You Guys Are Too Hard On Yourselves

I made it to the top! Resumes are not always written in fancy diplomas or degrees, but in knowing how, when, where and why. It's a mixture between knowledge and experience.

I made it to the top

World Building

Creating Land

❂

⥇ agriculture

⟿ what is grown in abundance? how common is farmland? where is the farmland?

⥇ architecture

⟿ what kind of buildings? how tall/spacious? what are they made of? how well made? how well planned?

⥇ animals

⟿ what wild animals are lurking in the area? hunting? any animals affecting the livestock or agriculture?

⥇ biomes

⟿ desert? tundra? grassland? forest? savanna?

⥇ bodies of water

⟿ seas? lake? ponds? rivers? fresh water/salt water? fishing? keep in mind, settlements are often built near bodies of water

⥇ climate

⟿ dry? rainy? temperate? tropical? polar? how have people adjusted to this climate?

⥇ elevation

⟿ altitude? how does the altitude affect lifestyle?

⥇ geology

⟿ rocky? types of rocks?

⥇ landforms

⟿ mountains? valleys? plateaus? plains? hills? glaciers? peninsulas? volcanos? canyons?

⥇ latitude / longitude

⟿ location on planet? how does it affect other elements of land?

⥇ livestock

⟿ common domesticated animals? common animal usages?

⥇ minerals

⟿ any valuable minerals / metals? are they mined regularly? how are they used?

⥇ natural disasters

⟿ earthquake? tornado? volcano? duststorm? flood? hurricane? tsunami? how often do these occur? protocols?

⥇ population

⟿ how many people? how dense is the population? how does the population affect surrounding nature?

⥇ resources

⟿ what is abundant? scarce? how are they used? how available are they?

⥇ sacred land

⟿ religiously important land? historical importance? widely accepted as sacred? how is it honored?

⥇ soil

⟿ good or bad for vegetation? rocky?

⥇ tectonic activity

⟿ earthquake frequency? volcano frequency? trenches?

⥇ topography

⟿ how common are maps? how accurate? how long have they been around? who makes them?

⥇ vegetation

⟿ what is abundant? scarce? what grows easily? with difficulty? what is commonly foraged? who forages? plant types? tree types?

Todos vemos cosas distintas, todos vemos siempre lo mismo, y lo que vemos nos define absolutamente. Y amamos instintivamente a los que ven lo mismo que nosotros, y les reconocemos al instante. Coloca a un hombre en medio de una calle y pregúntale «¿Qué ves?» Y en su respuesta estará todo.

Milena Busquets (via hisopo)

novlr.org

Character Archetypes and How to Use Them in Your Novel - Novlr

There are twelve character archetypes split into four motivations at the heart of every story. Learn about archetypes and how to write them.

The idea of the twelve character archetypes was suggested by the Swiss psychiatrist Carl Jung. His theory on basic human personalities suggests that each human is led predominantly by one of four motivations during their lifespan, split into three separate character traits. These archetypes are now often used by writers as a basis for their characters.

The "Provide Structure" trait includes:

The Caregiver

The Creator

The Ruler

The "Spiritual Journey" trait includes:

The Innocent

The Explorer

The Sage

The "Leave a Mark" trait includes:

The Hero

The Outlaw

The Magician

The "Connect With Others" trait includes:

The Everyman

The Lover

The Jester

The Medusa Type:  A woman that uses multiple layers of skills to be none, but just a fake personality, playing with the mind of others using her skills in the field of the mind, without compromising to be herself, because she can not be herself by fear of being herself. Her value is so deteriorated, because she has no definition in herself, and her value is within and through the multiple layers; otherwise she has no value. Rather using cards, than being.

Saber class Medusa for the Mystic Eyes Symphony event in Fate Grand Order.

Illustrator: hotosoka.

Writing Tips

Scene Checklist

Does your scene include everything it should?

「 note: this is for the editing stage; remember, first draft is for the writer & editing is for the reader; get it down before worrying about these things unless it is just for practice 」

✧

ACTIONS

↦ are the actions necessary?

↦ are the verbs as descriptive as possible?

↦ do the actions match the character? why did the character take those actions?

↦ are the actions clear?

DIALOGUE

↦ what is the purpose for each statement?

↦ does each statement move the story forward?

↦ are the dialogue tags as descriptive as possible?

↦ does the dialogue match the character? why did the character say those things?

EMOTIONS

↦ are each character’s emotions clearly stated or implied?

↦ are the character’s emotions justifiable?

↦ how does the character’s emotions affect their actions?

LANGUAGE

↦ are you showing or telling?

↦ does the scene have clarity & coherence?

↦ does the scene have the desired tone, mood, & voice?

PURPOSE

↦ is this scene necessary? (if removed, would the story still make sense?)

