Weather

An important facet, I believe gets too little attention is weather in fiction. (Some games too, but it’s becoming a bit more important) When I say weather though I do not necessarily mean extravagantly destructive storms that rip a city apart. I mean almost the opposite. Writing how, “she pulled her hand from the cold railing and wiped the morning rain water on her pants”, or “his hat had become white again” (from snowfall), or “her bottle of water had warmed. She sat, sweat dripping from her bangs. A distant thunderous storm mocked her.”

light rain

These aren’t the best examples, but they are instances of weather that affects characters insomuch as to let the reader feel the world but not cripple the character, nor derail the plot-line just to put some example of weather. It should blend into what’s happening, and I believe is important. The days with overcast and are slightly chilly are just as important as a never-ending drougt, or a hurricane wiping electricity from a city.

 

Advertisements
Weather

Rebirth

Death and dieing should be important events, but not everyone needs to stay dead. The problem then arrives for a writer, death should have weight (unless that’s not the kind of story you’re telling), in which case their rebirth should change something, unless of course it was a quick fake-out-death/trick and not much time has passed or something. In such a case it’s best to use your interpretation.

However, assuming they died and are as dead as dead can be but are resurrected or the equivalent; either the character or the environment needs to have altered. Otherwise their death was indeed meaningless. Perhaps the character is the same, but people treat them differently—they did just come back from the dead after all. Or their persona has been transformed—or their body isn’t quite functional in some aspects. Maybe they return inhuman. There’s numerous ways to show the significance of their death and rebirth.

These are just musings and aren’t any sort of requirement. (Which in Of itself is a bold remark about the value of my thoughts) In any case hopfully this is good food to help get ones mind churning.

Rebirth

The Bad Ending

So, this builds off of my previous post, but I felt I ought to expand and refine the content. While there is an overabundance (for my taste) of Happy Endings in the west, I find that although I enjoy bitter sweet endings personally, Happy Endings are attractive. Thus, peppering into a work with a happy ending, miserable, or bad endings, is prudent. Including scenes of other people who didn’t make it in time, who were tortured, killed, starved and so forth will enliven the environment—make it immediate. Potential peril that may befall the protagonist doesn’t always have to concern them directly. snowstorm.gif

Perhaps they stumble upon a mine that is said to contain treasure, but as they explore they encounter bodies of those who were killed by traps, or cave-ins, and the like, and them reacting sincerely. Panic, needing to calm down. Growing cautious. Not only would it help the protagonist avoid what their predecessor did but it would also show what would happen if they missed a step, and express their character.

Likewise, showing someone who maybe was stuck in a vault during an invasion who suffocates, since can’t get out given everyone is either dead or evacuated. The readers discovers this through evidence before the protagonist finds the body.scarything.gif

This highlights and expands the universe you’ve created, shows misery and makes the reader potentially care about these otherwise narratively speaking, insignificant characters. Attack on Titan does this well. The viewer watches a battle taking place, and witnesses the deaths of these characters as the battle intensifies. You hear the last things they cry before dieing–you see what the fear before death, and thankfully, some escape, and grow from the experience that otherwise would be ineffectual without these characters’ unfortunate endings. Without failure there can be no weight to success, and the world around the protagonist is just as significant as the protagonist themselves.

 

The Bad Ending

Misfortune and Unfortunate Endings 

So, this here is a bit different from what I post. But, I find the stories of the Fallout series to be of excellent fun and drama. The universe is interesting and has inspired some of the facets of my own writing and world-building. So, I figured since I’ve taken the time to take these photos to share them! Perhaps they will be inspiring to writers who might see them.

I promise(ish), this sort of entry will be sparse–but Fallout 76 has been inspiring to some capacity for my own stories. To write side stories where things don’t go well, where people commit suicide, fail, are betrayed, eaten and other misfortunes. Adding side-stories characters come across–or hear from other secondary and significant characters are important. They highlight the potential end any of the protagonists could meet. That any of their lovers of friends could also meet horrific and miserable ends.

Misfortune and Unfortunate Endings 

Magic and Consequence

I do love magic with consequence. Now, I don’t necessarily mean a spell shortens a person’s life expectancy. While there is a long-term consequence, my attention falls upon the immediate effects.

For instance, a witch casts a blast of fire against commoners. They should burn to death at most, at least, a little burn. Let their skin boil. Maybe the building the witch is in catches fire from her own attack? Maybe she gets badly burned? Killed? Likewise, people (depending on the universe/context) should respond in kind. Such as, “magic-user? Lynch them, shoot them,” ect.

I also think magic should have psychological implications. I don’t mean madness, rather the magic-user treats it with the same sort of reverence a scientist might to the scientific method;  a love for it, or even a dependency. But, an attachment similar to how we are with electricity. Dependency can be horrible based upon your point of view, but, for most, they wouldn’t think it’d be a good idea to strip out our source of power.

