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Journey to a book.

@wordchemist / wordchemist.tumblr.com

I post original short stories and talk about the longer writing projects I'm working on!
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after a suicide attempt in 2016

“When Daddy comes in, he carries you to bed. Is there anything you feel like you could eat, Pokey? Anything at all? All you can imagine putting in your mouth is a cold plum, one with really tight skin on the outside but gum-shocking sweetness inside. And he and your mother discuss where he might find some this late in the season. Mother says hell I don’t know. Further north, I’d guess. The next morning, you wake up in your bed and sit up. Mother says, Pete, I think she’s up. He hollers in, You ready for breakfast, Pokey. Then he comes in grinning, still in his work clothes from the night before. He’s holding a farm bushel. The plums he empties onto the bed river toward you through folds in the quilt. If you stacked them up, they’d fill the deepest bin at the Piggly Wiggly. Damned if I didn’t get the urge to drive to Arkansas last night, he says. Your mother stands behind him saying he’s pure USDA crazy. Fort Smith, Arkansas. Found a roadside stand out there with a feller selling plums. And I says, Buddy, I got a little girl sick back in Texas. She’s got a hanker for plums and ain’t nothing else gonna do. It’s when you sink your teeth into the plum that you make a promise. The skin is still warm from riding in the sun in Daddy’s truck, and the nectar runs down your chin. And you snap out of it. Or are snapped out of it. Never again will you lay a hand against yourself, not so long as there are plums to eat and somebody-anybody-who gives enough of a damn to haul them to you. So long as you bear the least nibblet of love for any other creature in this dark world, though in love portions are never stingy. There are no smidgens or pinches, only rolling abundance. That’s how you acquire the resolution for survival that the coming years are about to demand. You don’t earn it. It’s given.”

excerpt from Cherry by Mary Karr, context being after a suicide attempt at age 13

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elfwreck

Some context: Texas and Arkansas share a corner border. Now, Texas is FECKING HUGE and there are many, many parts of Texas that cannot visit Arkansas overnight, but there are parts where it’s no trouble at all.

However, those places of Texas that are close to Arkansas, do not include “close to Fort Smith, Arkansas.”

The closest Texas gets to Fort Smith is about 185 miles (about 300km), at “a little closer than Texarkana.” (Dallas, fwiw, is about 275 miles/450km from Fort Smith.)

So the dad in this story drove at least SEVEN HOURS round trip, to pick up a bushel of plums for his little girl, in the hope that some almost-out-of-season fruit would convince her to go on living.

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Plot Devices to Complicate Your Story

You're excited to write an upcoming story, but the plot seems pretty simple from start to finish.

How can you make it more complicated to deepen your themes, lengthen the story, or leave your readers with plot twists that make their jaws drop?

Try a few of these devices 👀

Add motivation to your instigating action

  • When the princess gets kidnapped at the start of your story, your hero will rescue her, but what's the antagonist's motivation for kidnapping her? If they're in love with the hero and take their jealousy to the extreme or secretly know that the princess asked them for an escape plan to avoid marrying your hero, the plot is much more compelling.
  • You could add this detail anywhere in your plot, even in the first chapter.

Layer a second motivation underneath an action

  • After the princess is kidnapped, the hero starts their journey to rescue her. The reader finds out in the second chapter that the hero is being blackmailed to retrieve the princess and return her to their kingdom's biggest rival to start a war.

Amplify the original problem

  • Your protagonist rescues the princess and brings her home, only to find out that she's had a twin brother all this time who has been taken hostage by the antagonist in retaliation for the princess' escape.

Introduce a second, more evil villain

  • The antagonist has kidnapped the princess for their own motivation, but the reader discovers in the middle of your story that they serve a more evil villain who holds a personal grudge against the princess' father and wants his whole kingdom to suffer as revenge.

Create conflict that brings your protagonist to their rock bottom

  • The protagonist rescues the princess, almost reaches their home kingdom, but she escapes. The king sends the protagonist to prison for their failure and sentences them to death in three days. The reader will feel the hopelessness along with your protagonist, which is where you can create something that injects new hope into your plot (like a dramatic jailbreak thanks to the protagonist's best friend).

Make a character betray another

  • The protagonist reaches the princess with the help of their best friend, but the princess stabs the protagonist in the back by trading their best friend for herself through an unbreakable vow

Reveal an unreliable narrator

  • Your protagonist agrees to rescue the princess for the sake of the kingdom, but the second or third chapter reveals that they are really on a mission to kill the princess for personal revenge against the king.

