• Abbie Emmons: A published author. Her videos have great tips and advice for plot and character development.
• Hello Future Me: Mostly worldbuilding tips, but very in-depth, with specific examples.
• Ellen Brock: A professional freelance editor who provides help with all aspects of writing—outlining, worldbuilding, character writing, plot development, publishing, and generally answering any questions writers may have.
• Terrible Writing Advice: Great writing advice, if you can handle the sarcasm.

• Writing Excuses: Albeit fast-paced, the given writing advice is quite useful. There's multiple seasons addressing topics such as story structure, characters, and genres, amongst many others.
• The Creative Penn: This podcast is run by author Joanna Penn, who shares the lessons she learned in her own journey and advice for writing and publishing your novel.
• I Should Be Writing: Interviews with various authors, and encouragement for aspiring writers.
• Story Grid: Outlining methods, writing tips, editing advice, and analysis of various works.

• Creativity Portal: Author interviews, creativity generators, writing prompts and templates, and various other writing resources.
• Now Novel: Aside from writing tools, this website has multitudes of posts about characters, dialogue, narration, plotting, editing, and story structure, as well as writer motivation.
• Helping Writers Become Authors: Tips on dialogue, characterisation, outlining, plot development, structuring, character arcs, and common writing mistakes to avoid.
• Almost an Author: This website is great help for aspiring authors, with advice that ranges from genres to motivation for writers to guidance for making writing a career.

1. Hemlock: Hemlock is a highly poisonous plant that has been used as a poison in various works of literature. It can cause paralysis and respiratory failure.
2. Arsenic: Arsenic is a toxic element that has been historically used as a poison. It can be lethal in high doses and can cause symptoms such as vomiting, abdominal pain, and organ failure.
3. Cyanide: Cyanide is a fast-acting poison that affects the body's ability to use oxygen. It can cause rapid loss of consciousness and cardiac arrest.
4. Nightshade: Nightshade plants, such as Belladonna or Deadly Nightshade, contain toxic compounds that can cause hallucinations, respiratory distress, blurred vision, dizziness, an increased heart rate, and even death when ingested.
5. Ricin: Ricin is a potent poison derived from the castor bean plant. It can cause organ failure and has been used as a plot device in various fictional works.
6. Strychnine: Strychnine is a highly toxic alkaloid that affects the nervous system, leading to muscle spasms, convulsions, and respiratory failure.
7. Snake Venom: Various snake venoms can be used in fiction as deadly poisons. Different snake species have different types of venom, each with its own effects on the body.
8. Digitalis: Digitalis, derived from the foxglove plant, contains cardiac glycosides. It has been historically used to treat heart conditions, but in high doses, it can be toxic. Overdosing on digitalis can cause irregular heart rhythms, nausea, vomiting, and visual disturbances.
9. Lead: Lead poisoning, often resulting from the ingestion or inhalation of lead-based substances, has been a concern throughout history. Lead is a heavy metal that can affect the nervous system, leading to symptoms such as abdominal pain, cognitive impairment, anemia, and developmental issues, particularly in children.
10. Mercury: Mercury is a toxic heavy metal that has been used in various forms throughout history. Ingesting or inhaling mercury vapors can lead to mercury poisoning, causing symptoms like neurological impairment, kidney damage, respiratory issues, and gastrointestinal problems.
11. Aconite: Also known as Wolfsbane or Monkshood, aconite is a highly toxic plant. Its roots and leaves contain aconitine alkaloids, which can affect the heart and nervous system. Ingesting aconite can lead to symptoms like numbness, tingling, paralysis, cardiac arrhythmias, and respiratory failure.
12. Thallium: Thallium is a toxic heavy metal that can cause severe poisoning. It has been used as a poison due to its tastelessness and ability to mimic other substances. Thallium poisoning can lead to symptoms like hair loss, neurological issues, gastrointestinal disturbances, and damage to the kidneys and liver.

