.

With these in mind, hopefully, none of you will struggle like I have :P As always, have a wonderful day! I hope this helps <3

Make your margins wider in your writing

Writing what feels like a dozen pages only to figure out after that you haven't even gotten through half a page is a universal experience across all writers.

What I'm about to tell you is one way I've found helps getting through that psychological toll.

One day I was writing my novel (a-luchador-detective-versus-a-lady-vampire sort of affair) when I got a certain idea. I picked up my copy of Authority by Jeff Vandermeer that I had on the desk and decided to make the line length in my work the same as that paperback edition. Margins were widened and line spacing was adjusted, leaving me with a sort of narrow manuscript.

You've no idea how much my productivity went up.

Logically, finishing a line became much faster, which lead to quicker finished pages, which produced a longer-looking manuscript. Of course, this doesn't mean that my writing was immediately faster per se,

but the feeling of being faster placebo-ed me in a way that increased my output.

Now I'm hitting my daily word-count much more consistently and I believe this was partly responsible.

Humans like numbers going up, if we wouldn't both videogames and billionares wouldn't exist. Seeing my page count increase is a reward to my brain which gives me a boost to get to the next page. By decreasing the length between rewards I'm put in a more constant progression loop, no longer feeling the slog of going up a hill and being met with a thousand more.

And at the end, if I want to check my actual progress, the real gauge will forever be the total word count, which we shouldn't obsess over, anyways.

The journey to create a novel or other piece of long-form media will always be more of a marathon than a race, and should be undertaken with the mindset of a marathon. All progress is incremental, and you should not be emotionally punishing yourself for not finishing a quarter of your book in the last week, as if that were somehow possible.

The length of a novel is such that any time-saving and efficiency-increasing life hacks we apply would only be reducing our-time-finish by weeks at the most, so why the rush?

I believe the key to writing faster is to write constantly first.

Can't be fast without stamina. So go ahead; write and make writing easier on you.

Injuries For Your Characters To Receive When You’re In The Mood For Angst (And How To Treat Them.)

A: A bite wound. (Wash the wound with soap and water, then cover the area with a bandage. Afterward your character will need medical care from a doctor to make sure that they aren’t going to get rabies or an infected bite area.) 

B: A sprained wrist. (Your character should ice the area and avoid activities that cause pain. It’s also important to compress the area with bandages (But not so much that it cuts off circulation!) and keep it elevated.) 

C: A stab wound to the stomach. (This is an emergency room visit because abdomens have a lot of vital organs. Just straight to the ER.) 

D: A concussion. (A concussion is brain trauma so your character really should be checked out by someone at the ER. Afterward they should take it mentally easy and possibly take pills for pain.) 

E: A black eye. (An ice pack on the swollen area should help.) 

F: A broken ankle. (Your character will probably need to go to the Doctor to get their leg splinted. After leaving the hospital they’ll need to take it easy on their foot until it’s healed.) 

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Writing Reference: Parts of a Castle

Arrow slits - Defenders could fire arrows out, but attackers could not shoot in through these narrow holes.

Banners - Showed the symbol of the lord and his king.

Battlements - Defenders standing here could bombard attackers while staying sheltered.

Blacksmith - Skilled metalworkers provided armor, weapons, and other equipment.

Curtain wall - Thick stone walls kept the castle’s inhabitants safe from attack.

Drawbridge - This wooden bridge could be raised to cut off access to the gate.

Dungeon - Prisoners could be locked away underground, with no hope of escape.

Entranceway - A single narrow entrance meant attackers could only approach one at a time.

Gardens - Grew vegetables to eat in case of siege.

Gatehouse - The castle entrance was heavily defended. It was often built as a narrow tunnel with wood or iron gates at either end. Holes in the ceiling (murder holes) could be used to pour boiling oil or water on attackers in the tunnel.

Gatehouse towers - Towers on either side of the gatehouse allowed defenders to rain arrows, stones, or boiling water on anyone attacking.

Great hall - The feasting room, where the lord would hold banquets for his knights and guests.

Lord’s chambers - The lord and his family had private rooms in the strongest part of the castle, known as the solar.

Moat - Cut into the rock and often filled by diverting a nearby stream, the moat kept attackers away from the walls.

Postern gate - A side door acted as an emergency exit in case the castle was ever conquered.

Towers - Circular towers allowed defenders to fire arrows in any direction.

During peacetime, a castle was home to the lord, his family and servants, and guards known as men-at-arms. Many castles were like little villages inside, with kitchens, blacksmiths, gardens, stables, and a chapel. If they were attacked, the people inside had everything they needed to survive until help came.

Source ⚜ Writing Notes & References More References: Medieval Period ⚜ Worldbuilding ⚜ Plot ⚜ Character