‘Always show, not tell,’ is a big fat lie. If you always show, you’ll have half a novel of descriptive words and flowy sentences that will be hard to read.
Here is a quick tip:
Show emotion.
Tell feelings.
Don’t tell us ‘she was sad.’ Show us- ‘Her lip trembled, and her eyes burned as she tried to keep her tears at bay.’
Don’t show us ‘her eyelids were heavy- too heavy. Her limbs could barely function and she couldn’t stop yawning.’ Tell us – ‘she felt tired that morning.’
Showing emotion will bring the reader closer to the characters, to understand their reactions better. But I don’t need to read about how slow she was moving due to tiredness.
Likewise, when you do show, keep it to a max three sentences. Two paragraphs of ‘how she was sad,’ with no dialogue or inner thought is just as boring.
Shout out to writers who can’t do plots, who write about feelings and moments in time instead. I love reading those fics, and I love writing those fics. Keep on peering into the depths of characters’ hearts and souls in the little moments. You’re exploring the places where canon often fears to tread.
i really really mean it please write muslim characters, it’s really not that daunting literally all you have to do is throw in a few casual qualities.
have them squint uncertainly at the meat options in a restaurant and ask if there’s pork in the sandwich. have them mention on the phone “oh, i’m gonna stop by the mosque first for prayer but i’ll be there soon.” have your hijabi girls squeal over cute scarves in mall store windows and swoon over sparkly pins. have them kindly reject a glass of water and say “oh, i’m fasting today.”
just don’t make their religion their only defining aspect. like??
for most women, wearing hijab is about as casual as wearing a shirt or pants. give me a badass woman on a mission to save the world just like you’d write literally any other badass woman on a mission to save the world— this one just happens to keep her hair in a headscarf and is careful not to eat certain foods?
and not all muslim women wear scarves, a lot of them just choose not to or they decide not right now but they’ll do it later? like, give me a girl who’s absolutely determined to break a world record and halfway through the story she shows up in a headscarf for the first time and it’s no big deal.
give me a kid who’s on the search for an ancient magical artifact and also they get anxious at some point cause they’re busy but prayer’s gonna start soon and they don’t wanna miss it. have them whip out their phone and search for the nearest mosque. have them find some quiet place to pray alone, like in the corner of a hotel room they just booked while their travel companion’s watching TV with the volume turned down low.
just?? do a bit of research (when are the prayer times, when is ramadan, what are halal foods, mosques in texas, etc.) and write!!! muslim!!! characters!!!
It can be hard to remember how to properly address your noble or royal characters when writing a fantasy court. Here is a quick guide:
1. King/Queen:
Usually addressed as either “Your Grace” or “Your Majesty”. Consort (married to a ruler and not reigning in their own right) can be addressed the same. Sire or Madam can be used also.
2. Prince/Princess:
They are addressed as “Your Highness”. They are NEVER addressed the same as a King or Queen
3. Duke/Duchess:
These are addressed with “Your Grace”. This was a common term also used by royalty before Henry VIII got to big for his codpiece.
4. Earl (Count)/Countess:
Are almost never referred as the “Earl of Narnia” but “Lord Narnia”.
5. Lord/Lady:
An easy one. They are called “My Lord” or “My Lady”.
6. Emperor/Empress:
These may be equal to a King/Queen for status but the have a grander title. They are only addressed as “Your Imperial Highness/Majesty”
I hope this helps when writing your court or fantasy novel.
Being a writer means having like 5 baby name websites bookmarked, a very suspicious browser history, and a vast amount of knowledge about seemingly random topics like when stop lights were invented or how much blood you can loose before passing out.
– weighted a grapefruit in my hands to see if i could justifiably describe something as “weighing as much as a grapefruit”
– done jumping jacks for 5 minutes straight so the memory of how exertion feels would be fresh in my mind
– googled images of butterscotch to see if “butterscotch” could be a hair colour
– casually stared at people at bus stops trying to figure out how i would hypothetically recreate their image in words
– written 7 different beginnings for a story to see which one i liked best
– gone to venice
– enthusiastically spoken dialogue aloud to myself to see how it sounds
– tried to read 3 books in one day
– experienced terrible things, reacting with “i can write about this”
– screamed incoherently at someone for turning on the tv while i was in the room, writing
– sat there perfectly still staring into space trying to imagine what getting a boner feels like
– “hey re-enact this scene with me”
– sat upside-down for ten minutes trying to get my brain to work
– squandered schoolwork and free time alike for years
– written
Unreliable narrators need to add something to the story. They aren’t an excuse for poor storytelling and inconsistencies.