Same goes for a magic-user. Most of the ‘horrible’ things people think about witches and wizards is what a muggle would think. But, what’s more for many witches, magic isn’t an external source, it’s part of their nature.

These are examples, and not to be confused with absolutes. I mean, it’s not like I have any sort of authority anyway. XD

Reading Material: Stand-Out-Books

Magic and Consequence

Crafting DLC for a Book

 

Note: Some of my reasoning could be due to my own ineptitude. 

ASandra.png future plan of mine is to incorporate DLC for the Grand Order. These usually I feel will be largely character pieces, backgrounds, inlaid within a relatively larger short-story. This is a method I feel might be able to be used in order to realize a larger world, and richer characters. Stories which I couldn’t tell due to them being so far out of left-field. (I’d divulge the greater details here, but the DLC largely would spoil facets of the plot and characters within the main book.)

Reasoning

In open-world video-games as a prime example, the player is able to explore numerous story-archs, which otherwise couldn’t be actualized through book format due to the derailment from the main plot-line. Additionally, smaller story-archs are preferred as being a component, or somehow linked into the larger story-line. This is to provide a a straight flow toward the climax. It’s commonly known (for myself included) that readers generally lose interest should a story go into some other short-story then back to the main- story, unless it’s directly tied to the main plot-line. Largely books seem to be structured similarly with films, being the acts, and how each act flows into another, and the pacing of each act (this isn’t always the case, and books afford readers more non-linear and less restrictive stories). Incorporating something about some side-character’s family heirloom being stolen that ultimately develops that characters is fine and all, but probably will be cut unless this heirloom or some aspect connects to the main plot, or, it’s shortened considerably. By using DLC this can be avoided, and still develop characters.

Unfortunately, while I don’t understand the Publishing Industry perfectly, I’d assume this task could largely be completed should I seek self-publication. Which renders this task as more daunting then I first considered. However, I believe that much can be developed of a story’s universe through disconnected narrative, but due to the formatting of a narrative (as far as I’ve understood it to be/what is commonly preferred), through is largely able to be done through multiple books, the DLC being short stories. While I do know of various narrative styles such as: nonlinear narrative and the like, these are still linked, simply in a non-chronological system. I may also venture into multimodal methods for the additional stories, which haven’t much to do with the main-book, the only known connective tissue being that the characters, the origins of their problems expressed in the main book.Elex

Other Media

I do wish to redevelop video-games, in which I might be able to express a fraction of my book through a short, narrative and environmentally driven ‘game’ which might be more so an interactive novella of the actual book. So to entice potential readers, satisfy previous readers and attempt to dredge out new and unique ways of expressing this story which otherwise couldn’t be done through text alone.

I do realize that there are sections in books that serves as character development rather than merely plot alone, I’ve done such things, but there are things such as characters’ pasts which I’d like to create a short story for outside the main book.

 

 

Crafting DLC for a Book

Of Editing and Being Poor *UPDATED*

I read this article when seeking advice about what to do should hiring a copy-editor not be financially viable, and disagreed heavily with the very forward assertion that if you can’t afford an editor, you shouldn’t be publishing. Following this, after several sites, I uncovered an article regarding agents remarking on whether to get an Editor Prior to Querying Agents.  anime-typing-gif-2.gif

This topic has bothered me for years, and although I am querying agents with my manuscript hoping to get it published, I often find many advocating getting an editor in either case of trade publishing or self-publishing. Moreover, despite how I agree that one ought to have their work as glossy as possible prior to publishing; one should be intelligent about it and treat this hiring as ideal, not necessarily ‘either hire an editor or abdicate’

The Grand Order, my manuscript, is at 120,000 words (apx). On average, for a copy editor, many charge around $0.02 per word[1]. That would cost me roughly $2,400, which is considerably out of my price range. While it is assumable that this might fluctuate, it is still far too expensive for me to afford.

The agents within the top link mostly do not advocate hiring an editor if seeking traditional publishing, unless one can afford it. And by afford it, I believe they mean without costing you your home, food, healthcare, etc.

 

現金あらない

However, if self-publishing, an editor becomes an assumably major necessity. Many writers just aren’t flowing with cash and opt to instead self-edit. By using a program such as ProWritingAid, and even paying the comparatively inexpensive license fee, one can use it to tidy up their book. (I advocate such programs if one writes often anyway) Three or so passes through, and editing things like grammar, dialog, plot, characters, perspective, etc; one might present a well-pruned work.

While not a seemingly popular opinion to opt out of copy-editing, (or any form of editing, like line-editing and content-editing), if one is poor and wishes to show their work to the world, they shouldn’t be shackled by their financial deficiency, nor mocked by others for not having the sufficing budgetary dais. Ideal is it to have a professional editor inspect your work so you might improve it; better to have at least edited yourself using an affordable method, opposed to leaving it as is, or abandoning your endeavors.

 

Source:

[1] What Does Editing Cost

 

Of Editing and Being Poor *UPDATED*