If you scroll through my blog long enough, you’ll find that I’ve rebloged and/or have said something about how long a chapter should be. Though I don’t entirely disagree with what I’ve posted before, I think I need to make something clear.
DISCLAIMER: I am not a professional. I don’t have any traditionally published works (one day I will, hopefully), and I don’t have the experience of a pro. I am just an eager learner online sharing what I know and have recently learned. Corrections, suggestions, and constructive criticism are welcome.
If you scroll through my blog long enough, you’ll find that I’ve rebloged and/or have said something about how long a chapter should be. Though I don’t entirely disagree with what I’ve posted before, I think I need to make something clear.
DISCLAIMER: I am not a professional. I don’t have any traditionally published works (one day I will, hopefully), and I don’t have the experience of a pro. I am just an eager learner online sharing what I know and have recently learned. Corrections, suggestions, and constructive criticism are welcome.
Your word count per chapter isn’t thatimportant.
Sure, most publishing houses in the industry have preferences on how many words you can fit in a book, but you don’t need to be strict on yourself with the numbers.
I have read books with chapters as long as 20+ pages andas short as 2 pages. In the same book, okay?
Your chapters don’t need to have a specific word count as long as you’re telling the story.
You can have one chapter with 3000 words, but so much stuff happens that you might as well cut it up into smaller parts that are easier to digest. You can also have a chapter with more than 3000 words, more than 5000 even, and it still feels like 1 solid part.
But don’t think how much you say doesn’t matter. It does. But how much you say andhow much happens are equally important.
You can say a lot about a small event. You can describe sensations, the way someone blinked then turned away, the way you caught your friend staring at you, the way your teacher stuttered and almost failed to save face, etc. Even if they’re short-lived and can only realistically happen in a second, as a writer, you can prolong that second by saying more. When you say more, the reader reads more. Thus, making the experience slower.
The opposite can be done with less description. If you want something to feel faster, explain less. Instead of writing a paragraph about a single action, limit your descriptors. That way, you’ll fit more actions in fewer words and in less time.
But slow doesn’t mean bad. Neither does fast.
It all depends on the scene.
What you say and how much you say should depend on how you want the reader to feel…how you want them to experience it. If it’s a fight scene with a lot of actions, and you want your reader to feel how quick your antagonist’s moves are, talk less. Show more.
But if you want time to slow down for them, make use of the character’s voice. Give them an opinion to share. Make your readers experience the frozen moment with your character. Describe the feeling of what is happening rather than just the initial event.
But if you’re as stubborn as I am, and you still want a specific number, google the average word count of a chapter within the genre you’re writing (also include the ideal length of the overall work: novella, novel, etc.).
According to wordcounter.net, the general guideline is 3000 to 5000 words per chapter. But really, it’s just a guideline.
“…chapter length should be defined by the story and that any chapter length targets you decide on are merely guidelines.”
What I learned online is that even chapters, the bricks you use to build the story, could have structure. In my opinion, if you can take the extra time to thoroughly build the structure of your chapters, please do. It’ll make it better in the long run.
But if you’re (still) as stubborn as I am, just make sure it has a BEGINNING, MIDDLE, & END.
You can start a chapter exactly in the middle of an action. That’s fine. For as long as that action/event is something that leadsto the main focus of the chapter. By all means, skip the idle scenes that give no meaning and serve no use to the story. But you don’t want your reader missing out on crucial details.
The chapter has to begin somewhere, lead to an important question/task/mission/whatever in the middle, and a solution (at least a half solution) - plus another question to keep your readers reading - in the end.
Remember, your word count doesn’t tell you whether you have a good story or not. It just says how long the story actually is. Just as a 15-minute Taylor Swift short film can make you cry and a 2-hour action movie can feel like it’s only been 10 minutes, stories consisting of 1k to 100k words rely on meaning, emotion, passion, and purpose to have value.
Thanks so much for reading! I hope this helped you at least a little. I’m open to suggestions, tips, submissions, corrections, and constructive criticism. Just send me an ask, submit or hit the DMs <3
In a lecture series on Youtube, #1 New York Times best-selling author Brandon Sanderson talks about the three P’s of plot structure: Promise. Progress. Payoff.
Promises are particularly important in the beginning of the story, as they draw in the audience.
Progress keeps the audience invested, particularly through the middle of the story. If there is no sense of progress, then the reader feels as if the plot isn’t going anywhere.
Payoff is what fulfills the promises of progress. It rewards the audience for sticking around, and if done properly, creates a feeling of satisfaction at the end of the story.