• Character Arcs
• Making Character Profiles
• Character Development
• Comic Relief Arc
• Internal Conflict
• Creating Distinct Characters
• Suicidal Urges/Martyr Complex
• Creating Likeable Characters
• Writing Strong Female Characters
• Writing POC Characters
• Character Voices

• Intrigue in Storytelling
• Enemies to Lovers
• Alternatives to Killing Characters
• Worldbuilding
• Misdirection
• Consider Before Killing Characters
• Foreshadowing

• Emphasising the Stakes
• Avoid Info-Dumping
• Writing Without Dialogue
• 1st vs. 2nd vs. 3rd Perspective
• Fight Scenes (More)
• Transitions
• Pacing

• Connected vs. Stand-Alone Series
• A & B Stories

• Overcoming Writer's Block
• 1000 Follower Special
• Writing Fantasy
• Character Ask Game

1. Tor, cream of the crop. 25 cents a word. Stories can be read for free (YES). Slowish response time at ~3 months. Prefer under 12k, absolute maximum is 17.5k. Don’t bother if it’s not highly professional quality. SFWA qualifying.
2. Crossed Genres. 6 cents a word. Different theme each month (this month’s is “failure”). Submissions must combine either sci-fi or fantasy with the theme. Response time 1 month. 1k-6k, no exceptions. SFWA qualifying.
3. Long Hidden, anthology from CG. 6 cents a word. 2k-8k, no exceptions. Must take place before 1935. Protagonist(s) must be under 18 and marginalized in their time and place. Must be sci-fi/fantasy/horror. Deadline 30 April. Response by 1 October.
4. Queers Destroy Science Fiction. Sci-fi only right now, author must identify as queer (gay, lesbian, bi, ace, pan, trans, genderfluid, etc, just not cishet). 7.5k max. Deadline 15 February. Responses by 1 March. You can submit one flash fiction and one short story at the same time. (My network blocks the Lightspeed site for some reason, so I can’t get all the submission details. >_>) Probably SFWA qualifying?
5. Women in Practical Armor. 6 cents a word. 2k-5k. Must be about 1) a female warrior who 2) is already empowered and 3) wears sensible armour. Deadline 1 April. Response within three months.
6. Fiction Vortex. $10 per story, with $20 and $30 for editor’s and readers’ choice stories (hoping to improve). Speculative fiction only. Imaginative but non-florid stories. 7.5k maximum, preference for 5k and under. (I kind of want to support them on general principle.)
7. Urban Fantasy Magazine. 6 cents a word. 8k max, under 4k preferred. Must be urban fantasy (aka, the modern world, doesn’t need to be a literal city). 
8. Nightmare. 6 cents a word. 1.5-7.5k, preference for under 5k. Horror and dark fantasy. Response time up to two weeks. SFWA and HWA qualifying.
9. Apex Magazine. 6 cents a word. 7.5k max, no exceptions. Dark sci-fi/fantasy/horror. SFWA qualifying.
10. Asimov’s Science Fiction. 8-10 cents a word. 20k max, 1k minimum. Sci-fi; borderline fantasy is ok, but not S&S. Prefer character focused. Response time 5 weeks; query at 3 months. SFWA qualifying, ofc.
11. Buzzy Mag. 10 cents a word. 10k max. Should be acceptable for anyone 15+. Response time 6-8 weeks. SFWA qualifying.
12. Strange Horizons. 8 cents a word. Speculative fiction. 10k max, prefers under 5k. Response time 40 days. Particularly interested in diverse perspectives, nuanced approahces to political issues, and hypertexts. SFWA qualifying. 
13. Fantasy and Science Fiction. 7-12 cents a word. Speculative fiction, preference for character focus, would like more science-fiction or humour. 25k maximum. Prefers Courier. Response time 15 days.
14. Scigentasy. 3 cents a word. .5-5k. Science-fiction and fantasy, progressive/feminist emphasis. Fantastic Stories of the Imagination. 15 cents a word. 3k maximum. Any sci-fi/fantasy, they like a literary bent. (psst, steinbecks!) They also like to see both traditional and experimental approaches. Response time two weeks. 
15. Beneath Ceaseless Skies. 6 cents a word. 10k maximum. Fantasy in secondary worlds only (it can be Earth, but drastically different—alternate history or whatever). Character focus, prefer styles that are lush yet clear, limited first or third person narration. Response time usually 2-4 weeks, can be 5-7 weeks. SFWA qualifying.
16. Clarkesworld. 10 cents a word up to 4000, 7 afterwards. 1-8k, preferred is 4k. Science-fiction and fantasy. Needs to be well-written and convenient to read on-screen. Appreciates rigour. No talking cats. Response time 2 days. SFWA qualifying.
17. Orson Scott Card’s Intergalactic Medicine Show. 6 cents a word. Any length. Science-fiction and fantasy (along with fantastic horror). Good world-building and characterization. Clear straightforward prose. Response time three months. Yes, OSC is editor-in-chief. SFWA qualifying.
18. Interzone. Sub-pro rates if anything (but highly respected). 10k max. Short cover letter. Science-fiction and fantasy.

