Latest Posts by lune-versatile - Page 2
The First Thing You Learn in University Creative Writing Classes
I was very fortunate to major in Creative Writing when I went to college. It was a great experience, but I remember being so nervous when I walked into my first class as a freshman.
I'd been writing stories since elementary school, so I worried that this first class would teach me something wildly different than what I knew about writing. Maybe there was some secret formula to creating characters or mental exercises that immediately dissolved writer's block that you could only learn from a professor.
When my first class ended, I was shocked.
The first thing you learn in a university-level creative writing class?
Read more than you write.
It's that simple. I thought my professor had lost his mind, but the many others that followed always echoed the advice.
The advice then saved my ability to write when I was getting through each day during some of the hardest times of my life.
Pick up the good books. The great books. The terrible books that make you quit reading them because they're so bad.
They will all make your writing stronger.
You'll learn how to write fantastic characters, weave plot lines, and paint worlds with words. You'll also learn what you don't like in someone's writing so you can avoid it in your own.
Even during the periods when I wrote nothing at all, reading kept that love for writing alive in my heart.
It's the best way to reconnect with that passion if you've lost it and the greatest way to develop that skill.
Read more than you write.
Your storylines and characters will thank you later.
5 Ways to Make Your Writing Sessions More Productive
1. Set specific goals: Before each writing session, establish clear objectives for what you want to accomplish. This helps you stay focused and motivated throughout the session. Whether it's completing a certain number of pages, reaching a specific word count, or finishing a particular section, having a goal in mind keeps you on track.
2. Create a conducive writing environment: Find a quiet and comfortable space where you can minimize distractions. Eliminate clutter, turn off notifications on your electronic devices, and set up a writing area that inspires creativity. Some people find instrumental music or ambient sounds helpful for concentration, so experiment to find what works best for you.
3. Develop a routine: Establish a regular writing schedule and stick to it. Consistency builds momentum and makes writing sessions feel more like a habit. Whether you prefer to write early in the morning, late at night, or during specific time blocks throughout the day, find a routine that aligns with your energy levels and other commitments.
4. Use productivity techniques: Explore different productivity techniques to enhance your focus and efficiency. One popular method is the Pomodoro Technique, which involves working for a concentrated period (e.g., 25 minutes) followed by a short break (e.g., 5 minutes). Repeat this cycle several times, and then take a longer break (e.g., 15-30 minutes). Other techniques include time blocking, task prioritization, and setting deadlines.
5. Minimize self-editing during the drafting phase: When writing your first draft, try to resist the urge to constantly edit and revise. Instead, focus on getting your ideas down on paper without judgment. This allows for a more continuous flow of thoughts and prevents self-censorship. Save the editing for later drafts, as separating the drafting and editing stages can lead to increased productivity and creativity.
Controlling Your Pacing
Pacing is one of my favourite things to pay attention to when reading or writing something. The pacing of a scene is literally how ‘fast’ or ‘slow’ a scene appears to be moving. Action scenes that spring the story from one place to another tend to go faster than introspective scenes or scenes that explore character dynamics.
All of this is created through putting space and words between elements of the scene. What I mean by that is that readers interpret a passage of time between ‘things’ (actions, dialogue, gestures, etc.) on the page, and pacing is controlling that interpretation.
For example,
“Georgia sat on the couch, “wow it sure is hot in here,” she said. “It sure is,” Henry agreed, sitting next to her.”
This sentence is just about the actions with some breaking dialogue, but it goes pretty quickly through what’s happening.
Whereas, if we were to intentionally pace this scene, it may look like this:
“Georgia swiped at her brow, wandering over to sink into the couch. “It sure is hot in here,” she said, peering up at Henry through the wisps of her bangs. He nodded weakly, his entire body sagging from the heat. Crossing the room to collapse next to her, he added dryly, “it sure is.”
It’s not perfect, but you can get a sense of the time between things happening. The added detail between the two characters talking conveys maybe a minute between sentences, which might be accurate for two people dogged down by a heat wave.
To speed things up, we want less space between elements:
“Adam slammed open the door with his shoulder, letting it bounce off the concrete wall behind him. “Everyone out!” He shouted. A crack in the roof snapped above them.”
The added (or subtracted) elements of a scene that control your pacing is the sights/sounds/feelings/smells/maybe tastes of a place. When we’re anxiously rushing to get out of the house we may not acknowledge that the kitchen smells like the bread our roommate baked that morning, or that there are smudges on the window from when the dog climbed up on the couch. However, when we have a second to contemplate, we’re going to notice these things, and it would be appropriate to write them in.
Another important element to controlling pacing is your character’s thoughts or acknowledgement of feelings.
For example:
“Adam slammed open the door with his shoulder, it bounced off the concrete wall behind him. He winced, his mother’s high voice ringing in his head, chiding him for damaging the walls even though he knew the building was coming down on top of them. How long would he live with her constantly in his mind? He tried to wave away the memory. “Everyone out!” He shouted.”
That slows down the scene quite a bit, yeah? And maybe that’s what you wanted in that moment. Play around with the details and pacing in your scenes, you might be surprised how much can change.
Good luck!
How do you turn a outline into chapters? Like how many chapters does a part of an outline turn into?
Turning an Outline Into Chapters
There's no method or template for how an outline translates into chapters. Instead, it's about breaking down the story into its natural parts.
Stories can be broken down into scenes. A scene is a mini-story that revolves around an important plot point in your story, or in other words a moment in your story that affects a main character's, their path, or the direction of the story. This moment could be:
-- a particular course of action taken by a main character -- an important conversation involving a main character -- an important event involving a main character -- a series of small related moments occurring in the same short period of time, the same place, involving the same character/s, revolving around a particular subject or theme, or from a particular character's POV.
Most scenes are (sometimes loosely) structured similarly to a story, having a small bit of introduction, an inciting incident, rising action, a dilemma, a climax, and a denouement. Like story in general, scenes should have a balance of exposition (explaining things), action (things happening), and dialogue (conversation).
Scenes end when the mini-story the scene is telling ends. Typically, this ending will also naturally shift toward a new plot point that takes place in a different time and/or different place, potentially with different characters.
Go through your summary and find the plot points and moments around which you can build your scenes, and divide them out into their scenes.
Chapters can be a single scene or a group of related scenes. If you have several scenes that take place during a similar time period (in the weeks before and during Halloween, for example), in a similar setting (the characters have traveled to Las Vegas for the week), or involving the same plot point (a heist that plays out over three scenes), these can be grouped together into one chapter. Typically, chapters are made up of one to three scenes.
Once you have your outline broken down into scenes, you can group the scenes into chapters.
Happy writing!
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I’ve been writing seriously for over 30 years and love to share what I’ve learned. Have a writing question? My inbox is always open!
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Fanfiction help, tips, prompts and ideas
I planned on making this a private post just to help me find all the links and wonderful help made by these wonderful people but it can be helpful for other too to have it all in one place.
But if the creators of these would like me to take down/private the post please let me know and I will, no problem ^^
Dialogue Promts, tips, ideas; everything:
dumplingsjinson's Dialogue promts[They're great with so many different dynamics]:
Tips on writing characters without faces:
Describing emotions internally and externally:
Writing recourse masterlist:
Body language basics(smiles, eyebrows, head positions:
List of body language phrases (positions, reactions, movements like "he arched his back"), divided by body parts:
agirlnamedjana's master dialogues/scenes/dynamics promt list:
And also her masterpost on how to write/motivation/tips:
I hate to say this, and like, rain on everyone’s parade, but after scrolling past three posts about it on a writing tag …
If you are looking up synonyms to exchange words out in your story with the purpose of sounding smarter, more sophisticated, or complicated to your reader, you are probably abusing the thesaurus.
Now, if you *want* to do this, I mean, you can write whatever or however you want! But I just want you to know that this is frowned upon if you are trying to write at a professional level.
I have an old article on this somewhere …
If you want to look at the original article…
https://www.septembercfawkes.com/2018/08/how-to-use-thesaurus-properly.html
“I’ve found most authors have the wrong mental picture of the process. Instead of a sprint, publishing is more like a marathon. Slow, steady and consistent action will get you your audience and success.”
— W. Terry Whalin
5 Ways to Make Your Writing Sessions More Productive
1. Set specific goals: Before each writing session, establish clear objectives for what you want to accomplish. This helps you stay focused and motivated throughout the session. Whether it's completing a certain number of pages, reaching a specific word count, or finishing a particular section, having a goal in mind keeps you on track.
2. Create a conducive writing environment: Find a quiet and comfortable space where you can minimize distractions. Eliminate clutter, turn off notifications on your electronic devices, and set up a writing area that inspires creativity. Some people find instrumental music or ambient sounds helpful for concentration, so experiment to find what works best for you.
3. Develop a routine: Establish a regular writing schedule and stick to it. Consistency builds momentum and makes writing sessions feel more like a habit. Whether you prefer to write early in the morning, late at night, or during specific time blocks throughout the day, find a routine that aligns with your energy levels and other commitments.
4. Use productivity techniques: Explore different productivity techniques to enhance your focus and efficiency. One popular method is the Pomodoro Technique, which involves working for a concentrated period (e.g., 25 minutes) followed by a short break (e.g., 5 minutes). Repeat this cycle several times, and then take a longer break (e.g., 15-30 minutes). Other techniques include time blocking, task prioritization, and setting deadlines.
5. Minimize self-editing during the drafting phase: When writing your first draft, try to resist the urge to constantly edit and revise. Instead, focus on getting your ideas down on paper without judgment. This allows for a more continuous flow of thoughts and prevents self-censorship. Save the editing for later drafts, as separating the drafting and editing stages can lead to increased productivity and creativity.
