Sometimes You Need To Outline A Whole Ass Fantasy Novel In A Single Day Instead Of Dealing With Your

Between Cait Corrain and James Somerton, I’m becoming really fucking sick of people using neurodiversity and mental health struggles as excuses to do shitty things.

Autism didn’t make you racist and adhd didn’t make you plagiarize.

You’re just a shitty person.

i know i've said this before but i'm going to say it again because the more i work with geriatric women the stronger i feel about the fact that the only anti-aging that women in their 20s/30s should be obsessed with is building strong bones and muscle mass. that's like the most important thing you can you can do right now to lay a good foundation for healthy aging. you can botox the shit out of your face but that's not going to do anything to save you from dying prematurely from a fatal hip fracture that you can't bounce back from because you didn't do anything to prevent yourself from becoming frail and breakable. like i know that sounds harsh but that is reality for a lot of older women and i don't want that to be you.

The Perfect Explanation of Privilege – In One Powerful Punchline

“The Pencilsword” is a comic strip by Toby Morris, an illustrator from New Zealand. His most recent comic, “On a Plate” hits hard at the heart of the issues of concerning wealth and privilege.

How many times have you heard the “I’ve never been handed anything on a platter” argument in regard to social security and other social benefits?

Toby wrecks this argument by showing how two children can grow up, be loved and supported, and yet still have two very different outcomes.

Make sure to follow all the way to the end for the powerful punchline. This comic is an increasingly sad reality for far too many of this nation’s children and families.

I am constantly dragging my sister into long-ass phone calls and cornering her at family dinners.

She is the wall at which I throw things to see what sticks or, even better, what bounces back with improvements made

the most powerful writing tool is actually Brainstorming With The Girls

Unique vintage male names, companion to this post:

There are less of them because people seemed to be less creative with naming their sons. Not sure why.

Editing Your Novel Part 2: The Plot Pass

Okay, it's finally time to edit. You've got all your materials sorted, it's time to dive right in. You want to start with the big edits first, aka the plot pass.

Now listen. You're going to want to linger and fix those little bits of grammar or dialogue, and I know it's so hard not to, but letting yourself get off-track might mean wasting hours on a scene you realize later you have to delete. Fix a few spelling errors, leave a note, and stay plot-focused.

Making Sense (Of the Plot)

In the plot pass, you're asking yourself some basic questions:

Do events follow a clear order? - When you're getting everything down on the page for the first time, scenes might get jumbled up or events might not have clear causes. Maybe you have a car crashing into the cafe pages before, but in a writing haze, you wrote your main characters having a casual conversation moments later. If the bad guy beats your heroes to treasure, is it clear how they got there? (Not everyone can be Yzma.)

Do circumstances feel contrived? If there are any problems that can be solved by your characters sitting down and talking to each other, it may be better to lean into their motivation for not speaking to each other, rather than coming up with bad romcom scenarios. If the plot can be resolved by the mcguffin the grandma had the whole time, it might be better to make finding that mcguffin part of the plot instead.

It doesn't have to be perfect, and you don't have to reinvent the wheel. If someone gets bitten by a werewolf, it's perfectly fine to have them turn into one at the worst possible moment. When it comes to contrived, you're looking for problems that seem easy to solve and look for more interesting ways to complicate them.

Are your character motivations consistent to the characters throughout the story? - They can change throughout the story, but character motivations do need to be linked to the actions they take. An out-of-nowhere betrayal is way more satisfying if you lay the groundwork for it ahead of time.

Take a moment to list out the motivations of the characters in a scene you're not quite sure of can help you figure how to fix it. Having an outline helps with this a lot!

Are you following an "if... then" format? - My brain doesn't work like this when I'm writing, because as a writer you know how A got to Z, and it seems (in your head) obvious how it happened. This is where my scene card outline come in handy, because I can look at my overview of what should happen and why, and then compare it to what actually happens in the scene. I've discovered so many threads I forgot to connect that way, like why a character had a certain device (I forgot to have him pick it up two scenes earlier), or adding a few simmering dialogue bits that make the big fight pay off much better.