Reveal that the villain has known everything the whole time

  • Your protagonist and princess escape, but the villain factored that into their plan to start a war and have their forces waiting outside of her castle when they arrive home

Introduce sudden regret that changes a character's arc

  • The protagonist has to leave their best friend behind to ensure the princess' escape, but in leaving them, the protagonist realizes they've been in love with their best friend the entire time. Regret motivates them to head back for their best friend and risk their life twice as soon as the princess is home safe.

Temporarily kill a character

  • The princess kills the villain with some help from your protagonist, so they think they're safe. On their way back home, the villain sets a trap for them in the woods because they actually survived the attack.

Try using Chekov's gun

  • Before leaving for the princess, your protagonist gets a potion made by a family member. The directions? "Use it in your moment of greatest need." The protagonist uses it later when they're facing the villain or after hitting rock bottom, so the potion becomes a plot device that instigates your second or third act.

Accelerate the plot

  • Your reader thinks the plot is all about rescuing the princess, but she returns home in the first 100 pages. The real plot begins by choices or actions made during her rescue, which unravel into a much larger story/world event.

You likely won't be able to use all of these plot devices in a single story. You may not even have the first plot for more than one.

Consider what you're writing and what dynamics your characters/plot present to decide if any of these tricks could enhance your writing.

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inkskinned

oh, i love the way relationships develop their own personal language of love. when all that joy shows the way they love you. i love when it is a little icon to who they are, to how you get along with them.

my sister takes a picture of a dead bug and sends it to me - this is you. my friend asks me how the move is going; she put a reminder in her phone to check up on me. i put a piece of ice down my friend's back, he returns the favor by holding my phone over my head and making me jump to catch it. jason and i scream-sing green day while going all of 15 miles an hour down country roads. molly is who i go to for a quiet night in with 5 dollar wine.

i go out for dinner with them and have to step outside to take a phone call; when i come back they've ordered my favorite appetizer without needing to be asked. andrew and i have a long-standing tradition of him picking me up to spike me directly into the first soft-looking surface around. i don't even need to speak to my best friend - she and i will just look at each other and have an entire conversation. burst out laughing at 3 PM, high and cackling like we're evil witches. i just moved by myself into a new city - my brother keeps introducing me to his friends that now live close to me. he always says - oh yeah, this is sibling and then pretends to ignore me. for days now, my family has been in and out of my apartment, just tinkering with things; making sure i am settling in nicely.

i usually have watermelon instead of cake for my birthday; kim forces a full yankee candle into the rind so i can have something to blow out and wish on. for 20 minutes on a saturday, all us grown adults crawl into one bed to have a cuddle puddle like we're in high school again. every 20 seconds someone starts giggling, and then we're laughing again. nick calls me from california; we both groan about the price of tickets, agonizing. miranda and i meet up in the city for the first time in years - without discussing it beforehand, the minute we lay eyes on each other, we both strike gruesome little gremlin poses instead of waving. dean always goes for the hug. joe always does a single firm handshake. sometimes i think about my friends and get so happy i just start crying.

oh, how wonderful to live in a world where affection is biologically ingrained in us. how wonderful that affection helps us build our single greatest strength - community. how wonderful that affection is our body's way of saying - thing is good, let's keep. how wonderful, this language, this skein we weave! to show the other person - i might not always say it. but i love that you live in me.

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jaydoeswrite

Writblr Intro

Hello, everyone! I’m Jay (she/her) and I decided to make a writblr to help keep me motivated. Definitely looking forward to meeting and interacting with other writers! ^^

I focus mainly on fantasy/magick based stories with LGBTQ+ characters. There tends to be heavy themes and flawed characters so be advised. I'll tag content warnings on my WIPs description posts to give you the best heads up I can—and if there's any tags you think I should include, please feel free to discuss it with me.

While I don't plan on posting any of the more explicit scenes, some of my work is intended for a mature audience. Swearing and sexual content may be common—therefore I would prefer you dni with specified works if you are underaged.

I plan to do proper intros for my WIPs but for the time being here are quick blurbs for my top two to tide you over. And hopefully interest you enough to follow :x

Empire: Hero of War

  • Historic/Victorian Era Fantasy, Suspense
  • m/m
  • Wounded in the war against Fey and other magick beings, Major James Brady is sent to America to enjoy an easier job as a police officer. Almost instantly, he is dragged into the hunt for a magick user killing other users and leaving their corpses as dried husks. With the aid of Leslie Gray, a shameless prostitute, James is forced to confront his own biases and misconceptions about the type of people he actively killed in the military.