The right FREE tools to write a book
hello hello, it's me!
today I was thinking of how much you loved my masterlist featuring some free tools for writers, and I thought I would do something like that again but, this time, featuring just one or two tools per step while getting the best of "the writer's workbook" (which is also free).
before going any further, for those who don't know, "the writer's workbook" is, as the name says, a workbook for writers, with over 90 pages. it has lots of sheets divided into categories, to help you build the skeleton of your novel. (know more about it here).
however, we can get the most out of it using other complementary tools to ease this process.
Brainstorming
Reedsy generator - it's one of my favorites, and it can be quite useful when you're stuck and want to get an idea. you're free to make changes to it so that it is as unique as possible.
Mindmap
Lucidspark - although it has a premium version, I find it so helpful when it comes to making a mindmap. I've used it multiple times before, including for college assignments, and it's one of the best I've found so far.
Mindmup - I'm sharing this one here as an alternative to lucidspark, since this one doesn't require to create an account, and you have access to unlimited maps. however, in my opinion, it is not as good or intuitive as lucidspark is.
Come up with names
Behind the name - it's a classic, but one of my favorites. you can search every name you could ever imagine, and get its meaning, history, variations, etc. it still has some tools you can use such as a name generator, anagrams, and much more.
Make a profile
Fake person generator - although it was not created for authors, you might find it useful since it gives lots of details and you can be interested in some fields.
Character generator - this one was made for writers, and is simple and easy to use.
Family tree
Family echo - it's so simple yet so helpful.
Maps
Inkarnate - it has a paid version, but you can use it for free and create a great map.
Politics
Filteries - this is sooo complete and accurate!
hope this was helpful! have a nice day <3
Story Structures for your Next WIP
hello, hello. this post will be mostly for my notes. this is something I need in to be reminded of for my business, but it can also be very useful and beneficial for you guys as well.
everything in life has structure and storytelling is no different, so let’s dive right in :)
First off let’s just review what a story structure is :
a story is the backbone of the story, the skeleton if you will. It hold the entire story together.
the structure in which you choose your story will effectively determine how you create drama and depending on the structure you choose it should help you align your story and sequence it with the conflict, climax, and resolution.
1. Freytag's Pyramid
this first story structure i will be talking about was named after 19th century German novelist and playwright.
it is a five point structure that is based off classical Greek tragedies such as Sophocles, Aeschylus and Euripedes.
Freytag's Pyramid structure consists of:
Introduction: the status quo has been established and an inciting incident occurs.
Rise or rising action: the protagonist will search and try to achieve their goal, heightening the stakes,
Climax: the protagonist can no longer go back, the point of no return if you will.
Return or fall: after the climax of the story, tension builds and the story inevitably heads towards...
Catastrophe: the main character has reached their lowest point and their greatest fears have come into fruition.
this structure is used less and less nowadays in modern storytelling mainly due to readers lack of appetite for tragic narratives.
2. The Hero's Journey
the hero's journey is a very well known and popular form of storytelling.
it is very popular in modern stories such as Star Wars, and movies in the MCU.
although the hero's journey was inspired by Joseph Campbell's concept, a Disney executive Christopher Vogler has created a simplified version:
The Ordinary World: The hero's everyday routine and life is established.
The Call of Adventure: the inciting incident.
Refusal of the Call: the hero / protagonist is hesitant or reluctant to take on the challenges.
Meeting the Mentor: the hero meets someone who will help them and prepare them for the dangers ahead.
Crossing the First Threshold: first steps out of the comfort zone are taken.
Tests, Allie, Enemies: new challenges occur, and maybe new friends or enemies.
Approach to the Inmost Cave: hero approaches goal.
The Ordeal: the hero faces their biggest challenge.
Reward (Seizing the Sword): the hero manages to get ahold of what they were after.
The Road Back: they realize that their goal was not the final hurdle, but may have actually caused a bigger problem than before.
Resurrection: a final challenge, testing them on everything they've learned.
Return with the Elixir: after succeeding they return to their old life.
the hero's journey can be applied to any genre of fiction.
3. Three Act Structure:
this structure splits the story into the 'beginning, middle and end' but with in-depth components for each act.
Act 1: Setup:
exposition: the status quo or the ordinary life is established.
inciting incident: an event sets the whole story into motion.
plot point one: the main character decided to take on the challenge head on and she crosses the threshold and the story is now progressing forward.
Act 2: Confrontation:
rising action: the stakes are clearer and the hero has started to become familiar with the new world and begins to encounter enemies, allies and tests.
midpoint: an event that derails the protagonists mission.
plot point two: the hero is tested and fails, and begins to doubt themselves.
Act 3: Resolution:
pre-climax: the hero must chose between acting or failing.
climax: they fights against the antagonist or danger one last time, but will they succeed?
Denouement: loose ends are tied up and the reader discovers the consequences of the climax, and return to ordinary life.
4. Dan Harmon's Story Circle
it surprised me to know the creator of Rick and Morty had their own variation of Campbell's hero's journey.
the benefit of Harmon's approach is that is focuses on the main character's arc.
it makes sense that he has such a successful structure, after all the show has multiple seasons, five or six seasons? i don't know not a fan of the show.
the character is in their comfort zone: also known as the status quo or ordinary life.
they want something: this is a longing and it can be brought forth by an inciting incident.
the character enters and unfamiliar situation: they must take action and do something new to pursue what they want.
adapt to it: of course there are challenges, there is struggle and begin to succeed.
they get what they want: often a false victory.
a heavy price is paid: a realization of what they wanted isn't what they needed.
back to the good old ways: they return to their familiar situation yet with a new truth.
having changed: was it for the better or worse?
i might actually make a operate post going more in depth about dan harmon's story circle.
5. Fichtean Curve:
the fichtean curve places the main character in a series of obstacles in order to achieve their goal.
this structure encourages writers to write a story packed with tension and mini-crises to keep the reader engaged.
The Rising Action
the story must start with an inciting indecent.
then a series of crisis arise.
there are often four crises.
2. The Climax:
3. Falling Action
this type of story telling structure goes very well with flash-back structured story as well as in theatre.
6. Save the Cat Beat Sheet:
this is another variation of a three act structure created by screenwriter Blake Snyder, and is praised widely by champion storytellers.
Structure for Save the Cat is as follows: (the numbers in the brackets are for the number of pages required, assuming you're writing a 110 page screenplay)
Opening Image [1]: The first shot of the film. If you’re starting a novel, this would be an opening paragraph or scene that sucks readers into the world of your story.
Set-up [1-10]. Establishing the ‘ordinary world’ of your protagonist. What does he want? What is he missing out on?
Theme Stated [5]. During the setup, hint at what your story is really about — the truth that your protagonist will discover by the end.
Catalyst [12]. The inciting incident!
Debate [12-25]. The hero refuses the call to adventure. He tries to avoid the conflict before they are forced into action.
Break into Two [25]. The protagonist makes an active choice and the journey begins in earnest.
B Story [30]. A subplot kicks in. Often romantic in nature, the protagonist’s subplot should serve to highlight the theme.
The Promise of the Premise [30-55]. Often called the ‘fun and games’ stage, this is usually a highly entertaining section where the writer delivers the goods. If you promised an exciting detective story, we’d see the detective in action. If you promised a goofy story of people falling in love, let’s go on some charmingly awkward dates.
Midpoint [55]. A plot twist occurs that ups the stakes and makes the hero’s goal harder to achieve — or makes them focus on a new, more important goal.
Bad Guys Close In [55-75]. The tension ratchets up. The hero’s obstacles become greater, his plan falls apart, and he is on the back foot.
All is Lost [75]. The hero hits rock bottom. He loses everything he’s gained so far, and things are looking bleak. The hero is overpowered by the villain; a mentor dies; our lovebirds have an argument and break up.
Dark Night of the Soul [75-85-ish]. Having just lost everything, the hero shambles around the city in a minor-key musical montage before discovering some “new information” that reveals exactly what he needs to do if he wants to take another crack at success. (This new information is often delivered through the B-Story)
Break into Three [85]. Armed with this new information, our protagonist decides to try once more!
Finale [85-110]. The hero confronts the antagonist or whatever the source of the primary conflict is. The truth that eluded him at the start of the story (established in step three and accentuated by the B Story) is now clear, allowing him to resolve their story.
Final Image [110]. A final moment or scene that crystallizes how the character has changed. It’s a reflection, in some way, of the opening image.
(all information regarding the save the cat beat sheet was copy and pasted directly from reedsy!)
7. Seven Point Story Structure:
this structure encourages writers to start with the at the end, with the resolution, and work their way back to the starting point.
this structure is about dramatic changes from beginning to end
The Hook. Draw readers in by explaining the protagonist’s current situation. Their state of being at the beginning of the novel should be in direct contrast to what it will be at the end of the novel.
Plot Point 1. Whether it’s a person, an idea, an inciting incident, or something else — there should be a "Call to Adventure" of sorts that sets the narrative and character development in motion.
Pinch Point 1. Things can’t be all sunshine and roses for your protagonist. Something should go wrong here that applies pressure to the main character, forcing them to step up and solve the problem.
Midpoint. A “Turning Point” wherein the main character changes from a passive force to an active force in the story. Whatever the narrative’s main conflict is, the protagonist decides to start meeting it head-on.
Pinch Point 2. The second pinch point involves another blow to the protagonist — things go even more awry than they did during the first pinch point. This might involve the passing of a mentor, the failure of a plan, the reveal of a traitor, etc.