While all three can be tricky in their own right, many writers struggle to create a proper sense of progress, which can lead to saggy middles.
Luckily, Dramatica Theory breaks plot down into eight story points that essentially encapsulate progress.
If you apply them to your stories, your writing will always have progression through the middle.
1. Goal - Every story has a goal. It may be a goal of aspiration, such as becoming a top chef. Or it may be a goal of thwarting something, such as stopping a murderer. Whatever the case, a story’s goal is what enables us to measure progress. If there is no goal, then what one does, doesn’t really matter. We have no orientation or purpose, so there is no sense of moving forward or backward. The goal allows progress to happen.
2. Requirements-In order to achieve the goal, something is required. This can be broken down into two variations. In one, the characters must follow an order of steps, like following a set of directions. In the other, the characters must do or obtain things in any order, like a shopping list. The characters in Jumanji, for example,have the goal to restore the world to normal. The requirement is to win the game. But they must do this in a proper order–they can’t skip turns.
3. Consequences-Consequences are what happen if a goal isn’t achieved or hasn’t yet been achieved. In some stories, the protagonist is trying to prevent the consequences, but in others, the protagonist is trying to stop the consequences that are already happening. Consequences might be thought of as overall stakes. In Ralph Breaks the Internet, if Ralph and Vanellope don’t buy a new steering wheel for Sugar Rush, then its characters will be homeless.
4. Forewarnings - Forewarnings convey that the consequences are getting closer, becoming worse, or becoming permanent (depending on the story). If a dam is in danger of breaking, then a forwarning may be a crack that shoots out water. In Back to the Future, Marty’s family slowly disappearing from a photograph works as a forewarning.
5. Dividends-Characters will likely receive small rewards for little successes along the journey to the goal. These are dividends. For example, on her journey to fight in the war in her father’s place, Mulan is rewarded honor and a place in the military when she is able to retrieve an arrow from a wooden post that none of the men could get down.
6. Costs - Just as the journey may include dividends, it also entails costs. These have negative impacts on the protagonist’s well-being. In order to win The Hunger Games, for example, one must be willing to kill others, which also includes psychological trauma. In order for Frodo to get to Mount Doom to destroy the Ring, he must suffer a loss of innocence. This is a cost.
7. Prerequisites - There are often certain essentials one must have, to pursue the goal at all. These are prerequisites.Prerequisites on their own don’t bring the goal closer. This is why they aren’t requirements. In Interstellar, a spaceship, equipment, and astronauts are needed to travel space to find a new home (goal). But simply having those things doesn’t necessarily mean the characters are closer to discovering a liveable planet.
8. Preconditions - Preconditions do not directly relate to the goal. They are “non-essential constraints or costs placed on the characters in exchange for the help of someone who controls essential prerequisites.” In Karate Kid, a prerequisite is that the protagonist must receive extra lessons from a master, but the master adds the precondition of doing chores. One does not technically need to do chores to do karate.
Some of these points are more direct–like requirements–while others are more indirect–like preconditions. The direct points will usually be more intense than the indirect. As you apply these elements to your stories, you’ll create a sense of progress–especially through the middle, which will help make any story more satisfying.
Hello. We need to ask you something pretttyyy important.
So.
Right.
Ugh this sucks.
Right.
As you know the pandemic has proper knackered arts orgs and artists all over the shop and that, unfortunately, includes us. For the last 18 months, we’ve been unable to run our live events safely and, honestly? It’s left a huge hole in our beeswax. Add to the nightmare with the cowboy web developers and things at Writers’ HQ are a little on the precarious side.
Recently the Arts Council decided we weren’t allowed to apply for the Culture Recovery Fund because we asked for both too much and too little (we don’t understand either)*. We have absolutely maxed out all available credit and aren’t eligible for any of the other covid support packages and eeesh it has left us in a very bum-clenchy situation.
Since the beginning of the pandemic we have run hundreds of free online workshops and courses for writers stuck in covid hell and worked our little butts off to make sure no one missed out on the community they needed during the weird-ass timeline we forked into in early 2020.
Last year, we awarded over 20 bursaries to systemically excluded writers, ran 312 webinars and workshops and saw our writers rack up over 200 publications and 50 longlistings, shortlistings and competition wins. One longlist had TEN Writers’ HQers on it, and one anthology featured SEVEN of you writerly maniacs.