↦ are there stakes at risk in this scene? is there tension?

↦ has something changed from the beginning to the end of the scene?

↦ possible purposes: advance the plot? reveal character goal? increase tension? develop character? reveal conflict? react to conflict? explain backstory? foreshadow? build world? reinforce theme, tone, or mood?

SETTING

↦ will your reader clearly know the setting throughout the scene?

↦ room? house? city? state? country? planet? galaxy?

↦ time of day? season of year? weather?

↦ chronologically within story?

STRUCTURE

↦ is there a distinct beginning, middle, and end?

↦ is the chronological order of events clear?

↦ does the scene smoothly transition from one to another?

✧

DWIGHT SWAIN’S SCENE VS SEQUEL

↦ Swain believed scenes should repeat these sequences in order to keep the interest of the reader piqued

↦ Swain says “a scene is a unit of conflict lived through by character and reader” & “a sequel is a unit of transition that links two scenes”

↦ scene: goal, conflict, disaster

⟿ goal: character’s decision to do something for a purpose

⟿ conflict: something opposing the character’s ability to achieve goal

⟿ disaster: a disruption or turning point to keep the readers hooked

↦ sequel: reaction, dilemma, decision

⟿ reaction: character’s emotional/analytical reaction to the disaster

⟿ dilemma: what should the character do now

⟿ decision: what does the character do now

↦ does your scene have one of these three-part patterns?

DWIGHT SWAIN’S MRU

↦ MRU: motivation-reaction units

↦ these are for alternating sentences or paragraphs

↦ motivation: objective thing your character externally senses (what happens?)

↦ reaction: subjective response your character internally has (how does your character react? feeling, reflex, action, dialogue?)

↦ this is very difficult to follow, especially without practice, but it is a way to guarantee your reader’s interest & attention

Claudia

Claudia

Oiga volteé en esa esquina donde dice Laurel, por favor dijo Claudia.

Es usted tan viejito que no alcanza a ver los rótulos de las calles y le tienen qué anticipar las vueltas… Por qué no usa lentes?…

Y Claudia soltó la carcajada.

Cada vez que podía, Claudia echaba en cara su juventud contra mi supuesta vejez, pero era su forma de divertirse conmigo, y admito, a costa mía.

No me importaba ni tenia un conflicto con la edad, de hecho la disfrutaba, al encontrar cosas que en otros tiempos me detenían de ser realmente lo que era: único, especial, con una personalidad que me encantaba. Y debo decir que los temas favoritos de Claudia y Jessica era la juventud y la vejez, cuando podían y sobre todo cuando ambas se juntaban a hacer equipo.

Si los dinosaurios existeieran le dirían… Amigo cómo estás? decía Claudia y si las montañas hablaran dirían pies que por aquí te vieron pasar, secundaba Jessica; si las estrellas se contaran a sí mismas, remataba Claudia, le preguntarían la última cuenta…

Por qué?

Porque antes de las estrellas ya estaba usted!!!!

Jajajajajajaja…

Muy graciosa, muy graciosa…

-Ah, Ya vamos a prosopopeyas?

-Whhhhhat?, exclamaba consternada Claudia

-La suya!!!! gritaba Jessica… Ay por si…

-Jessica te pasaste, reclamaba Claudia, te pasaste…

Muy graciosa, muy graciosa, prorrumpía yo.

Yaya?

Ya le he dicho que no me llame Yaya, decía Claudia.

Yaya porque te dicen Yaya en tu casa?

Ya sé. Porque tanto desesperabas a tu mamá en la cocina que te decía… Ya! Ya! y te aventaba el palote, o sería por eso que cuenta Jessica que te juntaba jugar karate con los hombres y movidas tus manos en posición de karate y decías IA! IA! IA! IA!; o porque tu mamá cuando estabas a punto de nacer decía cansada y con las últimas ganas y en desesperación… ya! ya!

Eres un fastidio y dolor para hombres y mujeres… Algún día cambiarás, hija mía? Te quieres confesar?

- De padre usted no tiene nada! refunfuñaba Claudia

- Lo soy y de dos hijos muy bonitos, hechos con Herdez

- Herdez?

-Hechos cooon amoorr, con toda confianza es Herdezzzz- Usted está loco!

- De poeta y loco todos tenemos un poco

- Usted nunca pierde, verdad?

- Todo lo aprendí de tíiiiiii (puedo cantar?) Todo lo aprendí de tíiii

- Ehe esa es una canción de Ana Barbara!!! Esa es un canción de Ana Bárbara! gritaba exaltada Jessica

-Ay la baba! Este no es el concurso de Adivina por los 64 mil… jugaba Claudia…. Y todos nos poníamos a reír. Jajjajajajaa

Así pasaban la bromas, por momentos, de entre las innumerables del día, multiplicados por mil doscientas lunas que eran tres años, tres meses.