Plot Point 2. After the calamity of Pinch Point 2, the protagonist learns that they’ve actually had the key to solving the conflict the whole time.
Resolution. The story’s primary conflict is resolved — and the character goes through the final bit of development necessary to transform them from who they were at the start of the novel.
(all information regarding the seven point story structure was copy and pasted directly from reedsy!)
i decided to fit all of them in one post instead of making it a two part post.
i hope you all enjoy this post and feel free to comment or reblog which structure you use the most, or if you have your own you prefer to use! please share with me!
if you find this useful feel free to reblog on instagram and tag me at perpetualstories
Follow my tumblr and instagram for more writing and grammar tips and more!
A pretty cool list of questions for your characters. Personally, I've been doing this by having it in an interview style series of questions for my character, Ktangha.
Here's some writing resources on worldbuilding, pacing, and story structure, since I see many people struggle with them.
Worldbuilding
Worldbuilding In Fantasy - The Best Advice, Tips And Guide
10 Worldbuilding Tips: How to Write an Engaging Fictional World
Worldbuilding Guide & Template: Your #1 Resource
Pacing
7 Quick Tips for Mastering Pacing in Your Story
Story Pacing: The What, Why, and How for a Fiction Writer
Story Structure
Story Structure: 7 Narrative Structures All Writers Should Know
The Hero's Journey: A 17 Step Story Structure Beat Sheet
Save the Cat Plot Structure
The Three-Act Structure
have fun <3
World Building 101
World building! How many other hobbies or careers involve creating an entire world all your own? Not many.
There’s nothing quite like setting out to create your fictional world. Drawing maps, deciding which civilizations live where, throwing in crazy kinds of solar systems and vegetation if you’re really going all out… it can be a ton of fun.
However, one of the writer’s most exciting tasks is also one of their most intimidating.
On one hand: you get to build your own world. On the other hand… you have to build your own whole entire WORLD?! Where do you even start??
Well, you can start right here. Today I’m going to walk you through some basic pointers to get your world up and running.
World Building and World Building
Right off the bat, you should be aware that there are two kinds of world building. There’s the large-scale fantasy world building which I will be talking about today, and there is also world building that goes into other story genres.
Every writer is going to do some level of world-building, whether you’re painting a verbal picture of the lake your character goes to to get some peace of mind, pulling a reader into an important event and making them feel like they’re actually attending, or creating a whole new planet for your space pirate to fly to.
The Top 6
When you have a massive task ahead of you it’s always best to start by breaking it down. So, let’s take a look at the top 6 features you’re going to be focusing on when building your world.
WHO
Ask yourself: who lives in your world?Most likely there is a variety of species and races. Or, you could decide on a world where every creature is exactly alike — it is of course, your world.
Do the creatures of your planet have different cultures or are these homogeneous?
It will be easiest to start off with your main characters and work out from there. What is their species and race, and what does their culture look like?
For each species in your world, jot down the following:
Species name
Race names
Physical description
Language
Cultural notes
Special abilities
WHAT
Ask yourself: what social structures exist in your society? Again, start with your main characters and work out from there. For each species within your world, you’re going to need to determine how they manage their society.
What beliefs do they have? Are they religious, or more philosophical? Is there a divide between the two? What do their political structures look like? How strict are their laws?
You’ll want to consider trade and economy as well. Do they have a money system? A barter system?
You may not need to go too in depth with every single species in your world, but you’ll want a basic note or two about each in case it comes up in your writing.
For each species in your world, decide at least one point about each of the following:
Religion
Philosophies
Politics and laws
Economy
WHERE
Ask yourself: where does your species exist?Finally, we get to the physical world of your world building. What is the geography like? The biomes? Is your world bountiful with resources or is it a dying planet with species’ in desperate search of new sustenance?
For some writers, they will take years fleshing out the ‘where’ of their world, including the cosmos surrounding it. For others, a map with the basic locations of the story will suffice. It is up to you how in-depth you would like to go.
At the very least, you should outline one or two notes about each of the following:
Solar system (does your world exist near ours or is it completely fabricated?)
Geography (this one can be split per species — forest elves live in the woods, nymphs live near the sea, etc.)
Biomes (split by species region)
Resources (split by species region)
WHEN
Ask yourself: when do the events of your story occur?The story you are telling may be the main focus of your book, but what happened to lead up to it? What has your main character’s species and world been through that is causing the story to occur? Even if the events of the world do not impact your story much, they will have had at least some level of ripple effect that reflects on your characters’ day-to-day. Was this civilization a warring one and the story takes place in a broken society? Or, has their society reached its peak of enterprise?
For each region in your world, establish the following:
Founding events
Defining events
Recent events
(if relevant) Future events
WHY
Ask yourself: why do the species in your world behave as they do?The why of your story will tie in with many of the previous points you’ve outlined, but it gets more to the point in a way that can directly apply to your story and characters. Why are things happening as they are today? What evolution did this society go through? Do they share common goals now or are your characters going against the grain of their people? What conflicts exist in this world, and is your main character involved in those conflicts or attempting to avoid involvement?
A few pertinent notes to take per species would be:
Social evolution
Societal goals
Societal conflicts
HOW
Ask yourself: how do the species in your world solve problems? In the category of ‘who’, you will have outlined your main characters’ abilities. These could be magical or technological or maybe they are super strong, or super smart. Now, you can get deeper into the magical or technological systems of your world. Start with your main characters and work outwards. Is everyone magical here? Do different species and races have different abilities? Is there a human or human-related race, and at what point are they at with their technology?
Figure out the following (for each species and race if applicable):
Magic abilities
Technological advancements
Scientific knowledge
Militaristic power
The World is yours: Command it
An author with a strong command of the world they are writing within will have at their fingertips an endless landscape of possibility. Look to authors such as J.R.R. Tokien or George R.R. Martin — it’s no wonder their works are so successful. They perfectly encapsulate what fantasy readers are looking for in a novel: escapism. The worlds don’t need to be pretty, they need to be fully formed; realistic in their mysticism.
World-building can seem like a lot of work, and it is. But do it bit by bit, and try to keep it fun. Don’t sit down in one day expecting to create your whole world. It’ll take time. But that time spent will be well worth it in the end!
On creating a wiki for your worldbuilding
Do you have a lot of lore to keep track of? Whether you're an author, a Game Master, or simply someone who really really likes worldbuilding, this post is for you.
Here's a quick overview of what I'll be talking about:
Platforms people use to create personal wikis
Formats and organization systems you may find useful when creating your own wiki
A brief look at the actual content you might put in your wiki (I'm planning a more in-depth post on that later with more images and demos)
And because this is gonna be a long'un, I'm putting a read-more here! I'll also make downloadable epub and PDF versions of this post available for free on my Ko-Fi at some point in the future.
(I'm also planning to reblog with a list of links later on, but I want this initial post shows up in search)
Also now that you're here, I'm going to say this isn't, like, super comprehensive or anything. I'm just talking about stuff I know a little about or have experience with. Please feel free to reblog with additions and/or corrections as needed!
What is a wiki?
According to Wikipedia, "a wiki is a hypertext publication collaboratively edited and managed by its own audience, using a web browser."
In this case, you'll likely be the sole person making updates to your wiki. The web browser part is optional these days as well, as you'll soon see.
Platforms for creating wikis
Websites for creating worldbuilding wikis
WorldAnvil
This one is actually designed for people who want to create big worldbuilding wikis.
Pros: Worldbuilding prompts! Those are great. It's got a pretty comprehensive set of article types too.
Cons: Kind of expensive to upgrade for features like making your wiki private, and it does NOT work well with adblock turned on, so if you don't want to pay for a membership you'll get inundated with ads. I'm not a huge fan of the interface in general and a lot of it isn't intuitive, but I like what they're doing so I support them anyway.
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Tiddlywiki/Tiddlyhost.com.
In addition to having a cat as its icon and also a silly name, each 'article' you create with this is called a 'tiddler' which makes me think of Chuck Tingle. I haven't used it much myself yet, but I did make an account and it seems pretty neat.
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Miraheze
A community-hosted wiki platform that runs on MediaWiki (which is what Wikipedia runs off of).
Pros: It's not Fandom.com.
Cons: You have to request a wiki and can't just make it yourself, as far as I can tell. I haven't actually looked into this one as much.
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Neocities
An option for if you want to go super oldschool and create a website using only basic html and hyperlinks (without the handy shortcuts of bbcode or Markdown). Monthly cost is $5 usd if you want to have more space and your own domain.
Pros: 100% control over your content.
Cons: Doesn't support PHP databases for wiki software, and can be fairly labour-intensive to update if you break a link or something.
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Fandom.com
Unfortunately, this one is the top result you'll get when you look up how to make your own wiki. I'm only including it here to tell you to stay as far away from it as possible!!
Its staff are known to ban wiki creators from their own wikis and a bunch of other nonsense that I'm not getting into here.
Programs and apps/web apps for creating worldbuilding wikis
Obsidian.md
My personal favourite. I'm planning to make a whole post about how I use it in the near future as part of this article series.
It's a markdown-based application that you can get on just about any platform (Windows, MacOS, Linux, iOS, Android, etc) which is great. Obsidian is really easy to pick up and use and also has great themes and community plugins!
Best thing is, it's FREE and you only have to pay if you use their publishing service, which... I don't, so.
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Notion
I've heard this one is pretty good too. Idk if it costs anything. It's another "second brain" style app (might be markdown also?) and I think it might do more than Obsidian, but I haven't checked it out much myself.
