acesymmetricfool

[acesymmetricfool]

you ever accidentally create a recurring theme in your writing. you start putting together an outline for something you’ve never written before and get partway through planning, rearrange the pieces, and go “GODDAMMIT THIS IS ABOUT GRIEF AGAIN”? because let me tell you,

[acesymmetricfool]

Hey, so i'm working on my first WIP, and i wanted to ask about drafting. When can one consider their first draft done? Does it have to have the goal word count (ie; 100K), or would being about halfway there be considered a good enough first draft, that i can move on to the second and start editing?

Concluding each stage of the writing process

It's difficult to know when a phase of a writing project has concluded and you're ready to focus on a new objective as it's developing. I tend to approach my writing projects with a clear and uniform trajectory, regardless of how diverse my projects can be. This approach allows me to remain focused, thorough, and reassured that I am covering all my bases in an organized fashion. However, it also maintains space for me to be explorative and intuitive when necessary. In regards to word count, I don't think it's entirely relevant unless you're determined to adhere to strict genre conventions. Give your story the space it needs and not an extra inch.

(Optional) Zero Draft

In this phase, you're telling yourself the story. You're doing it quickly, messily, intuitively, and forgivingly. Explore every idea that glows in the dark for you, don't throw anything away or discount any possibility. Exhaust your imagination in this phase so that when you reach the first draft, you know you're making informed decisions.

First Draft

You're crafting the structure and core elements of the story. This is often the phase of discovery. You're becoming acquainted with your characters and how they interact, you're beginning to feel at home in the world and settings you've built, and you're seeing all sides of the conflict as it evolves. The goal here is settle on a beginning, middle, and end point, and by the end of this process you want to know your characters' motivations and relationships inside and out.

Second Draft

Go back quickly through the first draft and address any points where you got stuck, where you compromised for the sake of carrying on to the end, and fill in any apparent blanks. The first time you really iron something out, there will always be a few pesky creases. This is the time to find and flatten them.

Third Draft

This is where you question everything. Identify and scrutinize your decisions, dive into the "curtains are blue" discussions with yourself, and begin to tidy up things like grammar, clumsy dialogue, over-poured descriptions, and dubious vocabulary. Comb through each paragraph and be brutal, prioritizing clarity and intentionality of how you've told the story.

The Read Through

This is the point where I recommend doing three things:

Letting it rest away from you for 1-3 months so that you can return to it with a bit of unfamiliarity and new perspective.

Hand it off to a couple of trusted readers and give them ample time to read, digest, and craft some feedback

Reread the project once all the way through making no changes (although annotations are acceptable)

Fourth Draft

Finishing touches. Vigorously and meticulously scrub and scrape between the lines and imagine giving it to your worst enemy. If you can imagine any mean (but valid) things they could conceive of to say about it, this is the time to grapple with or fix those details.

Additional Resources

Guide to Drafting

Word Count/Productivity Tracker Spreadsheet

Balancing Detail & Development

Writing The First Chapter

Writing The Middle of Your Story

Powering Through The Zero-Draft Phase

Writing The Last Chapter

Chapter Length

Happy drafting,

x Kate

[acesymmetricfool]

calling all authors!!

i have just stumbled upon the most beautiful public document i have ever laid eyes on. this also goes for anyone whose pastimes include any sort of character creation. may i present, the HOLY GRAIL:

https://www.fbiic.gov/public/2008/nov/Naming_practice_guide_UK_2006.pdf

this wonderful 88-page piece has step by step breakdowns of how names work in different cultures! i needed to know how to name a Muslim character it has already helped me SO MUCH and i’ve known about it for all of 15 minutes!! i am thoroughly amazed and i just needed to share with you guys 

[acesymmetricfool]

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[acesymmetricfool]

Have created a new novel-writing approach for myself that I am calling Very Gentle Writing. Very Gentle Writing is an approach for people who live nearly every waking second in self-castigation and actually need peaceful slowness to unleash their creativity. 

Very Gentle Writing does not set staggering word count goals and then feel bad about it. No! Very Gentle Writing for me sets an extremely low word count and then feels magnificently productive when the low bar is exceeded (which is easy…it’s a low bar, I mean really low). 

Very Gentle Writing is about saying hey yo maybe I just want to listen to a chill playlist for a while and feel one sentence spill out. Go me! 

Very Gentle Writing is kind of about realizing I have a really limited amount of time to write in between work, and adulting, and taking care of a thousand life responsibilities, and trying to heal&deal from trauma in 2020. So I want that writing time to be….just…..nice. 

Very Gentle Writing means I have a goal of enjoying every single time I sit down to write. Really. I use all the fun words first. 