Can you fix the "Because the Plot Demands It" scenes? - Look, sometimes your character needs to be in that haunted house to see that damn ghost, but your character isn't the type to set foot in such a place. It's really easy, especially in the first draft, to contrive a way in there (she took a wrong turn on her way to grandma's!), but retooling these scenes to connect them to the characters motivations and needs is the way to go. The main character doesn't want to go into that obviously cursed place, but her best friend hasn't shown up for school in three days and now she's crying for help from the second floor window. Your character's strong desire to be there for her friend is a much better way to get her into that house.

This is not always easy - it took me six fricken drafts to realize a critical part of a character's motivation was because his father blamed him for his mother's death - but it is going to be worth putting in the work to hammer down.

Do you have a solid timeline? - This might not seem as important, but it's super easy to accidentally fit two weeks worth of activities in three days. Make sure you have that on reference, even if you don't mention it in the book. Also make sure to gauge your distances if your characters are on a trip, because if you do accidentally say it takes two hours to drive from Seattle to Spokane instead of five, someone will dive down your throat for it. Not me. Just someone.

Okay, maybe me. Slow down, you maniacs.

Next post we'll dive into the structure pass. See you then!

Also. ALSO.

Plot…and action…are DIFFERENT THINGS. 

I’m making up assignments from when I was woefully ill a few weeks ago, and that was a week of amazing readings, one of which laid out this very thing. Actions are the concrete events that happen, while plot is the non-concrete, the thematic - what changes. You can explain the plot of a story without even touching on the individual actions within it.

Actions: John Watson awakes from nightmares of the war to a small, bleak rental room. His therapist presses on what he’s written on his blog, and he says nothing interesting ever happens to him. John meets an old friend in the park, his friend takes him to the lab at St. Barts where he introduces him to Sherlock Holmes, a genius who needs a roommate. When John goes to see the flat, Sherlock takes him along to a crime scene to which he’s been summoned by the Met. Blah blah blah etcetera, John figures out who the killer is just in time and races to the scene, shooting the cabbie before Sherlock can take the potentially poisoned pill. They walk off together, talking about dinner.

Plot: Veteran John Watson is struggling to adjust to civilian life until he meets Sherlock Holmes, the world’s only consulting detective, who offers him reason to live - the war against crime being waged on London’s streets - and a friendship that will define them both. 

The first is a point by point description of what happens; the second is the heart of the story - why what happens matters - and it’s a bit more wibbly wobbly and open to interpretation. A good fic summary, story pitch, movie review, etc. focuses mainly, if not entirely, on the plot and not the actions.

I was talking about this with a writer-friend, and we sat in her parked car for like five minutes miming head explosions at each other and going, “HOLY CRAP. THEY’RE DIFFERENT” and “I KNOW, RIGHT?” and “I NEVER THOUGH ABOUT IT BEFORE” and “I KNOW, RIGHT.”  So, yeah. Actions and plot. Different things. I’m going to want to kiss that essay on its stupid essay face the next time I’m writing a plot summary.

i love characters who are always like fear not, i shall take care of this problem for you….. by sacrificing myself!! and everyone else is like i swear to god if you pull this shit again i’ll kill you

you know you’re a writer when…

you spend 30 minutes choosing the perfect synonym for “said” only to change it back to “said.”

you google “how long does it take to bleed out” at 3 a.m. and now the FBI is probably watching you.

you write one sentence, stare at it, rewrite it 14 times, and somehow end up back at the original version.

“this scene is so important” but you have no idea what the scene actually is or why it’s important.

you come up with the best story ideas… in the shower… with no way to write them down.

your characters feel like real people but also you’re like “who are these guys and what do they want from me?”

your brain says “start writing!” but instead you reorganize your desk, reread your notes, and spend two hours naming a side character who shows up once.

you’ve cried over your WIP exactly 67 times and will do it again because the pain is the point.

you reread something you wrote and think, “wow, did i peak as a writer three months ago?”

every writing session begins with the sacred ritual of scrolling social media, opening unnecessary tabs, and procrastinating until panic sets in.

you have no idea how long a chapter should be, so you just… vibe.

you can’t watch tv or movies without mentally critiquing the plot, dialogue, and pacing.

your writing playlist is 98% vibes, 2% songs you’ll actually listen to while writing.

you keep a “murder notebook” but swear it’s not suspicious because it’s for your novel (probably).

the phrase “just one more draft” is your eternal mantra, even though you’ve rewritten this thing more times than you can count.

do people have no shame anymore?