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Microsoft Word/Google Docs etc.
...Or just about any word processor that lets you create internal hyperlinks. Word may work best due to the collapsible headings so it doesn't get too unwieldy, but *shrug* whatever floats your boat.
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Excel/Google Sheets etc.
Or, again, any spreadsheet creator that lets you create internal hyperlinks.
I'd recommend having some basic spreadsheet knowledge before doing this. It could get complicated. Before I started using Obsidian, I was using Sheets to keep track of my glossary, notes about characters, and plot ideas.
Types of formatting & organization systems
There are as many organization systems as there are people who want to organize their stuff. Everybody needs something a little different! I find the ones that work best for me are systems that have a lot of customization options.
Here are a couple I know of.
Johnny Decimal
This system is absurdly simple in its concept and yet so versatile. From their website (it's just johnnydecimal dot com but I'll link it in a reblog later):
Take everything you need to organise and sort it in to, at most, ten large buckets.
Make sure the buckets are unambiguously different.
Put a label on each bucket.
Their website has a better explanation than I can give in this post, but I'll sum up the appeal of this system as quoted from their site: "There's only one place anything can ever be."
Usefully, part of this method is creating a directory for the rest of the system.
So if you're like me and tend to shove things wherever only to lose track of it later, this is a great system—especially when used in conjunction with the Zettelkasten Method (see below).
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Zettelkasten Method
Originally devised as an extensive paper-based knowledge management system, Zettelkasten is meant to easily add new entries to a knowledge base while giving each one a unique ID for easy 'linking.'
The creator of this method said 'it is not important where you place the note, as long as you can link to it.'
As with the Johnny Decimal system, I can't explain it super succinctly (nor can the website, if I'm being honest), so I'll include a link in a future reblog for a video that gave me an excellent run-down of the basics.
Setting up your own system
An organization system is only useful if you can actually, y'know, use it.
It can be fun to set up a super-detailed organization system with predetermined categories for everything, but is it easy for you to use? How will you navigate it?
Making decisions
There will be a lot of decisions to make as you set up your system. The only set-in-stone rule I follow is... don't set anything in stone. It's okay if you decide something that doesn't work later on.
Figuring out your categories
My advice: go fairly broad. You can always sub-categorize. I'm going to go over my own wikis for Athenaeum and Rocket Boosters in detail in a later post, but here are the starting top-level categories I'd recommend for worldbuilders:
A meta category for notes about your database, templates, and any relevant research you've done.
Characters, including main characters, minor characters, and important figures
Worldbuilding
In the last category, which is the main reason for the existence of my wiki, I might have:
Culture
History
Locations
Organizations
Lore (if relevant)
Technology
Transportation
I'll go over the nuances of these 'main' subcategories in that future post I mentioned. In other words, the stuff that actually goes in those categories!
Determining the importance and relevance of worldbuilding elements
You'll need to figure out whether a topic is complex enough to deserve its own entry, or if it should be a sub-heading under another entry. It's okay if you decide on both! I have short subheadings under some entries that amount to "see [link to main entry on that topic]."
I've also decided to expand subheadings into their own topics, and I've removed topics as their own entry and shoved them under subheadings. I do this a lot, in fact! So it's okay if you don't know.
Templates
Will you be creating several of one type of entry?
Individual character profiles
Towns and cities
Factions
(to name a few)
It might be handy to figure out the basic types of information you'll need about each of those things and create a template for them.
A character template might have spaces for the basics, such as name, role, age, and so on.
Some characters will have a lot more information, and some might have even less than what your template dictates! And that's fine.
A word of warning about using system-creation as procrastination
Creating a wiki can be a daunting task. You might decide it's not for you, and that's okay. But you might also decide to go headlong into the process and work on every minute detail, and that is also okay, but.
But.
Beware of using your wiki as an excuse to procrastinate your actual writing/session preparation. Yes, use it to keep track of all the lore you've injected into your manuscript/campaign/whatever, just make sure it stays in its place as a companion to your main project rather than becoming your main project.
How formal should your entries be?
Honestly this one's entirely up to you. I have a mix. Some entries are written like Wikipedia entries with a thorough explanation of the topic with proper punctuation and formatting, while others are simply bullet-point lists of thoughts and ideas that I can return to at a later date.
What methods do you use to keep track of your lore and worldbuilding? Let me know in a reblog or comment!
And please make sure to check the notes. I'll be reblogging with links, and then reblogging that reblog to make sure they're, y'know, actually visible in the notes.
For all you worldbuilders out there, I don't know if you know, but r/worldbuilding on Reddit made this Google Doc with a ton of resources they gathered. Thought that might help some of you.
how to create a high fantasy politics reference doc (with a template and guide!)
political fantasy is an extremely fun genre to write in, that is, until you have to actually write the politics. in this semi-requested guide, i'm going to explain to you how i virgo-planned my way to a horribly detailed—though also horribly helpful—political reference doc for my one and only wip, a treatise of tyrants and thieves.
if you too would like to use a similar format to what i did (though consequently you will have to change it to fit your own worldbuilding), i have a template for dropbox paper right here.
as a sidenote, i do recommend already having built up a decent amount of your world before jumping into this; this document is meant to help flesh out pre-existing content in such a way that is really hard to do with a wip that's just starting out.
setting up.
Generally speaking, when I first began writing this doc, I was mostly doing so in relation to the government of the country wherein my WIP takes place and its relationship with other countries (or nations!), with its own people, and within itself. This then lead to my three, aptly-named subcategories; External, Internal, and Personal Relations (I'm very creative as you can see.)
These three subcategories became my main headers, and all of my organization took place within a Dropbox Paper doc—as I am partial to the cleaner interface and very easy creation of a table of contents—but using Word or Google Docs works just as well. With that, and a lot of pain and suffering in the form of preexisting worldbuilding, I started to flesh all the info out.
You should note that the country AToTaT takes place in a country called Vsyhna (vuh-sen-uh) and its government is referred to as the Dual Courts. This is also a forewarning, for the fact that I will probably be talking about my own worldbuilding quite a bit, if not only for purposes of giving proper examples!
So without any more notes from me, let's properly jump into this thing.
external relations.
The external relations between the Dual Courts and all the other governments within Ashvayr (the continent that Vsyhna is a part of), of which there are eleven, can be described in one of the following ways:
✅ = Allies
⚠️ = Allied by treaty, with tensions
❎ = Not allied, but no real tensions
✴️ = Not allied, but with tensions
⛔️ = Enemies
All of these relations should be taken with a grain of salt, and also adapted to fit your worldbuilding, of course, but as a general consensus, most governments will have one of those relationships with another. The emojis are used so that it's easily identifiable (I'm also insane, let's not forget), but emojis don't replace discussion.
Within each section, I discussed the relationship between these governments but also gave a quick list of bullet points that explained important moments in recent history that have created those tensions—or lack thereof—the current political state in each country, certain cultural tidbits, and cultural differences between Vsyhnians and others.
Generally, this isn't the stuff you want to get lazy with, and while it is fine to say something like "Oh they live across the world my mc's won't know this." It's better to have the ability to even subtly suggest other people, cultures, or ideologies. It deepens your world, and more than this, can be super interesting to readers. You should also note that this information should affect your characters in some way, otherwise the politics are going to be very boring (as they don't relate to anyone.)
This alternated between something as complex as gender politics, to things as simple as cuisine or trade goods. Indeed, you don't have to cover every base with these descriptions, arguably, this is the part you should spend the least amount of time on (unless you're braver than a U.S. marine and do, in fact, wish to take on international relations), but you should cover every important base.
For a slightly more simple example, let's look at the Empire of Sansryn. I wrote: "The Empire of Sansryn ⚠️ is an archipelago that is composed of two main ethnic groups; the Sansrynians, who occupy the northern half of the islands, and the Tarimese, who occupy the southern half of the islands." Then continued to briefly describe the relationship between Sansryn and Tarim.
The next two paragraphs were designated to a) their relationship with Vsyhna (which as you can see with the ⚠️ emoji is not great) and b) their relationship with other countries around them, not forgetting why it's so poor in the first place, which, spoiler, has to do with a number of social issues.
Also in the case of Sansryn, one of my side characters is half Sansrynian, which is something I noted mostly for the purposes of clarifying this character's relationship with this part of their identity and culture.
Realism is, quite frankly, optional in fantasy (or rather, you define what "real" actually means) but I do tend to strive for realism within AToTaT's politics, if not only because it's fun. When delving into (rightfully!) complex issues—like ethnic conflict for example—it's necessary to do your homework (and hire sensitivity readers afterward) if it's not a topic you are familiar with or related to. However, that exact process is not something I will be discussing in this post and I encourage you to do your own research.
You also want to take into consideration how these countries are related to each other. For me personally, I almost exclusively did this for the two current conflicts (i.e. actively disputed treaties, current armed conflicts) within the world, but I did briefly touch on how those relationships came to be, as you can see above.
internal relations.
Internal relations is where things start to get more complex and also more specific to the world my WIP takes place in. For this section, you need to have already realized a great deal in regards to major political institutions (if you have them!) and most importantly, cultural attitudes.
I split my internal relations section into seven sub-sections, which included: Social Cleavages, Justice System, Garrison, Navy, Cults vs. Church, Crime, and Trade.
For a Wikipedia definition, a social cleavage is "a historically determined social or cultural line which divides citizens within a society into groups with differing political interests, resulting in political conflict among these groups." AKA sexy, sexy plot tension.