Unrequited

  • Modern Fantasy, Slice of Life
  • w/w
  • To keep from being corrupted by "demons", magick users form bonds with shapeshifting familiars. Upon her father's death, Gen is thrust into the magick community she was kept isolated from and paired with the dog shifter, Bailey. Neither woman is impressed by the arrangement but gradually grow close the more they learn about past hurts and each other.
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If your plot feels flat, STUDY it! Your story might be lacking...

Stakes - What would happen if the protagonist failed? Would it really be such a bad thing if it happened?

Thematic relevance - Do the events of the story speak to a greater emotional or moral message? Is the conflict resolved in a way that befits the theme?

Urgency - How much time does the protagonist have to complete their goal? Are there multiple factors complicating the situation?

Drive - What motivates the protagonist? Are they an active player in the story, or are they repeatedly getting pushed around by external forces? Could you swap them out for a different character with no impact on the plot? On the flip side, do the other characters have sensible motivations of their own?

Yield - Is there foreshadowing? Do the protagonist's choices have unforeseen consequences down the road? Do they use knowledge or clues from the beginning, to help them in the end? Do they learn things about the other characters that weren't immediately obvious?

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Smtimes your house is haunted because there's a ghost sometimes your house is haunted because you miss grandma and your mom misses her even more sometimes your house is haunted because the subtext of how the last owners decorated rubs you wrong way sometimes your house is haunted because you've sublimated the fact that you didn't want to move in the first place and Sometimes your house is haunted because there's a carbon monoxide leak. Lots of options.

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Writing Challenges

// 12 writing prompts designed to help you practice difficult types of writing

➼ Write a short story with an unreliable narrator

➼ Write either a short story or a chapter of a story in a genre you’ve never written in before

➼ Re-write a chapter of a story you’ve already written from the perspective of the antagonist

➼ Is there a particular type of scene you always struggle with? Write that!

➼ Set a timer for 20 minutes and write a complete scene. Try not to get bogged down with the editing and perfecting, just start writing and see where it goes :)

➼ Write a short story with a major plot twist (that’s still believable)

➼ Write a character the reader is meant to hate passionately

➼ Write a character the reader is meant to love

➼ Write story arcs for the above 2 characters that makes the reader feel the opposite to how they started (love the character they hated, hate the character they loved)

Switch character perspectives at least 3 times in a short story

➼ Write a story in 1000 words or less. And I mean 1000 words or less. Seriously. No overwriting. I’m watching you.

➼ Write a character who’s very different from you

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Anonymous asked:

sleepy how do i write witout worrying if its gonna be good or not? i wanna share my writings so it has to be good but it takes time for that and i don't have the patience to wait years to start writing

I have the years of crappy writing behind me to be able to say that I can write and not care whether it's good or not, but also the years of crappy writing behind me to be able to say that my first draft writing is significantly better than my old first draft writing. but I got here in increments, over the years, with a lot of stalling and agonizing and impatience, the same as pretty much any other writer out there.

it didn't come to me all at once, and I found what works for me over time, but eventually I just had to make a rule for myself: even if it isn't good now, it is something that I made, and that in itself is good. it's good that I wrote it, that I practiced my craft, that I explored something new or reworked something old. it's good that it exists.

so when I write something and it's not great, it doesn't bother me. because it now exists, it can be good and great and amazing later. you can improve an existing skill or piece, not a dream. everything is made from scratch at some point. everything has stages and evolutions. you are a work in progress. so is your writing.

you don't have to be proud of everything you write like it's the best thing you've ever written. you can look at something and acknowledge its faults. and you can still love it.

don't wait. write now. write now and be bad at it. be terrible! take in advice like perusing the produce at the grocery store. some people like apples, others don't. some people like red apples, specifically, others don't. some people are energized by coffee, others aren't. some advice will vibe with you, some won't.

don't disregard everything, don't accept everything as absolute truth. write, and write, and write. love writing. love yourself for writing. love what you're writing. don't love it blindly, and don't hate it for not being what you want. you can make what you want, if you know how. learn, and grow, and write.

and breathe. you are, as yourself, a singular creation, with stories worth telling and the ability to practice enough to make them unfold. you can grow up. your writing can too.