If you have an unreliable narrator, you should be doing twice as much work in your plotting! At every turn of the story, you need to know both what’s actually happening AND what your narrator thinks is happening.
When you’re right, you’re right. And you’re right.
Not only does the author need to know what’s happening on both layers of story, they need to actually write in clues for the reader to telegraph the lower, “true,” layer of the story so the reader is capable of figuring it out if they choose to read closely. Without that double work, an unreliable narrator cannot perform its literary function.
It is the evidence of the truth, not the lie the narrator tells, that makes a narrator unreliable. Otherwise they are just a liar which the audience is incapable of catching due to the hobbling imposed by the medium. Which means the lie may as well be the truth, making it serve no function as a lie.
Writing good romance is so difficult because the entire plot is based on character interactions and producing chemistry. The readers need to believe in the love, whether the hero and heroine have known one another for a week or for years. We need to believe.
So often I see ppl criticize the romance in books and it comes off as them hating romance and I’m like no no no no no, a well done romance is an exquisite piece of writing. It’s not romance in general that sucks, it’s bad romance that sucks. Insta love with no chemistry. Relationships with no conflict. Badly written heroes. Those romances suck.
But romance books? Written by masters of the genre? Those are amazing.
THIS RIGHT HERE
It’s easy to write bad romance, because good romance requires a near-doctorate level understanding of human psychology and motivations.
Here’s the thing… certain emotions are easy to evoke and others are very hard to master and write.
Anger. Hate. Rage. Fear. <– negative emotions are the easiest to write because they rely on primal instinct programmed into the human brain by thousands of years of evolution. Within cultures there are certain things that will always evoke rage (and this is why not all books translate well to other cultures). Certain fears are universal.
Every bestseller every written has a Universal Fear driving at least the opening act of the book if not the whole book itself. Most bestsellers use “I fear I am worthless.” or “I fear death.” as their driving focus. Everything from PRIDE AND PREJUDICE to HARRY POTTER has used this and it’s why it sells so well.
It’s also why Romance isn’t taken seriously at times.
Romance promises as a happy romantic ending. Which means the two most common universal fears are utterly erased by the genre requirements alone. No one is going to die. The characters are going to be loved and feel worthwhile by the end of the book.
Since readers are programmed by society to instinctively fear those things some people have trouble relating to a romance story where they must latch onto something other than fear to get through a book.
Joy. Humor. Laughter. Happiness. <— positive emotions are really hard to write because they are complex emotions. There is nothing that makes people universally happy. I know, it’s shocking. Not kittens. Not puppies. Not a mother’s love. That thing you love, adore, and can’t live without? Yeah, someone hates it.
This is why writing satire or humor is so difficult. It’s why happy books are dismissed as fluffy or silly. They have a much narrower audience. The author has to reach into the reader’s head and manipulate their emotions so that they can feel soaring triumph. There isn’t a shortcut to writing happiness.
LOVE. <– Such a complex thing. Little understood. Hard to define. Ever roving about. Love, especially sexual and romantic love, are so individual that there will never be a One Size Fits All.
When an author sets out to write a romance they have to convince the reader not only to abandon fear but they have to write humans who are complex, convincing, and through storytelling explain the psychology of these individuals so the reader goes, “Yes, yes! I see it! I see why these two are perfect together and could never be with anyone else!”
It’s at once something many people have an innate talent for (hello, shippers!) and that many people don’t understand. Understanding love requires a very unselfish, un-egocentric view of the world. You have to think like someone else. And then, as the author, you have to create a way for a reader to easily step into the mind of someone else and understand this attraction without using shortcuts like “I saw her and got a boner. It’s love!” Because that isn’t.
It’s easy to write bad romance. It’s easy to use shortcuts and script the book like a film. But where films can rely on music and facial expressions to convey the complexity of emotion a writer only has words. There is no soundtrack for Chapter 7. There is no set of words in the English language that properly express the depth of feeling, the longing and desire, of seeing someone you treasure turn and smile at someone else and knowing from the depths of your soul that you would give up everything just to keep them smiling.
Writing a good romance means balancing internal and external conflict, knowing a person’s weaknesses and strengths, and pairing them with someone(s) who fill in their gaps, boost their strengths, and make them happy at the same time. And then, after all of that, you have to find readers who will understand and appreciate the characters you’ve written. You have to make the reader fall in love too.
Done well Romance is the most complex literary form.
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