The social cleavages of Vsyhna mostly revolve around social class (in-world called "rank"), an urban/rural divide, and nationality, which I note as being "considerably not a social cleavage." It appears I should have listened to my Wikipedia-defined advice. That said, rank was described at length for its importance to the religion, general structure within government, linguistic flavor (dialects!), and laws. It's one of my largest social themes and connects to almost everything within the book, including the magic system.
Speaking of magic, as I didn't mention it within my seven sub-categories above, I should note that however magic works in your society should also be included. In my case, it's heavily intertwined with religion and social class (access to the information that allows people to use magic, I mean) and so I didn't feel the need to clarify its role with an entirely new section, but how you do this is entirely up to you. It's also up to you to include a magic system, as in reality, you don't necessarily need one. I also have a completely separate Dropbox doc for most of these things anyway (re:knowing stuff before you jump into this.)
The justice system is something I find is often not immediately thought about when it comes to fantasy, but from a very general point of view, this also encompasses subjects such as law codes, the punishment for breaking those codes, and what trials look like, if you have them. This can tell us much about your culture, what they value, and more importantly, how much they value it.
For example, continuing with my themes of classism, sumptuary laws are a large part of Vsyhnian society, i.e. laws that forbid the usage of certain goods to lower classes. Given that it's illegal for someone of lowborn status to have, let's say silk, it creates a) a prime criminal market (trading "illegal" goods), b) a need to crack down on this market, and c) further severs the relationship between upper and lower classes, given that the fairness of the justice system is then put under scrutiny. Indeed, the fact that it's the Church that controls the justice system, you have a similar tension in the department of faith, and I haven't even begun to talk about how the treatment during trials differs.
I often find military to be the greatest emphasis within quite a lot of political fantasy, that being, the mobility of large land armies or prowess at sea. For me personally, I find this to be rather boring (both on accounts of reading and writing) so I did come at this with a lens of interest in the personal relationships of these people and actual organization within the military. Mostly, I used what I knew from external relationships and current conflicts to create something that could be used later on if I needed it, as it's not heavily featured (at least not in the first book!) Treaties, blockades, relationships between commanding officers, and relationships with piracy.
On notes of realism, I went with the very classic These Island People Have A Great Navy, as, historically, they tend to.
We should all know by now how important religion, or lack thereof, is in epic fantasy, and while I could go on about this for several hours, this is a political relations doc, so I focussed on the tension between sects of the main religion. How different leaders within the religion interacted with other members of government is a topic for personal relations, however, if not only because they're heavily featured, and there are several (about nine actual descriptions.)
This culminated by way of cults vs. the Church, differing ideologies within fundamental concepts of the religion, and generally how they're seen by Vsyhnian society (and—you guessed it—social class.) As an example, I wrote, "All of these organizations consider the Holy Book Rovnokh to be canon and true within their faiths, though it is the Codex Drkha that is often disputed in validity. This is the result of their own written dogma, which may convey entirely different personalities and oblation tales, or emphasis on a very specific aspect of the mortal godchild then how they are presented in the Codex."
It is important to consider, before even delving into differences, what the fundamentals of each sect or division within your religion are speaking on. Think of the historical context that may have brought about such a concept, or even fuzzy lines within canon texts. Here's another example, "The seventh mortal godchild is not mentioned within the Codex and therefore not considered a valid mortal godchild, though Vrah’s appearance in the Holy Book and the Children of the Bone’s own text—which are older than the Codex—say otherwise. 'Vrah' is more used as a term to describe magic and not at all a person, when it is mentioned in the Codex."
Crime and trade, as you can imagine in a society plagued by rules that dictate trade—and in many cases make the trade of certain items a crime—is quite important. As I hinted earlier in the justice system section, the "illegal" trade of certain goods, which goes against sumptuary laws. That said, crime happens for a number of different reasons, and I took the time here to think about partner organizations, illegal magic producers, and gangs.
Crime can actually be an excellent tool of worldbuilding, if not only for the fact that it is so specific to the country and history it resides in. Why does something need to be stolen? Fabricated? Spied on? And who is getting the most out of it?
Trade was something I rather lazily did with the above Vsyhnian roadmap—I don't plan on discussing economics at all, nor following merchants as they move goods though the country.
I want to note once more that all of this is extremely relative information; what you need to write about to create political tension is entirely up to you and your story. As a general bit of advice, however, it is helpful to ensure that everything can come back around to your characters—if not now, then at some point within the series or story as a whole. Politics can become boring very easily, especially when not personal.
personal relations.
For our final and most interesting section, I did two, somewhat important things before actually writing anything out; that being creating two charts. The first is a political alignment chart, the second is a chart that defines the different positions of government. While again, this is totally relative, this is what I came up with:
Take the time to think about and research other forms of government, what each "branch" might do, and how they do it. More importantly though, think about how the culture and religion would, can, or do influence the government, and how the government has responded to such action. Look to history especially!
The charts allowed me to very easily place my main characters, their families, and all the previous groups of people (gangs, cults, social classes) into categories that can then, more or less, directly define their relationships with one another. This made the process that I will now describe to you a little less tedious.
I divided this category into three sections: Nobleborn Houses (that being houses of great import and high rank), the Prelacy (leaders of the Church), and Others of Note.
There are ten nobleborn houses, however, I only did mass amounts of details for five of the most important. I should also note that two of my four main characters are a part of two of these houses, and it's for that reason that I felt I needed to be as in-depth as possible. For Houses, the organization went something like this:
House Name:
A general description of the house, its history, and how it rose to power, as well as what they generally control within the government or country and how long they've had this position.
Try to be as diverse as possible within these descriptions—cover a lot of different bases and don't be afraid to do it! A family rising to power as a result of the money they, for example, gained from growing roses says a lot about the culture and commerce of a particular country.
Public Opinion:
What the people think of this family, given all social standings and occupations. Naturally, when I say all, I don't mean think about what every carpenter thinks of the royal family, I just made sure it was a general consensus!
Opinion of the Other Five Houses:
This, I tended to keep as short as possible, but like the external relations above, I wanted to know what and how the relationship was what it was. For several, I already had an idea, but for...so many more I did not (hear the pain in my voice? there's pain in my voice.)
Opinion of the Remaining Houses:
Shorter than even short as possible, but the same idea as before.
Main Members:
Probably one of the more important sections; I listed out all the members of the main part of the family, that is, the immediate family of the person involved in government (or main character.) This not only defines your side characters—of which there are bound to be many—but also clarifies the conflicting motives of the people in charge. And they should conflict, hopefully with the motives of your main characters. Extended family was discussed when important, such as prominent aunts, uncles, or grandparents, but for sake of simplicity, lengthy descriptions were kept for parents and children.
I also included charts after this about minor houses sworn to these noble houses, but to be completely honest, I didn't fill out most. That said, I did repeat this process for all five houses, and the good news, is that after you talk about the relationship with one of the other five, you're done completely, so, yay one less bullet point each time. Also, don't feel pressured to have a name for everyone or everything! In fact, I mostly skip over names of people unless I really have to know them in text, far more characters are simply [BROTHER] or [PARENT], though this could be a laziness thing. Or a conlang one.
A worldbuilding note: I also included house colors, sigils, and heads in this instance, as well as their connection to certain magical oaths.
For the remaining five nobleborn houses, I only listed house heads, sigils, and colors, if not only because I described their relationship with everyone else, earlier. That said, I also included house heir and extra notes, if I needed them.
The Prelacy was organized slightly differently, as important members of the Church, they don't necessarily have family members interacting with them. Instead, I focussed on backstories, their relationships with the Arkan (the monarch, sort of), and once more, motive (and personalities, given that I don't give side characters a full oc profile.)
As shown in the chart above, there is one High Vokhsv and six Vokhvs that work under them; the former had a more in-depth section of text, however, the six got just about as much detail as the lesser five noble houses.
My last and final section was short and sweet (thank God) and covered two topics very briefly, that are so world-specific I won't even bother explaining them. That said! That's what this section is for; anything else that you might have missed.
I won't lie, the personal relations section was probably the most time-consuming part of this entire doc, but in the end, it did pay off. The entire thing took about from the 22nd of February to the 18th of April, and came out to around 30k. Do I suggest you also write this much? Not unless you feel like you need it. I don't really plan out plot, so for me, this was my plan, hence the length and detail.
Thank you so much for reading! I hope you enjoyed this far too long breakdown of my political reference doc of my WIP, A Treatise of Tyrants and Thieves and good luck with your own process, writing, and research <3
references.
Some links I found helpful:
The template link, once more ($1).
Brandon Sanderson's 2020 creative writing lectures (YouTube)
Designing a fantasy legal system (Worldbuilding Stack Exchange)
Unpacking Folk Tales/Motif Index (Uni. of Alberta)
Real Inequality in Europe since 1500 (Journal, PDF)
Diplomacy (Wikipedia)
Public Diplomacy in Early Modern Europe (Journal)
The Spy Chiefs or Renaissance Venice: Intelligence Leadership in the Early Modern World (Oxford Brookes Uni., PDF)
Branches of the U.S. military (SOU)
those who were interested.
@chovansjtsjina @zielenheil @lord-fallen @ninazeniks @viesceral @introverteddumbass @wisteria-eventide & anyone else, feel free to reply, send an ask, or dm me about questions!
Worldbuilding with Psychology
I haven’t mentioned this before, but I’m close to graduating with a psychology degree. As I was organizing things to move back in at university, I came across some notes from my Developmental Psych class. Psychologist Urie Bronfenbrenner presented an ecological systems model of child development, which represents a dynamic model of how people develop psychologically depending on their environment. I realized this may be an interesting reference for writers as we consider worldbuilding.