1. Check the Grinder regularly! Markets open, markets close, all is chaos, hail the Submission Grinder.
2. SFWA pro rates have increased since this post; they keep track monthly of which markets are qualifying (i.e. pay pro rates): https://www.sfwa.org/?s=market+report
3. Read. Read a lot. This will not only keep you from submitting things to places that are just plain a bad fit (I don’t want to say Strange Horizons won’t take your story if it includes even one joke, I’m just saying everything I’ve read there has made me cry), but it will also make you a better writer. I’m not saying that if you don’t keep up with what’s contemporaneous at least a little bit you’ll never get published…I’m just saying that’s something that certain writing friends of mine who write a lot and have never been published have in common. There is so much out there it’s basically impossible not to find something new that you like. Go read.
4. Seriously though don’t submit to places you know nothing about. It’s a waste of everyone’s time including your own. If you don’t read their stuff because you don’t like it, then, reciprocally, they’re not going to like your stuff!
5. Translunar Travelers Lounge isn’t pro but they’re still the best. Never read a story there I didn’t love. Just, genuinely, wall-to-wall bangers. I’m not affiliated with them in any way, I just think they’re neat. Go read.

• Start with a Core Concept: Every world begins with an idea. Whether it's a magic system, a futuristic society, or an alternate history, have a clear concept that serves as the foundation for your world.
• Define the Rules: Establish the rules that govern your world, including its physical laws, magic systems, societal norms, and cultural practices. Consistency is key to creating a believable world.
• Create a Detailed Map: Optional, but helpful. Develop a map of your world to visualise its geography, including continents, countries, cities, and landmarks. Consider factors like climate, terrain, and natural resources to make your world feel authentic.
• Build a History: Develop a rich history for your world, including key events, conflicts, and historical figures. Consider how past events have shaped the present and influenced the cultures and societies within your world.
• Develop Cultures and Societies: Create diverse cultures and societies within your world, each with its own beliefs, traditions, languages, and social structures. Explore how different cultures interact and conflict with one another.
• Flesh Out Characters: Populate your world with memorable characters who reflect its diversity and complexity. Consider how their backgrounds, motivations, and personalities are shaped by the world around them. (See my post on character development for more!)
• Consider Technology and Magic: Determine the level of technology and the presence of magic in your world, and how they impact daily life, society, and the overall narrative.
• Think about Economics and Politics: Consider the economic systems, political structures, and power dynamics within your world. Explore issues like inequality, governance, and social justice to add depth to your worldbuilding.
• Show, Don't Tell: Instead of dumping information on readers, reveal details about your world gradually through storytelling. Show how characters interact with their environment and incorporate worldbuilding seamlessly into the narrative.
• Stay Consistent: Maintain consistency in your worldbuilding to ensure coherence and believability. Keep track of details like character names, historical events, and geographic locations to avoid contradictions.
• Leave Room for Exploration: While it's essential to have a solid foundation for your world, leave room for discovery and exploration as you write. Allow your world to evolve organically and be open to new ideas and possibilities.
• Revise and Edit: Carefully review your worldbuilding to identify any inconsistencies, plot holes, or contradictory elements. Pay attention to details such as character backgrounds, historical events, and the rules of your world's magic or technology. Make necessary revisions to resolve any issues and maintain the integrity of your worldbuilding.