But it’s not just about the publications. It’s about DOING THE WORK and hoo boy have our writers worked their arses off. We’ve seen ‘em rack up those words, complete first drafts, fifth drafts, synopses, queries, collections, scripts, poems, a billion pieces of flash fiction, non-fiction, articles, journals, MA applications, podcasts, spoken word performances, self-published manuscripts, NaNoWriMo drafts and, most important of all, you’ve posted an endless stream of support and feedback on our forum, celebrating wins and rejections alike.
We love Writers’ HQ and we know it’s an important place for so many writers and we are determined that we won’t be scuppered at the final twist of the pandemic shitfight.
tl;dr: Writers’ HQ is really in the shits right now and if you have the resources to help us continue supporting writers across the world, we would very much appreciate it. We’re not a mega corp that can suck up the losses of the last 18 months. Writers’ HQ is a labour of love run by Sarah and Jo and Natalie (and Poppy and the rest of the amazing workshop team) from their living rooms because we believe the writing of stories should be accessible to everyone regardless of ability, class, neurodiversity or wealth, not just the rarified types normally allowed by the publishing gatekeepers.
So. If you can, there are three ways you can help us right now:
1. BECOME A MONTHLY MEMBER
Not only does your monthly sub give you access to like the best writing community and courses and workshops in the ENTIRE WORLD EVER PLUS ONE but it really is the best way to support us right now, and it helps us to continue offering plenty o’ free stuff for those who need the free stuff.
Don’t keep us to yourselves! We’re too good to be a secret! Tell everyone you know about Writers’ HQ and let them see for themselves what awesome-sauceome writerly goodies we have to offer. If you have a website, please consider putting a link on it pointing to us, or just spam your friends demanding they check us out.
Thank you thank you we love you love you love you x
Not the school subject, which I know nothing about (sorry to my chemistry teacher). I’m talking about love. But more than that, chemistry is the way two people interact, and usually it is referring to a romantic sense (though there can be friend, familial, or even antagonistic chemistry). So here are some tips on creating and maintain some of those sparks to make your readers care about the relationships in your story.
Make it Slow
It doesn’t need to be slow burn. Hell, it could even be love at first sight. It’s not about the falling in love, it’s about the relationship itself. In real life, we don’t know what a partner is like until a month, 6 months, a year, maybe even a decade after being with them. First impression you is not the real you. Let the characters develop themselves naturally and slowly, and the relationship will not become too fast-paced and unrealistic.
Give them Differences
We’ve all heard the saying “opposites attract.” And since everyone is different in some way, that is true. Now, your romantic interests don’t need to be polar opposites. In fact, something which I will talk about soon is that they should have some similarities. But a difference creates conflict—good conflict. Conflict that can mirror character’s internal conflict, that can mirror the plot, that can lead to surprising bonds. Make your characters’ differences complement each other, and that will lead to great chemistry.
Give them Similarities
Wait, what? You just said to give them differences.
Well, yes. Both can be true. In the same way that every person on Earth is bound to have something similar and something different with every other person on Earth, your characters should have some similarities to go along with their differences. What is a common trait, or situation, or part of their identity that they can bond over. What do they share that nobody else shares with them? Answering this question can also answer the key question: why do these two characters specifically work well with each other, and not with anyone else?
Focus on Each Separately
You can’t make a good relationship unless the characters that are part of that relationship are also good. So, before you jump into trying to create chemistry, make sure your characters are fully fleshed out first. They should be able to stand on their own with their roles in the story. Make them complex, with motivations, goals, and a key role in the story beforeyou pair them together.
Note: Take advice with a grain of salt. These are supposed to be educational, inspirational, and/or motivational. If you have any corrections, requests, suggestions, or anything really, shoot an ask! or a submission! or a DM!
To the people who were tagged, let me know if you’re uncomfortable having your post and/or blog mentioned here and I’ll make edits ASAP.
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:
thefichtean 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].Aplot 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!
i’ve just lost hundredsof docs and pdfs and i’m beyond pissed right now
they’re all permanently gone
actually they’re notholy shit
okay so, gonna tell ya’ll something awesomern
google drive is a mess sometimes with its storage things and if you’re unlucky it might delete some of your files and you won’t realise until it’s well past the point where they won’t be in ‘trash’ anymore and you’re fucked
all is not lost however!
if you’re on drive via browser, hit the little ? in a circle next to the settings cog and select “help”
search for “file recovery”
it’ll show you the ways to try and recover your files on pc, android, and mac etc
these don’t matter
you need to scroll down to the bottom and just hit the “contact us”
you’ll be logged out automatically
log back in
click the little box to give google permission to attempt to restore your files for that account
click “submit”
give them some time to work but it’s an automatic process
i’ve got most of my files back in less than 10 minutes
all is not lost! rejoice!