The individual is at the center. Each level interacts with the others and may affect them in different ways and to different degrees at different times. The individual is at the center of the model and has inherent traits which are the result of genetics. The microsystem is the individual’s most immediate surroundings. These are the places and people they come into close contact with on a daily basis, including the home and peer groups. The way microsystems treat the individual influence them, but the behavior of the individual also influences how the microsystems react to them. The mesosystem is essentially comprised of links between microsystems - between home and school, between home and church, between family and peers. Active involvement between microsystems promotes harmony and a sense of like-mindedness. The exosystem consists of linkages between systems that do not directly influence the individual, but do so indirectly by influencing a microsystem. For instance, the parents’ workplaces influences the parents’ behavior in the presence of the individual. The macrosystem consists of more distant influences that still have a significant impact on the individual. These elements often include beliefs, values, and other aspects of culture. For instance, life in a country at war will influence an individual differently than life in a country at peace. The chronosystem simply incorporates the meaningful passage of time. What is in each system, how much it affects an individual, and how can all shift in time.
What does this have to do with worldbuilding?
One can relate Bronfenbrenner’s model to creating a fictional sense of place however one likes, but I’ve drawn some parallels between each level and a corresponding element in worldbuilding. The model looks something like this.
The Protagonist:
The main character (or characters) lies at the center of your worldbuilding. It is through their eyes, or over their shoulder, that the reader experiences the world in which your story is set. A strong sense of place is vital to telling a satisfying tale, and a great deal of it comes down to your protagonists. Like in the original model, the protagonist has certain inborn traits that are a result of nature, but are also influenced by nurture - the other systems, in this case. The world is reflected in the hearts, minds, and behaviors of the people who live in it, and the people are reflected in the world they populate.
The Supporting Cast:
These are the people the protagonists interacts with most, and it’s a two-way street of influence. Their behavior influences the protagonist, but the protagonist affects them as well. You can present a great deal of information about the world through the interactions between characters. The way your protagonist interacts with parents and siblings can reveal family structure and dynamics, and interactions with friends or coworkers can shine light on social classes, pastimes, or employment. What your characters do, how they do it, and how they speak or feel about it will reveal what is normal or not.
The Immediate Surroundings:
Where are all these interactions taking place? The actual physical locales in seen in your story have an impact on the way people behave, but don’t forget the direct effect of setting the scene. One behaves differently at school, as opposed to the mall - how can you use differences like this to portray societal norms and mores in your story? Additionally, the events and values of a world leave physical reminders, which may be as simple as smog over a city unconcerned by or incapable of controlling pollution. Perhaps there is graffiti in the streets leftover from social or political unrest. The remnants of a torn-down shrine or monument may reflect changing values, war, or persecution of certain religions or other groups. Living conditions can portray class differences. Possibilities are endless.
The Social Structure and Culture:
Social structure has ramifications on who can interact with whom and what’s considered appropriate. These rules may be very strict or much more informal. If there are rigorous separations in place according to class, an interaction between members of different status will be shocking to your characters. Speaking out against an elder coworker may have severe consequences, or employees may be under forced retirement deadlines - these differences reveal if old age is revered or looked down upon. What holidays do people celebrate, and how? What manners of speech or behavior are unique to the setting? Social norms will be reflected in the behavior of your characters, but the population is capable of changing those norms.
The Physical Setting:
The setting at large still has far-reaching influence on your story. The geography itself will determine a number of things about the setting, including the landscape, weather, physical resources available, methods of transportation and more. All of these things trickle down into each of the layers beneath it and leave their fingerprints. If transportation is unfavorable, how does this affect information and cultural exchange? How about the economy? The physical setting is an umbrella of elements which may change everything under it, even in small or indirect ways.
The Genre:
The genre determines, amongst a few other things, how much of each of the above is needed. In essence, genre can be your guide to where you should place your focus in worldbuilding. Fantasy and science fiction often call for a greater emphasis on the physical setting and cultures, while realistic fiction set in real-life places readers are likely to be familiar with is likely to need emphasis on the protagonist and supporting cast. Some genres, such as historical fiction, may need a more evenly balanced blend of each system. The plot structure itself will also have an influence. For instance, in a ‘pursuit’ plot, the ticking clock and pursuit itself are typically considered of more import than the characters, while ‘forbidden love’ plots are all about the people and culture.
Remember, as always, to mold writing advice to your work and not the other way around. The influence of one or more of these systems may be heightened or lessened, depending on the needs of your story, and they may interact differently, perhaps even from chapter to chapter. Thank you for reading, and I hope this can be a useful model for you to use as a springboard in some of your worldbuilding.
Heres a google drive folder filled with art book pdfs, if anyone has some others that you'd like me to add to it thats missing, please let me know and send me the link
my favorite free tools for writers
hello, hello! hope you're doing well.
today i am bringing you another list with my top 3 favorite (free!) tools that I find helpful for each phase of writing a novel.
brainstorming phase
Fantasy Names Generator - not only for fantasy (you can also generate real names). this website is just... amazing! it helps you come up with names for characters, places and locations, descriptions, generate traits, outfits (yes, outfits!!), and probably something else you could ever think of.
The Story's Hack - this one is so cool! you can generate names for everything, create your own generator, and practice writing through writing exercises! plus, you can save your generated names to see later, and you earn coins for each idea generated (you can later buy themes - dark, snow, forest, etc)
RanGen - my last favorite generator on this list is RanGen! you can generate plots, appearances, archetypes, love interests, cities, worlds, items, and more.
developing the idea phase
Bryn Donovan - in this blog you can find master lists under the tag "master lists for writers". it is so helpful when you first start developing the characters and need to find the right words to describe them and to find some quirks and flaws!
Writers Write (350 character traits) - again, this is so helpful!
Story Planner - ah, the number of times I've talked about this website... please, PLEASE take a look at it, you won't regret it. this website has literally everything you need to fully develop your idea with outlines for you to fill in step by step.
writing phase
Colleen Houck (80+ barriers to love) - need more romace conflict? there you go!
Cheat Sheets for Writing Body Language - so, you know how your character's feeling, but don't know how he'd physically act? check out this list!
Describing Words - honestly, this is a lifesaver. don't you struggle to find the right word to describe something? well, with this website all you have to do is to type the object you're trying to describe and see which description fits better to you!
revising phase
Language Tool for Google Docs - i know we all have heard about google docs before, but the truth is, it's almost impossible to find free softwares to check grammar and spelling. so, google docs is useful, because it automatically revises it for us, and it's completely free. plus, you can add adds-on, such as "language tool".
Unfortunately, there's only one (free) tool that I actually enjoy for the revising phase. if you know some others, please let me know so that I can try them out and feature in this list.
exporting phase
Google Docs - i find google docs very easy to format and export to .epub, so i'd recommend using it as a free tool.
Reedsy - this is also a free tool available online. all you have to do is to write down each chapter (copy and paste) or import your word document. it will format the document to your liking and export it to pdf, epub and mobi.
that's everything for now! i hope this post was somehow helpful or inspiring!
if you want to see more master lists full of resources, check these:
WEBSITES FOR WRITERS {masterpost}
BEST accounts to follow as a writer
BEST SITES & SOFTWARES TO WRITE FICTION
DIALOGUE IDEAS TO GET RID OF THAT WRITING BLOCK (masterpost)
Useful Resources & Tips for Writers
also, if you are a notion lover just like me, check the free template I just released with everything you need to develop and write your novel!
thank you so much for reading! hope to see you around, and have a nice day <3
A comic to try and sort through some difficult feelings about being an artist and a reminder to not forget who you are.
Character is Plot
Character is plot. I mean that as, your main character’s arc is (literally) the main plot. If you think about arcs as something to put over or alongside an existing plot, they probably aren’t working very well. Or at least, you don’t have as much time or space as you need to fully explore both a good plot and a good arc. They are one of the same, so I’d even say throw whatever idea you have about plot out the window. They’re called arcs now. Congrats.
This also means if your characters aren’t working, the whole thing is going to fall apart. So I’m going to relay what was taught to me about solid character creation, and finding your arc!
There’s five critical things that go into character building: Goal, Objective, Unconscious Need, Disrupting Characteristic, and a Formative Event. They all work very closely together, so once you get one going, the others typically fall into place. (oh, and they sound complicated, but I promise they’re not.)
Goal and Objective go hand in hand, I’m sure you’re telling me right now that actually they’re the same thing. You’re right, they kind of are. The reason I split them up is so I make sure I always get not only a journey for my character to go on, but a meaning behind it. Action and intention. So:
Objective: the actionable (your character can work at it) objective of the story. What your character is physically doing throughout the story. Frodo taking the ring to Mordor is his Objective, Rapunzel going to see the lanterns in Tangled. Mulan protecting her dad by taking his place. Essentially, objective is what we’ve thought of as plot.
Goal: the intention behind the objective. Why is your character doing this? This is usually the emotional core of the story, where we tuck away arc and characterization. Rapunzel wants to see the lanterns to finally get out and start her life. Mulan wants to prove she’s worthy. Your character wants to make someone proud, or hurt someone who’s hurt them, or feel loved. This is the emotion behind their objective and cannot on its own be turned into an arc. One cannot ‘prove themselves worthy’ out of a void, that’s the goal, you also need an objective, ‘prove themselves worthy through taking their father’s place in the war’.