Very Gentle Writing came to me as an idea when I started to think about how as someone actively trying to recover from a lot of lifelong trauma, the usual word harder!! Work harder!! mantras in the world of “people doing hard things” didn’t motivate me at all, they only hurt me. I truly need a voice saying work less hard, personally.

[acesymmetricfool]

Can you give some tips about writing the MC as a bad person, but still making they likeable? I feel like if I went ahead with the ideas I have, the character will be too detestable for anyone to root for, but if I diminish these characteristics the context of the story won't make sense.

MC Who is Bad but Likeable

If you want the reader to root for this character despite their bad behavior, you have to give them a sympathetic goal and show their humanity. The reader needs to see that despite the bad things this character does--which they do for a noble reason, even if that doesn't make it right--this character is redeemable. There is good in them even if the good is kept hidden. The following posts will help:

Guide: Attaching Reader to Morally Gray Protagonist Guide: Writing a Redemption Arc Antagonist with a Righteous Cause

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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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[acesymmetricfool]

Ref Recs for Whump Writers

Violence: A Writer’s Guide:  This is not about writing technique. It is an introduction to the world of violence. To the parts that people don’t understand. The parts that books and movies get wrong. Not just the mechanics, but how people who live in a violent world think and feel about what they do and what they see done.

Hurting Your Characters: HURTING YOUR CHARACTERS discusses the immediate effect of trauma on the body, its physiologic response, including the types of nerve fibers and the sensations they convey, and how injuries feel to the character. This book also presents a simplified overview of the expected recovery times for the injuries discussed in young, otherwise healthy individuals.

Body Trauma: A writer’s guide to wounds and injuries. Body Trauma explains what happens to body organs and bones maimed by accident or intent and the small window of opportunity for emergency treatment. Research what happens in a hospital operating room and the personnel who initiate treatment. Use these facts to bring added realism to your stories and novels.

10 B.S. Medical Tropes that Need to Die TODAY…and What to Do Instead: Written by a paramedic and writer with a decade of experience, 10 BS Medical Tropes covers exactly that: clichéd and inaccurate tropes that not only ruin books, they have the potential to hurt real people in the real world. 

Maim Your Characters: How Injuries Work in Fiction: Increase Realism. Raise the Stakes. Tell Better Stories. Maim Your Characters is the definitive guide to using wounds and injuries to their greatest effect in your story. Learn not only the six critical parts of an injury plot, but more importantly, how to make sure that the injury you’re inflicting matters. 

Blood on the Page: This handy resource is a must-have guide for writers whose characters live on the edge of danger. If you like easy-to-follow tools, expert opinions from someone with firsthand knowledge, and you don’t mind a bit of fictional bodily harm, then you’ll love Samantha Keel’s invaluable handbook

[acesymmetricfool]

Mr. Gaiman, I have been writing, or trying to write, most of my life. One of my main issues is that I seem to be unable to break up my narratives into chapters, and thus my stories end up as really, really long "short stories". Do you have any advice on how to actually create chapters?

Nope. 

Terry Pratchett doesn’t do chapters, except in his books for younger readers. He says chapters are just to tell parents where to stop reading for the night anyway.

I’ll often only decide where the chapter breaks are going to go after I finish the book.

[acesymmetricfool]

when u go to write a mentally ill person in ur story you are presented two options. the first option is to write your mental illness realistically as you actually experience it with all the ups and downs and people who are like you will resonate with it and feel seen. except every person who reads instagram infographics on mental health that uses the phrase narcicisst for anyone who does anything that crosses them and unironically call themself a dark empath will call you scary and tell you that youre demonizing mentally ill people

the second option is to lie and write inspiration porn for those people to get hard to

[acesymmetricfool]

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[acesymmetricfool]

it's always so fascinating and heartbreaking when a character in a story is simultaneously idolized and abused. a chosen prophet destined for martyrdom. a child prodigy forced to grow up too fast. a powerful warrior raised as nothing but a weapon. there's just something so uniquely messed up about singing someone's praises whilst destroying them.

[acesymmetricfool]