I’m gonna reblog this again bc wow but was it helpful to learn!
Whole-heartedly BEGGING writers to unlearn everything schools taught you about how long a paragraph is. If theres a new subject, INCLUDING ACTIONS, theres a new paragraph. A paragraph can be a single word too btw stop making things unreadable
Ok So I’m getting more notes than I thought quicker than I expected! So I’m gonna elaborate bc I want to.
I get it, when you’re someone who writes a lot and talks a lot, it’s hard to keep things readable, but it’s not as much about cutting out the fat(that can be a problem) so much as a formatting issue.
You are also actively NERFING yourself by not formatting it correctly, it can make impactful scenes feel so, so much better. Compare this,
To THIS.
Easier to read, and hits harder.
No more over-saturated paragraphs. Space things out.
@s1ld3n4f1l WAIT WAIT WAIT SO TRUE LITERALLY LITERALLY
Well, many of us are students, right? But we’re writers, too - doesn’t matter if we have a book published or not. If you’re here, you have an idea, and you love writing, then you’re a writer <3 and… a student.
I am, too! And I know it is difficult sometimes because you REALLY want to write that novel, but you want to graduate! Yeah, same.
So here are a few tips that might help you with that!
Disclaimer: this is about my personal experience, and just because it works for me doesn’t mean it will work for you. :)
Tips:
Schedule all of your assignments!!!
“Omg, so obvious…” yes (and no). I often forget to write them down in a calendar. I have all the due dates written in a sheet, but not scheduled, which makes it hard to manage my time.
Scheduling will help you to have an easy overview of everything you have to do for school/college.
Revise everyday
I’m sorry! But I find this SO important because this way you’re always up-to-date with your studies. It won’t be so hard when you have an exam or quiz approaching, AND it won’t take as much time as it would if you’re 100% lost.
Prompts, prompts, prompts
Is it overwhelming to keep working on your novel after a long day? Okay, don’t worry, I got you. Search for a nice prompt and write about it. It doesn’t have to be a long story (sometimes less than 1k can work just fine!)
Why do this? So that you keep writing every day.
Track your time
I knowww this is super boring for some of you, but please, this is life-changing!
I’ve been tracking my activities for more than a year now, and it really helps me to know how long I take to do a certain thing, and how much time I’ve spent on it (in a month, week, etc.)
I recommend an APP called TOGGL TRACK, and recently I’ve discovered ACTIE, which is almost the same, but it is more for you to work on your goals.
Set goals
Don’t write down “finish a 60K word novel”!!! Such a hugeee mistake. I did that and guess what?! I started losing motivation because the goal was TOO BIG and was taking ages to achieve.
Instead, set goals & routines like these (for example):
- Write 500 words everyday of [novel name];
- Work for 40 minutes on [novel name];
- Finish writing [number] chapters of [novel name];
- Reach 5K words;
- Write [character]’s biography / backstory;
- etc.
I hope you found this helpful! If you have more tips, feel free to add them here.
Also, if you’re interested, check out my blog on WordPress, where I publish my poems and soon will bring more content, such as some tips, resources (pdf sheets, for example), and some other nice things!
Writing realistic injuries - The title is pretty self-explanatory: while writing about an injury, take a look at this useful website;
One Stop for Writers - You guys… this website has literally everythingwe need: a) Description thesaurus collection, b) Character builder, c) Story maps, d) Scene maps & timelines, e) World building surveys, f) Worksheets, f) Tutorials, and much more! Although it has a paid plan ($90/year | $50/6 months | $9/month), you can still get a 2-week FREE trial;
One Stop for Writers Roadmap - It has many tips for you, divided into three different topics: a) How to plan a story, b) How to write a story, c) How to revise a story. The best thing about this? It’s FREE!