Ese era el juego preferido, ver quién tenía más astucia para hacer va mal al otro, entre el cariño, el afecto y el trabajo.

Tips for Starting and Stopping Chapters, Plus FAQs

Even if you have the most exciting, engaging ideas for your novel, you might struggle to write it because you have to deal with chapters. These are a few of the most frequently asked questions about chapters and a few tips that might help you overcome manuscript challenges.

How Many Chapters Should a Book Have?

Unfortunately, there’s no straightforward answer to this question. Genres and intended audiences influence manuscript word counts. Younger readers will need shorter chapters to keep their interest and older readers might prefer longer chapters that dive deep into conflict or theme.

Storytelling elements also change the number of chapters per book. A fast-paced novel might have more short chapters to keep up the faster narrative pace. A slower novel might linger in wordier scenes, so there could be fewer chapters with longer page counts per chapter.

You can always look at comparable novels in the same genre to guestimate how many your manuscript could include. If you’re writing a Twilight-inspired novel in the same fantasy genre and Twilight has 26 chapters in a ~110,000 word count range, you could aim for a similar number.

What’s the Purpose of Chapters?

Chapters divide longer stories into segments that help readers process new plot events. They give people breathing room to digest heavier topics or moments by pausing or putting the book down to do other things for a while.

They also give more weight to cliffhanger moments or events made to shock readers. Even if they immediately flip the page to keep reading, the momentary pause lends gravity and meaning to whatever ends the chapter before. 

Tips for First Chapters

Include Some Action

The first line of every chapter doesn’t need to be a dramatic car chase scene, but the chapter in its entirety should include some plot-moving action. It hooks readers and gets your pacing started.

Add Emotional Weight

Action can only intrigue readers so much. What’s the emotional weight compelling your protagonist to take part in, react to, or fight back against your inciting incident? Establish some emotional weight in the first chapter to motivate your protagonist, like showing how much they love their sister before getting betrayed by her in the inciting incident.

Avoid Infodumping

Readers don’t need to know everything about your world-building or protagonist in the first chapter. The infodumping only weighs down your pace. Sprinkle your descriptions and reveals throughout the first act of your book to keep readers coming back to learn more about the world.

Tips for Starting a Chapter

Introduce a Choice

Choices help stories move along at a pace that keeps readers engaged. If your protagonist is stuck in their head for most of a chapter, there’s nothing pushing your story forward. Always include at least one choice when starting a chapter, whether it’s big or small.

Keep Expanding Your Conflict

Every chapter should expand your primary conflict in some way. It might affect newly introduced characters, change your protagonist’s world, or require a sacrifice. As long as your conflict is relevant to your chapter in some way, your story will always remain true to its thematic purpose.

Remember Your Cause-and-Effect

An initial chapter sets up or introduces a conflict that gets your plot moving. If you’re unsure what to do in the following chapter, use it to address the effects of that previous chapter’s conflict. Although the conflict likely won’t get resolved that quickly, you can still write about your characters’ choices post-conflict or how the world changes in a way that affects their futures.

Tips for Ending a Chapter

Experiment With Your Endings

I used to be afraid of ending a chapter without some shocking, groundbreaking plot twist. Althought that’s a great place to put those moments, it’s not plausible to end every chapter with one. Where would your readers feel comfortable pausing for the night? When would they feel the quiet sanctity of peaceful moments where characters build trust between themselves?

Play around with your endings by refusing to be afraid to cut your manuscript into segments. If one doesn’t feel right during your read-through, you can always merge it into the next chapter and cut them differently during editing.

Use It to Shift Your Story

When your story needs to change times of day, locations, or perspectives, that’s usually a good sign that you need a page or chapter break. It’s not always necessary, but these are the types of chapter breaks that give readers breathing room.

Again, you can always re-work your chapters during editing if you find that they aren’t ending in the right places during your first few read-throughs.

Ramp Up Your Tension

Who says chapters always have to end on a cliffhanger? You can also end them when the action or tension is becoming more intense. When two characters are in the car on the way to rob a bank, they argue over whether or not to actually shoot people. One character’s eagerness and the other’s disgust raises the tension. As it escalates into them yelling in the parking lot, the chapter can end when one leaves the car and slams the door.

Ending on a moment of heightened tension is another reason readers turn pages and stay engaged. In the above case, they might not be able to put the book down until they find out if the robbery resulted in murder.

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Starting and stopping chapters can cause plenty of anxiety, but remember—you’re always in control of your manuscript. Play around with these ideas and make any necessary changes in your editing phases. You’ll figure out the best way to organize your story by chapters and develop more confidence in your long-form storytelling abilities.