If you have these, great job! You’ve got a really solid foundation for your arc. What your character wants, and why they want it. However, if we just follow an objective and goal, your characters are going to feel very lifeless—so we need some additional depth:
Unconscious need: This will probably be the one you get stuck on the most. Good thing is, both of these words are hints on what to do here, Unconscious meaning your character doesn’t realize it, couldn’t put it into words, and Definitely doesn’t say it out loud. Need, is the start of how to answer this blank space. Your character needs to realize something they haven’t been aware of to achieve their goal. Or they need to realize a flaw in their goal. For example, a woman wants to run for president (objective) to make her mother proud (goal), but she needs to realize all her mother wants is to spend more time with her, and by using all her time to campaign for president, she’s actually splitting them further apart. Mulan needs to internalize that she doesn't have to be bigger than life to make her parents proud of her and bring them honor.
Your need is character specific, which means no one else should need the same thing. If your need can apply to multiple people, you probably didn’t get specific enough. Everyone needs to be loved, everyone needs to feel cared for. However, not everyone closed themselves off from relationships and needs to open up to people if they want to foster a connection. See the difference?
This step will directly influence how you write your climax, because it leads to a choice your character makes. They can either realize their need and adhere to it (Fine, I’ll take my name out of the campaign for president/call my parents/apologize to the people I’ve hurt) or continue with their objective despite it. Typically, characters that ignore their need after they realize it are considered to have tragic arcs. Getting your character to realize their need is the end of their positive arc, it’s what we’ve been working towards all along.
So it’s important. Don’t skip, yes?
Disrupting Characteristic: this one is fun. This step is adding a flaw to your character, specifically, it’s the flaw that’s holding them back from meeting their need. If there was nothing holding them back, wouldn’t they be satisfied already? So that’s the easiest place to start with this one, what they need, and what could possibly be holding them back from it. If they need to see their father as he truly is, maybe their disrupting characteristic is that they’re optimistic to a fault. This characteristic could be a thing the character does (idolizes their father, acts fiercely independent, etc.) or a belief they have about themselves or the world (self conscious, believes humans are inherently cruel, etc.) It’s the epitome of their internal conflict, they need something, but some ingrained part of them is keeping them from it. Evil? Absolutely. But us writers tend to be.
The disrupting characteristic is the internal arc your character goes through, they are working and being challenged throughout the story to overcome this characteristic. So in another example, a romantic character may realize their parents led them to believe they were undesirable (unconscious need), and that it has no merit, so they gain a new confidence and overcome their self consciousness (disrupting characteristic) to ask their ideal partner out.
You see what I mean why I say all these steps work together. Need and disrupting characteristic and goal are so intertwined that it can be difficult sometimes to voice them apart from each other, but they also can’t carry each other. A solid need and disrupting characteristic isn’t going to do much if you don’t have a very convincing goal. Make sure you can put them into words (preferably write them down) and voice them all as separate things from each other, and how they work together. If you can do that, you’re set.
Last but not least is Formative Event: this is essentially your beginnings of backstory. The formative event Is the (usually) singular event in a character’s past that made them to be who they are today—importantly, that developed their need and disrupting characteristic. Your character showed up to school in their new dress and was bullied, a mom left, or a dog died. The reason they are the way that they are. From this, you can build up the rest of their backstory. Moana is chosen by the ocean, her parents try to keep her away from the ocean, she grows up unsure about the idea of being the next chief. If you’re struggling with backstory, start here, build around it.
(Oh, and you don’t necessarily have to mention the formative event in your story, in fact most screenplays don’t. As long as you know it, you’re set.)
Speaking of backstory, it’s our invisible sixth step (or… first, really) because all of these things you come to know about your character is developed out of backstory (which makes it a pretty good place to start). It makes sense, really, if these steps are who they are, they’ve become that way because of where they’ve come from. I tend to start with family when I’m trying to discover backstory, given family is a large part of who we are—then education, then home/community, friends, interests, etc. But there’s no real ‘perfect’ way to do it. Just write, let your mind wander, add and take away whatever you want, and meet your new character for the first time.
So how did all of that give you your plot? It’s through how they change! We’ve created someone who wants something, and needs something else, and unless we take them on a journey so they can figure it out, we’ll never have a story. So that journey to help them realize their need? That’s your plot.
If you’re struggling with how to help them change, consider putting your arc into a logline (something screenwriters do, but I find it really helpful even in novel writing). A logline is essentially your plot (character arc) summed up in a sentence or two. It goes like this: A but B so C
A: Disrupting characteristic
but
B: Conflict (goal/objective meets antagonist)
so
C: Changed character
Loglines are a tool for writing (at least in the way we’re using them), so make sure you have your full story—ending, character change, conflict, anything you’d find helpful to keep you on track.
I’ll often write a logline for each major character I have. Here’s an older one about a character I’ll call “Mark”:
A: Obsessive
B: His death has been predicted
C: Opens up to the others, recognizes he only has a little bit of time left, and should spend it with the people he loves (that’s also his need!)
Logline: Private Mark Jackson obsesses over an unproven myth that promises the escape of his small life, but when his untimely death is foretold and every day drives him closer to his fate, he opens up to his friends to be content in a slightly different life than he had imagined for himself.
Loglines are great because they have it all!
Private (additional characteristic) Mark Jackson obsesses (disrupting characteristic) over an unproven myth (objective) that promises the escape of his small life (goal), but when his untimely death is foretold and every day drives him closer to his fate (conflict), he opens up to his friends (need) to be content in a slightly different life than he had imagined for himself (change).
You see how the entire story is right there in that sentence? This is a great place to start before we move onto officially outlining next week, so save your work, we’ll come back to it!
To get a good handle on all this, I’d recommend watching your favourite movies or reading your favourite book and filling out as many steps as you can, then creating loglines for each major character. Disney movies especially stick to this structure (thus all the examples) and typically have very clear arcs, but anything works.
Good luck!
Finish Your Drafts (please)
I have this really bad habit of getting most the way through a draft, seeing how it needs to change structurally and… starting a new one. I have countless unfinished drafts and shorts and written out ideas that haunt me with their cut off sentences and half paragraphs.
Here’s the part that sucks. Finishing a draft is always worth it. Always. No matter how messed up your beginning may be, how much you need to rework or change, how much just isn’t coming together. Get through to the end, even if you have to write a bunch of stuff you aren’t proud of to get there, get through to the end.
I learned more about my novel from one finished draft than I did from the five unfinished ones after it. You need to explore your ending, because your ending is the most important part of the entire piece.
This month we explored outlining and character arcs—all of that planning, all of that work we’ve put into this project leads up to the ending. The ending will tell you more about your direction and how the pieces you’ve tried to put together are working than anything else. It’s the one place you can’t hide. Either the ending wraps up how you want it to, or you need to go back to the drawing board.
I almost didn’t finish that one draft. I knew there was a huge gaping problem I hadn’t noticed before right in the middle and that I had to rework some stuff. I nearly stopped there, but I pushed forward instead. It was there that I discovered a large part of that problem was the ending I had planned. I was working towards the wrong thing, so of course the middle would fall apart.
You’ll be able to see your character arcs, your theme, your subplots, all of it needs to be addressed in the ending, so your ending is going to tell you what is working and what isn’t.
Push through to the finish line. Best case scenario you understand your work and process on a deeper level. Worst case, you have a finished draft—and that’s always something to be proud of.
Good luck! Happy end of February. Next month we’ll be talking about some other ways to create characters and voice, amongst other things. I’m looking forward to it!
The “What-If” Writing Method
Sometimes when I’m writing, brain just....stops. No more ideas. No more words. Nothing. Sometimes, the solution to this problem is to simply take a break from writing and let your brain relax. Other times, though, you really are just at a block for ideas. This happened to me significantly more often than I would like, but thankfully, I’ve developed a solution that works well for me, and it’s uncreativly titled the “what-if” method.
Get a piece of paper and pen. Or a Google doc, or whatever works best for you.
Start brainstorming questions about your story, or possible “what-if” scenarios. (Ex: What if my character got framed for a crime they didn’t commit?)
Write down every single idea that comes to your head. Even if it doesn’t really work for your story. Even ones that deviate from your existing plot. Even the stupid ones. Especially the stupidest ones.
Cross out the ideas you don’t like, circle the ones that you do like.
Start coming up with answers for the questions you circled, or expand in the by coming up with more questions. (Ex: They would have to prove they didn’t commit the crime to regain their freedom. How do they prove it?)
Repeat until you have a full idea that you can work on/write with.
That’s it. That’s the whole strategy. I’ve used this a million times, and it’s gotten me out of a million cases of writers block, so hopefully it can work well for you too! Happy writing!
This Halloween, you better bring your reading glasses, because it's time to whack out word crimes that bring out the absolute worst (affectionate) in the great universe of Romance Club.
To help out, we've compiled an eclectic spread of writing resources for your convenience - and please, if you have additional suggestions for your fellow writer, let us know in the comments!
Spooky Writing Prompts - by @daydreaming-effy
Halloween Fluff Prompts - by @asparklerwhowrites
Halloween-themed Dialogue Prompts - by @palettes-and-prompts
30 Whumpy Dialogue Prompts - by @wildfaewhump
Lists of Prompts I and II grouped by mood - by @linwritesif
Monster x Monster Hunter Prompts - by @deity-prompts
A Sense of Horror (inspiration) - by @whump-queen
Monstrous May 2021 Write-Up (inspiration - please note: occasionally suggestive) - by Johannes T. Evans
9 Tricks For Writing Suspense Fiction (inspiration) - by Simon Wood on Writer's Digest
What Even Is Suspense (inspiration - not a promotion at all, just a few good points if you're unsure how to ramp up the scaries) - through Masterclass.com
Character's life stories
So like any writing advice, this isn't a universal rule by any means, but I have found that when making characters for my longer form fiction, it's really important to understand their life story, even if it never directly shows up in the writing itself - even if the readers are never given enough clues to put it together.