• Know your characters: Understand their fighting styles, strengths, and weaknesses—are they offensive, or defensive? Spontaneous, or strategic? Trigger-happy, or reluctant? Their personalities and motivations will influence their actions and decisions during the fight.
• Create tension: Build tension leading up to the fight to increase the stakes and make the action more gripping. Foreshadowing, verbal sparring, or physical intimidation can all contribute to a sense of anticipation.
• Use sensory details: Engage the reader's senses by describing the sights, sounds, smells, and physical sensations of the fight. This helps to create a vivid and immersive experience—but make sure not to overdo it. Too much detail can distract from the adrenaline of the fight.
• Maintain clarity: Ensure that the action is easy to follow by using clear and concise language. Avoid overly complicated sentences or excessive description that could confuse readers.
• Focus on emotions: Show the emotional impact of the fight on your characters. Describe their fear, anger, determination, or adrenaline rush to make the scene more compelling and relatable.
• Include strategic elements: Incorporate tactics, strategy, and improvisation into the fight to make it more dynamic and realistic. Think about how your characters use their surroundings, weapons, or special abilities to gain an advantage.
• Balance dialogue and action: Intersperse dialogue with action to break up the fight scene and provide insight into the characters' thoughts and intentions. Dialogue can also reveal or support the characters' personalities and motivations.
• Keep it concise: While it's important to provide enough detail to immerse readers in the action, avoid unnecessary padding or overly long fight scenes. Keep the pacing brisk to maintain momentum and keep readers hooked.
• Show the consequences: Illustrate the aftermath of the fight, including injuries, emotional trauma, or changes in relationships between characters. This adds depth to the scene and helps to drive the story forward.

• Red Herrings: Introduce elements or clues that suggest a certain outcome or plot direction, only to later reveal that they were misleading. These false leads can divert readers' attention away from the true resolution.
• Selective Detailing: Highlight certain details or events in a way that implies their significance, while downplaying or omitting others that might be more relevant to the actual outcome. By controlling what information readers focus on, you can steer their expectations.
• Character Misdirection: Use characterisation to mislead readers about characters' true intentions, motivations, or identities. Create multi-dimensional characters who may behave ambiguously or inconsistently, leaving readers unsure of their true allegiances, motivations, or goals.
• Foreshadowing: Employ foreshadowing to hint at future events or outcomes, but do so in a way that misleads interpretation. Provide clues that could be interpreted in multiple ways or that lead readers to expect one outcome while delivering another. (See my previous post about foreshadowing for more!)
• Misleading Narration: Utilise an unreliable narrator or perspective to present events in a biased or distorted manner. Readers may trust the narrator's account implicitly, only to discover later that their perceptions were flawed or intentionally deceptive.
• Subverting Tropes: Set up situations or scenarios that seem to follow familiar narrative tropes or conventions, only to subvert them in unexpected ways. This can keep readers guessing and prevent them from accurately predicting the story's trajectory.
• Parallel Storylines: Introduce secondary storylines or subplots that appear unrelated to the main narrative but eventually intersect or influence the primary plot in unexpected ways. This can distract readers from anticipating the main storyline's developments.
• Setting: Manipulate the setting or environment to create false impressions about the direction of the plot. For example, presenting a seemingly idyllic setting that harbors dark secrets or dangers.
• Timing and Pacing: Control the pacing of your story to strategically reveal information or developments at opportune moments, leading readers to draw premature conclusions or overlook important details. (See my post on pacing for more tips!)
• Twists and Reversals: Incorporate sudden plot twists or reversals that upend readers' expectations and challenge their assumptions about the story's direction. Ensure that these twists are logically consistent but sufficiently surprising to catch readers off guard.