💖

p.s. you don't have to share your writing while you feel that it is "not good," but I find that doing so is actually an incredibly valuable practice if you are able to do it. you do not have to do it. it doesn't work for everyone. for me, it worked because I let go what I alone perceived about my writing and see other perspectives as well. even when your writing doesn't resonate with you, it might resonate with others. that can be an incredible asset. but work yourself up to it, if you need to. you are not me. I am not you. we can share similar experiences, but we are not the same. because you are you, with your own stories, your own emotions, and your own trajectory.

have a poem:

I started out small Tiny steps at first I wanted to see just beyond the horizon I thought it would quench my thirst But I suppose I was born a wanderer Tiny steps led to giant leaps And now, standing here on my mountain I'm glad I gave in to my dreams Because the horizon, you see Is as far off as you want it to be

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klywrites

but… how do you write a simple standalone story when your brain defaults to epics and open-world concepts???

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bookenders

Short story writer, here! 

I’ve been asked this before and my advice has always been to think of a short story like a scene from a big giant story. How does this one event happen? How do you show the effects of the outer world in this one little snapshot of space and time?

A short story operates almost exactly like a scene from a big long narrative, but with fewer threads that have the potential to continue. There’s a clear beginning, middle, and end, and the character changes in some way over the course of the story. Just, ya know, faster. 

If you have a concept for a huge, expansive fantasy world in your head, think about one random person in that world, be it a king or a shopkeeper or whoever. What are they like? What’s one thing that could happen that changes the way they live, or how they see something? Do they get a letter and have some Thoughts about it? Do they have to make a Choice in the next few days, or heck, maybe even hours? Are they finally going to confront their loud neighbor, only to find out that the problem wasn’t what they thought it was?

And with that, what are the most important details of this little arc? You don’t have room to include everything, so only keep what’s important. I know it’s super cool that the magic system in your world works in really interesting ways in various situations, but maybe you don’t need to include all of that information in your short story. Maybe just toss in one line, or half of a line, to imply that magic does cool stuff. 

When you develop an epic story, there are a ton of elements that you think of to flesh out your world. A short story is like one of those thoughts, but honed down to its bare essentials. Instead of going broad, go deep. 

Let’s say you have an idea for a city that floats on the clouds. Rad. Now your brain is probably tossing out ideas about that city’s culture, or how it stays afloat, or any number of worldbuildy things. To make a short story out of this broad concept, narrow it down. 

Cloud city. What do people in the cloud city do? Maybe they’re the best at shipping and trade, or they’re mostly merchants coming and going. Let’s pick one merchant. One merchant on their own sky ship, maybe not in the best condition, who needs to dock to get repairs. And there’s only one shop in the city that sells the part. So they walk through the city and decide to buy a snack on the way. When they get to the shop, they find out that the part has increased in price for whatever reason, and the money they spent on that snack made them unable to afford that part. Now they have to haggle or try to steal it. They make the choice and either return to their ship victorious, or run back and get away in the nick of time. They either learned that they’re more of a smooth talker than they thought, improved their relationship with the shopkeeper, or realized that they just became a criminal and their moral compass shifts. 

So in this example that I just came up with on the fly, there’s a beginning, a conflict, a rising action, a complication, a climax, a falling action, and a conclusion. There’s a little narrative arc and a character arc. All in all, a short story! Yay!

This isn’t to say that all your short stories should be limited by narrative time. Maybe it takes place over days, or weeks, or months, or, heck, even thousands of years (see: “The Last Question” by Isaac Asimov). Maybe it’s about a mundane superhero thing (see: “The Outer Reaches of Love” by JP Kemmeck). Maybe it’s about big concepts like identity and romance, but with a narrow scope of a few important encounters (see: “Good Country People” by Flannery O’Connor). 

My other advice is to read a bunch of short stories to see how they work. How are they structured? What details are included? What details aren’t included? How narrow is the focus? How are they getting across the themes and main ideas? How do they tell you about their characters? How much time do they take explaining things? 

I could legit teach a class about this, since I’ve taken several, but that’s the bare bones of it!

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i dont claim to be an expert on love but i think theres something to like… ok so my girlfriend got undertale on the switch a while back, right? and she’s definitely not a bad videogamer but it takes practice yknow, esp when youre doing a neutral route and actually fight stuff. so when she got to the hardest bosses i took the controller and beat them for her. not because she couldn’t, but because i love her. and that’s what my brother did when i was a kid playing sonic adventure 2 or whatever, not because i was dumb but because he was good at it and he loved me. and when i want my girlfriend to read something (a post, an essay, a novel) but she’s too tired to actually read so it i read it to her and i do silly voices and she laughs and we have more fun that way. when you hand a water bottle to your friend and they open it without you even having to ask. when you spent a million years fixing the flat tire on your bike and then your dad just takes the tools and does it for you. its not a judgement, it’s just a service. you could do it yourself, but why should you have to when you are loved?