Here's why.
At least when I was first learning how to create a character, I would pick out a mental picture of what they looked like, slapped a few goals, dreams, and morals on them, figured out two formative events and set them loose in the wild. And they were flat. Uniformly.
(Reasons why, other benefits to understanding your character's life stories, and a simple way to develop them all below the cut)
There were several reasons for my character's general wimpyness:
I didn't really know who they were, except for their surface level persona, which meant I had a really hard time understanding what made them choose the things they did.
If I don't know what their life was like, most of their choices are going to stem from like three events - that means there's not a lot of subconscious factors to work with, meaning they're going to be predictable in a bad way.
Whenever I did try to add some depth, there was nothing behind it, so that depth was lost to inconsistencies that weren't glaringly obvious but were enough that it felt unrealistic.
Beyond that, by fleshing out your character's backstories more fully, you'll also end up with insights into:
Worldbuilding - you don't necessarily need to flesh it out in full detail, but for characters to exist, they need somewhere to be, and that can help you understand parts of your world that aren't necessarily the main focus - it adds flavor, which will come through in your writing.
Timing - kinda like how if you have a map of the building your characters are in, it's easier to keep track of it and you don't have weird hallways that lead to nowhere or a room that's simultaneously in three different places. If you understand what was going on generally throughout your character's life, you can better tie their age to what happened and understand the effect the event might have had, or track when people could have met, or all sorts of things that, again, will help them seem more real.
Arcs - character creation is less about starting off with a character, and it's more about crafting an arc. If you just plop a flawed character into the book, it may work, but often the seeds for that arc will appear much earlier, and they may have even started on part of their arc (especially if they're a side character) - understanding what progress they've made or lost can keep them dynamic.
Relationships - if the characters have already met each other, it's useful to know what perceptions they had, what relationships they've built (or set fires to), and what headspace they were in while doing that compared to now.
So that's great and all, but how to... do all that?
1) What's the groundwork?
How old is your character now? This is important because you have that many years of life story. You don't have to figure out every year, but there is a difference between working with a 40something and a teenager.
What global events would have affected everyone (if any), and when did those happen? These will help with scaffolding, since you're going to want to address them.
What point are you trying to work toward? If your character has developed certain mannerisms, views on the world, etc, you may want to figure out sources for them.
2) Set up your timelines.
I find it's best to work with your main cast all at the same time on a common timeline. That way I can see how threads might interact with each other, and make sure that I'm not messing up the years or anything. It also means that when I set up global events, they all line up so I won't have issues with chronology.
Sticky notes and an open workspace are excellent for this. (set up each character going from left to right, and then across the top, set out the years). You can also do it pretty effectively with a spreadsheet, but I find working with things physically to be a nice change of pace.
3) Drop in all of your major life-changing events
You have your timelines set up. If you already know something happened to change any of your character's lives, drop them in. These are probably the most important bits, and you want to make sure they're accounted for.
Birth date (at least to the year)
Major changes in living arrangements
Moments that you already know rocked their world
Etc
A benefit to this is that you'll also see what time periods you have more worked out for which characters compared to others.
Also make sure that you drop in times when characters first meet. Since these are places where timelines converge, you want them to be consistant. If there are important exchanges or interactions after that, those go in too.
If they are not already accounted for, also put in their reaction to any global events you've set out. This is important because it's going to be some kind of common ground for all of your characters later (whether or not you use it), and it will be useful for comparing where everyone was at during a certain point in time.
4) Put in the other important stuff
In the beginning of this process, you figured out what kind of characters you were working toward having at the start of the book. Figure out what events would probably need to happen to make that work, and drop them into the timeline, if they're not already there.
5) Fill in the holes
So at this point, you've got all your important stuff in, but it's highly likely there are still pretty large gaps. My rule of thumb is that you want to have a general understanding of what they were doing at least once of every three years of their life. This will help flesh out their upbringing, or what they were doing in places that are less story-specific
These are the kinds of thins that aren't going to affect the story directly, but are going to influence what they reference, as well as give you a deeper insight into their psyche and experiences. It'll also help make sure that your understanding of who they are isn't bunched up at one point in their life but is more comprehensive.
advice of the day: let your rough draft be shitty. Let it be full of corner notes of “I dont know what the fuck this means” and “expand on this later” let it have jumps and spelling errors and weird descriptions! It will help you get to that beautiful final draft so much more than getting frustrated and deleting all of it because you refuse to let yourself write “poorly”
dont get mad at cakebatter for not being a finished cake when you haven’t put it in the oven yet! It’s all apart of the process.
we always say that writing improves with practice, which is true & good to remind people of, but i think we fail to emphasize that literally every part of your writing will get better with time and effort. sure, your prose will become clearer and more sophisticated, but it’s so much more than that.
you’ll become so much faster, for one thing. if it takes you two weeks to complete a 3k chapter when you start out, you’ll eventually reach a point when you can crank that out in a matter of days. maybe right now your story ideas are like a dripping faucet–slow, random, and occasional. well, the longer you let that faucet run, the more your ideas will start to flow, until suddenly you’re finding inspiration in everything. the length and complexity of your stories will grow too. you might start writing stories in the 2-10k range, but you’ll eventually find that you’re writing 20-30k stories without even really intending to.
of course your style will improve. of course your imagery will become richer. of course your syntax will start to flow better. but there are so many other aspects of the writing process, and literally every single one of them will start getting better too.
write EVERY DAY. here's how.
where inspiration fails, habit will always have your back. this is why it's important to build writing into your life as a habit, if you ever want to finish a project or improve your skills.
back in 2018, i (nat) was a college student without much going for me. i was feeling creatively stifled and insecure and like i didn't have TIME to write good. and i was right. i didn't have time to write GOOD. but i did have time to write SOMETHING. so that january, i built the habit. i wrote every single day in 2018, and almost every single day since.
because once you establish the habit, it becomes safer to skip a day (or three days) here and there. you will at least THINK about writing every day, even if you go straight from work to social plans to bed, or you're on vacation, or you're too sick to write. and that thinking is part of the habit!
here are the tips i followed to make this happen.
-pick a reasonable goal. starting off, mine was 300 words. now, i don't follow a goal, because the habit is so solid i don't need to. but 300 words is easy and quick. and if you give a pig a pancake, they'll probably have days where they write 500, 1000, even 3k words.
-log your word count. this is interesting to look back on every new year's eve, and it provides accountability. do this however you like; a spreadsheet, a physical notebook, a note in your phone, each day's section in your planner, whatever works for you. i have a channel in my personal discord server where i log mine.
-do NOT edit as you go. just write write write. if you feel like something you wrote needs work, yeah, it probably does-- everything needs to be edited, but that's a problem for later. highlight sentences you can't get right or make note of them to edit LATER. but do not edit as you go!
-write self-indulgent crap. fanfiction, shitty poetry, manifestos, rants, self insert fantasy romance, whatever floats your boat. having a shitty self-indulgent backup story to work on when i didn't feel like writing for the projects i cared about really helped get me in the habit. write for an audience of one!
-journal if you can't write. this may not necessarily build your skill as much as writing regular prose would, but it does help you maintain the habit and it can be useful in lots of other ways.
-think outside the box. write trivia questions. write a list of your favorite childhood toys. write a review of the book you're reading. i'm writing this post, that's going toward my word count for the day. again, this is still writing, and it helps maintain the habit.
-get comfortable writing on your phone. this took me a long time, but making it over this hurdle has saved my habit so many times.
you'll be surprised at the cool shit you end up writing on those days when you swore you weren't inspired enough. and you'll be delighted with how much progress you will make honing your craft!
happy writing! if you have any questions about how to implement any of these tips, our ask box is always open.
writing warm-ups
do you wake up and immediately go to work? no! you have coffee and breakfast first, you wash your face, you get dressed. similarly, you have to warm yourself up before facing a writing challenge. warm-ups are also a great way to fight writers' block. here are some ways to do this:
-keysmash poem; mash that keyboard until you get 6-12 random letters. these are the first letters of each line of a poem you will write. oh, you say you're not a poet? i didn't ask! just mash that keyboard and cough a poem up and never read it again. -letter to the editor; pick a topic that pisses you off. the smaller and more arbitrary, the better. write a paragraph detailing the issue to a neutral third party with as much passive aggression as you can muster. -rewrite; grab a random page of some old project of yours and rewrite it. really think about what you like and dislike about that page, look at it from a new perspective, twist it around until it's different-- doesn't matter if the rewrite is better or worse, because you aren't editing here. you're just getting your gears spinning. -fictionalize it; think of something that happened to you, like a brief interaction with a stranger or a funny mix up at work. turn it into a one-page scene. -dream journal; record an interesting dream. list out details you can remember, or write it like a journal entry, or wax poetic about what it all means. -shitty fanfiction; self explanatory. the more self-indulgent, the better. set a timer for ten minutes, blast off, and then pretend it never happened. -deleted scenes; think about the in between moments of your project. write an email from one of your main characters, or a scene from their childhood, or a text conversation log, really anything that you wouldn't put in your main work. -confessional; pick a fictional character, yours or one from a piece of media you love. write their ten confessions in as much detail as you want.
happy writing! let us know if you try any of these, and reblog if you find this helpful!