Story Structure Database - The Story Structure Database is an archive of books and movies, recording all their major plot points;
Crime Reads - Get inspired before writing a crime scene;
The Creative Academy for Writers - “Writers helping writers along every step of the path to publication.” It’s FREE and has ZOOM writing rooms;
Reedsy- “A trusted place to learn how to successfully publish your book” It has many tips, and tools (generators), contests, prompts lists, etc. FREE;
QueryTracker - Find agents for your books (personally, I’ve never used this before, but I thought I should feature it here);
Pacemaker - Track your goals (example: Write 50K words - then, everytime you write, you track the number of the words, and it will make a graphic for you with your progress). It’s FREE but has a paid plan;
Save the Cat! - The blog of the most known storytelling method. You can find posts, sheets, a software (student discount - 70%), and other things;
Fantasy is probably one of the most popular book genres, especially Young Adult Fantasies. This is because of the new worlds that are created, and the magic that lies within each world. With each fantasy we read, we are transported to a new fictional realm with new possibilities. This genre is so interesting, but it does require a lot of fine detailing.
If you’ve wanted to write a fantasy, but don’t know how, this post will hopefully help.
1. Fantasy Sub-genres
The first step is to typically figure out what subgenre of Fantasy you’re writing. There are many sub-genres but the most common are:
▪︎Sci-Fi Fantasy—futuristic, some magical elements placed within it
▪︎Urban Fantasy—present times, supernatural/magical elements incorporated within it
▪︎Young Adult Fantasy—relates to audience age range, typical fantasy but aimed towards teens
▪︎Adult Fantasy—audience age range, also a typical fantasy but aimed more towards adults
▪︎Modern Fantasy—somewhat like urban fantasy, only it’s set in more modern times, and just has magical elements
▪︎Historical Fantasy—takes place during a time in history with magical elements incorporated within it
▪︎High Fantasy—a realm made up entirely by yourself, no modern elements, just pure magic with no traces of the mortal realm
Figuring out a subgenre is SO important because it affects some events, and elements within your novel.
For example, I’m writing a YA Fantasy. But I also have a Sci-Fi Fantasy project that I just started. My YA Fantasy involves my own realm that’s outside of the mortal/human realm. Some things from the mortal world are incorporated into it, therefore it’s not a High Fantasy.
My Sci-Fi Fantasy project is futuristic revolution, and more so like The Giver, Maze Runner, etc. It’s a small city concealed from the mortal realm. The area is more like a Utopia with magical elements added in.
There’s so many sub-genres with Fantasy, and sometimes people may decide on the sub-genre AFTER they write their story. Its purely based on how you feel. Personally, I like to figure all that stuff out, BEFORE I begin plotting/writing. It just helps with my world building process.
2. Fantasy Elements
If you take an English or a writing class, more than likely story elements has been a topic of discussion. When it comes to Fantasy, I think we all know the general elements that make a fantasy novel. But, if you don’t, here are some general elements within a fantasy novel.
Magic—this one is a given
Worlds other than ours—in a fantasy story, there is a high possibility the setting isn’t the human/our world. It’s a completely made up world with its own government, laws, etc.
Literally anything that we classify as Unrealistic (just like my standards ahaha)
Species—Literally any form of life that isn’t human nor animal that exists in our world. Think of like Faes, Gremlins, Goblins, etc
A thing to remember: Mortals can be added into your story obviously, but they aren’t classified as mystical beings. We’re…special thats for sure, but we are real.
3. Characters
THIS IS THE ABSOLUTE FUN PART OMG. CREATING FANTASY CHARACTERS!
Okay so, pretty much you’d create your character like normal. Only, there’s some extra things you might include. Some of those things could be:
What species are they? Fae for example
What type of magic do they use? Do they even have a magical ability?
Age?Are they immortal? Are they above the average life span? For example, your character could be over 200 years old
Any weaponry skills?
Minor, but pretty necessary things for a character. If someone’s been living for over 200 years, surely they have to be at least a little grumpy about it. I know I would.
Seeing as this is a fantasy, there may be magic within your story. It’s good to determine whether or not your character has the ability to do magic. Or if they have no skills within magic. Could this cause a problem for them? Think of Deku from My Hero Academia. He was Quirkless pretty much and that really brought the poor guy down :(
4. Worldbuilding
This is probably the last section I mention in this post.
As I have said above, fantasy worlds are places the reader can be transported to. It’s the home of your book characters. And most importantly, it was created by you. Unless, you know, your setting takes place in our world.
There is SO much to consider when it comes to creating a new world from scratch. But in this post I’ll only list the major things (or things I believe that are major).
Magic: Is there magic in your world? If so, how does it work? Is it a natural thing for society? What are the limits? What are advantages and disadvantages to it? How does magic work in your realm?
The World Itself: Is your setting in a mountain? Is it on a grassy plain? Is it in a village? What’s the area look like? Are there many trees? This is the more geographical aspect of things. Whats the climate like? Are weather patterns consistent or inconsistent?