Example: Your protagonist is a scientific researcher and leading a trial that could result in a cure for a new illness. They know they shouldn’t take bribes and wouldn’t compromise their career, but someone who nearly qualifies for their trial offers a life-changing amount of money to get included even though they’ve already been ruled out. The protagonist has to choose—do they stick with what they trust is morally correct or do they take the money and use it to help pay for a family member’s legal battle in criminal court? Do they view it as potentially saving two lives at once? Or do they reject the bribe and face whatever consequences could have possibly been avoided?

Example: Your protagonist considers themselves an optimist because they’re a firefighter who has saved many lives. When they realize their chief has been starting all the fires their station ever fought, your protagonist begins to view people more pessimistically. It affects how quickly they’re willing to risk their life for others, which results in challenges and a character arc they wouldn’t have experienced without this fundamental change in their identity.

Example: Your protagonist attends a religious gathering every week. The group fundamentally believes their religion exists to help those in need. Prejudices begin to invade that group, so people start choosing their own well-being instead of helping others. Your protagonist watches their religious family pick sides and has to question if they really believe in helping others or if they choose the familiarity and safety that comes with the approval of their longtime religious family.

Example: Your protagonist goes to a university for the first time. They’ve been encouraged by everyone they know to start forming a large friend group. That’s what people are supposed to do in college, their loved ones said. But your protagonist is an introvert and values only a few friendships at a time. They have to choose if they’ll push themselves to become a social butterfly or if they’re happier as the person they’ve always been.

Example: Your protagonist may have never formed strong political opinions. They meet a new person who becomes their best friend, but their government starts passing laws that make their best friend’s life much harder because they’re part of a marginalized community your protagonist hasn’t empathized with before. Your protagonist now cares for that community, so they have to decide if they’ll make different political choices that could ostracize them from the community they’ve been part of all their life. 

Example: Your protagonist has three siblings. They’d give their life for their siblings because they’ve lived in an emotional and physical home environment that’s been unsafe all of their lives. However, your protagonist is also the oldest child who has to leave home when they’re 18. They have to decide how to best love their siblings—do they leave them at home with a parent who is a threat to their safety so your protagonist can achieve an education or job that pays enough to create a new home for them? Do they get the legal system involved? Do they get their siblings and run away together since your protagonist is now old enough to lease an apartment, pay bills, etc?

Example: Your protagonist spent their life dreaming of becoming a politician. They wanted to help people and change the world, but they lost their first three attempts at running for local office. The third loss devastated them. If voters don’t want them as a leader, what’s their purpose? Who are they if they aren’t a leader who changes the world through effective policies? The answer may come through the plot events that follow. If they don’t get an answer, sometimes it means their purpose already exists in their life and they’re overlooking it.

I’m conceptualizing a wild-west (I haven't and never will pick a state/year, it's just a generic wild-west setting) black comedy comic series. The main characters are a pair of sheriffs who work together more often than not, one Black and the other White. I want one to be fiery-tempered and trigger-happy (To the point where, in just about every other cover I’ve sketched so far, he has his gun out and is asking the other guy, “Can I shoot it?”), and the other an over-cautious scaredy-cat… And neither of these personalities seem to be a very PC one to give to a Black guy, so which one would be less offensive?

• Be aware of stereotypes and what could be offensive as you build your characters and story.
• Question your choices and trace the logic of why you made them.

• Focus on writing varied, complex people.
• Let your knowledge guide and inspire you, do continuous research, but not let it fully stop all momentum.
• Use the editing, sensitivity read process, and revisions to correct and adjust your work.