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lyralit

ꜱʜᴏᴡ, ᴅᴏɴ'ᴛ ᴛᴇʟʟ (ɪɪ)

fear - open mouth - backing away - fake smiles - hugging themselves - long / dragged breaths - rocking

jealousy - snide remarks - darting looks - self-deprication - visible judging - folded arms - arguing a fair point

hurt - steadying breaths - overly bobbing head - teary - anger - trembling - pressed lips - insisting everything is 'fine'

lying (ticks) - picking at nails - touching hair - licking lips - laughing too loud - avoids subjects - won't meet eyes

worry - reaching out physically - pursing lips - looking to others - reassuring smiles - looking you up and down - tilted head - sympathetic nod

shame - will not meet eyes - feet turned away - teary - desperate - fidgeting - begging

humiliation - lashes back - cheeks flush - palms turn sweaty - face frowns -> brows scrunch, lips pull back - teary

love - looks for approval - blushing / turning red - clammy palms - nervous around certain people - laughs hard - turning clumsy - slip of thought

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If your plot feels flat, STUDY it! Your story might be lacking...

Stakes - What would happen if the protagonist failed? Would it really be such a bad thing if it happened?

Thematic relevance - Do the events of the story speak to a greater emotional or moral message? Is the conflict resolved in a way that befits the theme?

Urgency - How much time does the protagonist have to complete their goal? Are there multiple factors complicating the situation?

Drive - What motivates the protagonist? Are they an active player in the story, or are they repeatedly getting pushed around by external forces? Could you swap them out for a different character with no impact on the plot? On the flip side, do the other characters have sensible motivations of their own?

Yield - Is there foreshadowing? Do the protagonist's choices have unforeseen consequences down the road? Do they use knowledge or clues from the beginning, to help them in the end? Do they learn things about the other characters that weren't immediately obvious?

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lyralit

show, don't tell:

anticipation - bouncing legs - darting eyes - breathing deeply - useless / mindless tasks - eyes on the clock - checking and re-checking

frustration - grumbling - heavy footsteps - hot flush - narrowed eyes - pointing fingers - pacing / stomping

sadness - eyes filling up with tears - blinking quickly - hiccuped breaths - face turned away - red / burning cheeks - short sentences with gulps

happiness - smiling / cheeks hurting - animated - chest hurts from laughing - rapid movements - eye contact - quick speaking

boredom - complaining - sighing - grumbling - pacing - leg bouncing - picking at nails

fear - quick heartbeat - shaking / clammy hands - pinching self - tuck away - closing eyes - clenched hands

disappointment - no eye contact - hard swallow - clenched hands - tears, occasionally - mhm-hmm

tiredness - spacing out - eyes closing - nodding head absently - long sighs - no eye contact - grim smile

confidence - prolonged eye contact - appreciates instead of apologizing - active listening - shoulders back - micro reactions

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liberaljane
Hex the Patriarchy
Digital illustration of a disabled fem witch with long ginger hair sitting on a broom. She’s wearing a halter top, orange shorts with a black sheer skirt and pointy boots. She also has a leg prosthetic. The text reads, ‘hex the patriarchy.’
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In the spirit of October 🎃

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inkskinned

fucking hate it when the stuff everybody says "actually works" does actually work.

hate exercising and realizing i've let go of a lot of anxiety and anger because i've overturned my fight-or-flight response.

hate eating right and eating enough and eating 3 times a day and realizing i'm less anxious and i have more energy

hate journaling in my stupid notebook with my stupid bic ballpoint and realizing that i've actually started healing about something once i'm able to externalize it

hate forgiving myself hate complimenting myself more often hate treating myself with kindness hate taking a gratitude inventory hate having patience hate talking to myself gently

hate turning my little face up to the sun and taking deep breaths and looking at nature and grounding myself and realizing that i feel less burdened and more hopeful, more actually-here, that i am able to see the good sides of myself more clearly, that i am able to see not only how far i have to grow - but also how much growth i have already done & how much of my life i truly fill with light and laughter and love

horrible horrible horrible. hate it but i'm gonna do it tho

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