How People Interact: How do they greet and say goodbye to each other? What are forms of affection? What is acceptable and not acceptable?
Language: Do they speak a different language? What phrases to they use? What’s considered “slang”? What’s proper and improper?
Educatuon: What age group is normally taught? Is education a mandatory thing? Do they go to school, or do they get taught at home? What are they taught?
Food: Is there food from our world? What are these new food items called? What is considered food for “rich people” and what is considered food for “Poor people”?
Government: Is it a monarchy? A democracy? Or do they have a dictator? Is it an oligarchy? How are leaders chosen? How are they thrown out? How many terms to they serve before a new leader is chosen? Do the people have a say in who is chosen?
Those are some things to consider when worldbuilding! Also watch me pull up with my government type knowledge XD
Anyways, I hope this post was at least somewhat insightful. Always remember to do your own research to figure out what is best for YOUR story!
Quick note: I use Google docs to outline, as well as the app Novelist! I think they’re both very useful when it comes to writing.
1. Outlining On Google Docs
Okay, seeing as I already have this outlining done for DOL 2 (Yes, the squeakwel) I’ll have to blur some things. BUT, the way I outline is very simple and easy (for me.)
I personally don’t like to go majorly in depth with outlining seeing as I don’t typically stick to my outline.
Here is How I set Each Chapter Up:
Google Docs has this side tab where it acts like a table of contents. Every Header/Title type writing you have, it shows up on the outline. This is very useful when looking for a certain chapter.
How I write this out is, I change my text to Header 1, change the font and then everything after that is put in bullet points. I either do mini chapter synopses, or if multiple scenes happen in one chapter, I write out pretty much full—but vague—scenes
It’s that simple.
2. Novelist
Novelist is a free app you can get on the appstore! I have an Android/Samsung so I don’t know if you can get it on Iphone/Apple.
When you first open up a new story on Novelist, make sure you have the “Novel Standard” Option pressed. This changes some things for you.
At the bottom, you will see a button that says Organize. That’s where you’ll do your outlining.
You create a section which is what chapter you are on. Within that section you will create a “note”. This will be your synopsis for the chapter, or you can write out the full scene.
I’m currently in the beginning stages of outlining Children Of War and Rage (a Sci-Fi Fantasy wip I have), so that’s what you’ll be seeing in this next photo set.
Here you see that I have the section, and then I have the note.
I really like this app because it helps me plan out characters, scenes and relationships. I think it’s definitely worth trying out.
That’s all I use pretty much XD. I hope this was insightful in some way!
Writing realistic injuries - The title is pretty self-explanatory: while writing about an injury, take a look at this useful website;
One Stop for Writers - You guys… this website has literally everythingwe need: a) Description thesaurus collection, b) Character builder, c) Story maps, d) Scene maps & timelines, e) World building surveys, f) Worksheets, f) Tutorials, and much more! Although it has a paid plan ($90/year | $50/6 months | $9/month), you can still get a 2-week FREE trial;
One Stop for Writers Roadmap - It has many tips for you, divided into three different topics: a) How to plan a story, b) How to write a story, c) How to revise a story. The best thing about this? It’s FREE!
Story Structure Database - The Story Structure Database is an archive of books and movies, recording all their major plot points;
Crime Reads - Get inspired before writing a crime scene;
The Creative Academy for Writers - “Writers helping writers along every step of the path to publication.” It’s FREE and has ZOOM writing rooms;
Reedsy- “A trusted place to learn how to successfully publish your book” It has many tips, and tools (generators), contests, prompts lists, etc. FREE;
QueryTracker - Find agents for your books (personally, I’ve never used this before, but I thought I should feature it here);
Pacemaker - Track your goals (example: Write 50K words - then, everytime you write, you track the number of the words, and it will make a graphic for you with your progress). It’s FREE but has a paid plan;
Save the Cat! - The blog of the most known storytelling method. You can find posts, sheets, a software (student discount - 70%), and other things;
some people think writers are so eloquent and good with words, but the reality is that we can sit there with our fingers on the keyboard going, “what’s the word for non-sunlight lighting? Like, fake lighting?” and for ten minutes, all our brain will supply is “unofficial”, and we know that’s not the right word, but it’s the only word we can come up with…until finally it’s like our face got smashed into a brick wall and we remember the word we want is “artificial”.
I couldn’t remember the word “doorknob” ten minutes ago.
ok but the onelook thesaurus will save your life, i literally could not live without this website