I tried to write a novel. Not once. Not twice. But about 12 times. Here's how that would play out: 1. I sit down and knock out 10 pages 2. I share it with someone 3. They say "It's goooood" like it's not good 4. I ask for critical feedback 5. They say, "Well....the plot just moves so quickly. So much happens in the first few pages it doesn't feel natural." So I'd write more drafts. I'd try to stretch out the story. I would add dialogue that I tried to make interesting but thought was boring. I would try including environment and character descriptions that felt unnecessary, (why not just let people imagine what they want?) Anyways, I gave up trying to write because in my mind, I wasn't a fiction writer. Maybe I could write a phonebook or something. But then I made a fiction podcast, and I waited for the same feedback about the fast moving plot, but guess what??? Podcasts aren't novels. The thing that made my novels suck became one of the things that made Desert Skies work. I've received some criticism since the show started, but one thing I don't receive regular complaints about is being overly-descriptive or longwinded. In fact, the opposite. It moves fast enough that it keeps peoples attention. I always felt I had a knack for telling stories but spent years beating myself up because I couldn't put those stories into novel form. The problem wasn't me. The problem was the tool I was trying to use. All that to say: If, in your innermost parts you may know that you're a storyteller but you just can't write a book, don't give up right away. You can always do things to get better and there's a lot of good resources. But if you do that for a while and novel writing just isn't your thing, try making a podcast, or creating a comic, or a poem, or a play, or a tv script. You might know you're an artist but suck at painting. Try making a glass mosaic, or miniatures, or try charcoal portraits, or embroider or collage. You might know you're a singer, but opera just isn't working out. Why not yodel? I could keep listing out examples, but the point is this. Trust your intuitions when it comes to your creative abilities, but don't inhibit yourself by becoming dogmatic about which medium you can use to express that creativity. Don't be afraid to try something new. Don't be afraid to make something new. You might just find the art form that fits the gift you knew you always had, and what it is might surprise you

[acesymmetricfool]

Hey Red!

I have a writing question I’d like to ask, if that’s cool with you!

When it comes to starting a new story, big or small, pantsing or structuring, with black tea or chamomile, do you have any tips for, er, actually pulling the trigger and beginning? I don’t mean the “accusatory blank page”, I mean in getting to the “I genuinely believe this is a story worth telling and that should be told by me” mindset sufficient to commit. (Insofar as there’s a difference.)

Asking you because you’re someone who has excellent and proven skills in showwomanship, creativity, execution and all-round good storytelling vibes. Cuz while I’ve studied story structure and writing advice aplenty… It’s hard to take the dive when you’ve only ever been in the kiddie pool, so to speak.

Thanks either way!

Aw shucks!

I kinda feel like there's an intermediate stage here that I usually hit first, which is when I've been telling a story for myself for so long that I start feeling like I don't want to keep it to myself anymore.

A lot of the stuff I write or draw is just for me - stuff where I enjoy the act of creation or use it to flesh out and play with a concept I've been toying with. Sketchbook stuff that doesn't have an outside audience in mind, just stuff that I like. These aren't stories that have the end goal of sharing them - hell, half of them are just comic or prose adaptations of story beats that stuck with me that I wanted to play around with as practice and for fun. The rest of it is sketch pages of characters, doodles of scenes or snippets of prose writing built around a single scene or concept.

I think that the creative urge, when examined, should be subdivided into two extremely distinct subsections for clarity; the desire to make, and the desire to share. Not every person shares both in equal measure - in fact I'd say it's much more common for them to exist independently. The desire to share isn't limited to art you yourself created, either - fandom is constructed from a massive excess of the desire to share, passing around a story for examination and discussion because it is inherently fun to share the experience, and most of us can relate to the burning need to talk about this thing that's in my brain. And there's plenty of art that results from the desire to make that has none of the desire to share, ref cit everything in a sketchbook or every private writing exercise done for the joy of it. Neither element can be forced, and there's nothing wrong with either one existing without the other.

For me at least, the desire to share builds slowly for the larger projects. I might be eager to share a doodle or a sketch I think people will get a kick out of, but something bigger and more complicated will stay in my brain for much longer, and might never make it out. For me, Aurora started as just a playground for me to write and draw in, but over the years it built up to something I wanted to share - something I felt I'd be betraying if I let it sit in my head. It kind of just grew naturally, and if I'd tried to force it beforehand I would've felt self-conscious and uncomfortable rather than getting any joy out of the act of sharing.

[acesymmetricfool]

this is advice I've given friends directly before and I've probably also posted it but I really like giving it so here it is potentially again: do not create something for an imaginary bad faith reader.

there will always be someone who finds fault in your work. there will be people who read the messages on it wrong. there will be people who will take every compelling aspect about your work off of it so they can put in their own.

you cannot make art for these people.

you will never write a story that is free from criticism. you will never draw a piece that everyone finds appealing. you will never compose a song that everyone enjoys hearing. you cannot, fundamentally, set out to create something and only think of how you can avoid someone not liking it.

because, and this is key, there will be someone who sees every angle of your story and feels its intent in their heart and gushes to their friends about it. you will draw someone's favorite art and they will make it their phone wallpaper because they want to see it every day. someone will fall in love with your song and loop it on their way to work because it gets them through the day. and THOSE are the people your work is for. THOSE are the people you have to care about, because they love what you make for what it is - because it's itself.

if you set out to create something and file off every sharp edge, prune every thorn, you will be left with something fragile and weak, and it will be fragile and weak for the sake of someone who does not exist but that you were scared of anyway.

sharing art is complex and tangled and powerful, and anything you care enough to create deserves to flourish as itself. get sillay.

[acesymmetricfool]

Hello Neil,i know you have 120k asks, so you will never see this, but genuinely, how do i start writing? I know it probably sounds silly to you, but I am 15 and already feel behind. I want to be a writer, I have loved reading ever since I read Coraline at 9 and have always wanted to do something creative with my life and to be an author just feels so fitting for me,I just don't know how to do it I guess. I keep trying but it always turns out bad,I don't even know where to beigin and how to pace the story or do anything really.I write short fanfics sometimes and when i go back to read them they are just objectively bad. I know what I do and dont like in stories,I just can't seem to accomplish what I want when I try to write it. And I do have so many ideas, but it never goes anywhere, and I can't put the words on the page. I know improving takes time but I just wish I had some guidance on how to improve(English is my third language so I probably made mistakes, I apologize )

You sound a lot l would have done at the age of 15, had I been articulate enough for anything like that. At the age of 15 or I knew was that I really wanted to be a writer and that I wanted to write and draw comics one day. I had some ideas that would turn out to be good ideas 15 years later or 25 years later but at that time they were just ideas and I didn't know how to make them into stories.

The most important thing you can do is to keep writing. The second most important thing you can do is to live and learn and experience the world and accumulate a store of things that you have to say and things that you need to write about.

[acesymmetricfool]

There are a lot of abuse and recovery stories out there in fandom.  A lot of them are written by people who’ve never been in an abusive relationship.  That’s fine, that certainly doesn’t mean you can't write it, especially when it’s present in canon.  Unfortunately, it does mean that a lot of people get it wrong.

The usual abuse narrative you see in fandom is a story about absence.  The lack of safety.  The lack of freedom.  The lack of love, or of hope, or of trust.  They try to characterize the life of an abused kid, or an abused partner, based on what’s missing.  They characterize recovery based on getting things back: finding safety, discovering freedom, and slowly regaining the ability to trust–other people, the security of the world, themselves.

That doesn’t work.  That is not how it works.

Lives cannot be characterized by negative space.  This is a statement about writing.  It’s also a statement about life.

You can’t write about somebody by describing what isn’t there.  Or you can, but you’ll get a strange, inverted, abstracted picture of a life, with none of the right detail.  A silhouette.  The gaps are real but they're not the point.

If you’re writing a story, you need to make it about the things that are there.  Don’t try to tell me about the absence of safety.  Safety is relative.  There are moments of more or less safety all throughout your character’s day.  Absolute safety doesn’t exist in anyone’s life, abusive situation or not.

If you are trying to tell me a story about not feeling safe, then the question you need to be thinking about is, when safety is gone, what grows in the space it left behind?

Don’t try to tell me a story about a life characterized by the lack of safety.  Tell me a story about a life defined by the presence of fear.

What's there in somebody’s life when their safety, their freedom, their hope and trust are all gone?  It’s not just gaps waiting to be filled when everything comes out right in the end.  It’s not just a void.

The absence of safety is the presence of fear.  The absence of freedom is the presence of rules, the constant litany of must do this and don’t do that and a very very complicated kind of math beneath every single decision.  The lack of love feels like self-loathing.  The lack of trust translates as learning skills and strategies and skepticism, how to get what you need because you can’t be sure it’ll be there otherwise.

You don’t draw the lack of hope by telling me how your character rarely dares to dream about having better.  You draw it by telling me all the ways your character is up to their neck in what it takes to survive this life, this now, by telling me all the plans they do have and never once in any of them mentioning the idea of getting out.

This is of major importance when it comes to aftermath stories, too.  Your character isn’t a hollow shell to be filled with trust and affection and security.  Your character is full.  They are brimming over with coping mechanisms and certainties about the world.  They are packed with strategies and quickfire risk-reward assessments, and depending on the person it may look more calculated or more instinctual, but it’s there.  It’s always there.  You’re not filling holes or teaching your teenage/adult character basic facts of life like they’re a child.  You’re taking a human being out of one culture and trying to immerse them in another. People who are abused make choices.  In a world where the ‘wrong’ choice means pain and injury, they make a damn career out of figuring out and trying to make the right choice, again and again and again.  People who are abused have a framework for the world, they are not utterly baffled by everyone else, they make assumptions and fit observations together in a way that corresponds with the world they know.

They’re not little lost children.  They’re not empty.  They’re human beings trying to live in a way that’s as natural for them as life is for anybody, and if you’re going to write abuse/recovery, you need to know that in your bones.

Don’t tell me about gaps.  Tell me about what’s there instead.

[acesymmetricfool]

👏🏾Education 👏🏾is 👏🏾a 👏🏾right,👏🏾 not👏🏾 a👏🏾 service 👏🏾

Pass along and use the shit out of them