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Oh characters doomed from the start we’re really in it now

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how?? just how?

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Teeth are bullshit. What do you mean you’re decaying. Get a fucking grip. You’re a bone now act like it. You don’t see my finger bones decaying from jerking it too much now do you

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banned from the clock app for making too many alarms. you set too many alarms girl! banned from clock app.

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when i say i like hiking, i don’t mean “eight mile backpacking trip with special gear and an emergency beacon” sort of hiking, i mean a three mile loop to go look at pretty things and then a huge brunch after.

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how does one cope when mid-way through they realize they are writing a tragedy and there is no possibility of a happy ending? especially when that was not the original intention? i'm absolutely gutted by this realization and i hate that i feel wedded to it.

Upset Because Story Went Off the Rails

You're a Writer, Not a Marionette - Long ago, I bought into the believe that characters and stories have minds of their own... that it was beyond my control if my character did X when I wanted them to do Y... that there was nothing I could do if my happy meet-cute story decided to be a dark tale of horror. It can be kind of fun (and freeing, honestly) to believe we're just helpless vessels through which some greater storytelling force speaks, but that's not the case at all. There's no magical entity pulling the strings beyond your control. If your character does X and you wanted them to do Y, you did that, not your character. If your happy meet-cute turns into a tragic horror, you did that, not your story. You're the writer, and you're in control of everything that does or does not happen in your story.

Does It Make the Story Better? - Human brains are incredible things, and sometimes when your character does X when you intended for them to do Y, it's because some part of your brain realizes that's the better choice. Maybe it's more believable or more natural. Maybe it just works better with what you're laying out. Maybe it's just more interesting. So, the trick is to look at the unintended thing that happened and ask yourself if it makes the story better. Make a list of pros and cons... what are the ways the story is better if you stick with X rather than Y. What are the ways it's worse? Ultimately, if the change truly makes the story better, it's worth following through.

Beware of Story Parasites - Parasites are organisms that invade and thrive inside a host organism, at the host organism's expense. When you're writing your WIP and it takes a massive shift in tone, genre, or direction, sometimes that's because a whole new story idea has bullied its way into this one and is now feeding off this story to survive. If the unintended thing doesn't make the story better and leaves you feeling upset about the direction things are heading, you've probably got a story parasite. In which case, the best thing you can do is write the idea down as generally as possible, and set it aside to work on another time. Treating this invasive idea as something distinct from your WIP can help you move on and keep your story on its intended path.

What To Do When the Change Has to Stay - Very rarely, you may find that story's original direction just isn't working, and that this new (and vastly different) direction makes for a much better story. In that case--if you're absolutely certain this is the right path--it's worth making a list of all the reasons this idea will be better. Try to imagine what the story will be like if you stick with the original plan, versus if you make the drastic change. Can you think of anything that excites you about this new idea? Can you find reassurance in the many ways that this story shines versus the original idea?

Ultimately, It's Up to You - If your story takes an unexpected and upsetting turn, and you're certain it's the superior course, and that there's no point in pursuing the story's original path instead, it's worth really taking a look at why it's so upsetting if it's the right thing to do. If you're disappointed that your original plan didn't work out, spend some time trying to figure out how to make the original plan work better than the new idea. If you're upset because this idea is too personal or triggering, set it aside and see if you can come back to it later. You're not obligated to keep working on a story if it shifts in a direction that makes you unhappy or uncomfortable. You can set it aside or figure out a way to keep it in your comfort zone.

I hope that helps!

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I’ve been writing seriously for over 30 years and love to share what I’ve learned. Have a writing question? My inbox is always open!

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Do other writers ever get this like, hyper-specific dialogue exchange drop into their brains and you know exactly where these character are standing and what they’re doing and how they’re saying these words but that’s all you get. You don’t have much other context and this specific moment that exists only at this time in your headspace??

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bella was lucky she didn’t have a cell phone of any kind because you know ya boi edward would be blowing up that phone 24-7 going “saw a snail today…. effervescent” or some shit equivalent

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"i didn't like it" and "I think it wasn't well written" are different. i can personally dislike things that are not bad and i am being so brave about it

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If a worker who isn't the owner says ANYTHING similar to "I'm not really supposed to do this but-" and then does something that helps you, under no circumstances inform the business, including through reviews. You tell them that the worker was polite, professional, the very model of customer service and why you like to go there. You do not breathe a word of the rulebreaking.

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Height gap romance except the shorter one is frequently depicted in situations where they are contextually taller. The taller one sitting while the shorter one looms over them. Both of them lying in bed with the taller one’s head pressed to the shorter one’s chest. The shorter one straddling the taller one’s lap and leaning down for a kiss. The taller one on their knees as the shorter one tilts their head up. Please, it makes me go feral

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Brief Guide for Star Wars Writers

DC-15A Rifle:

Used for formal events and ceremonies, and as a sniper rifle in the field.

DC-15A Carbine:

A short rifle used in most combat situations during the early days of the Clone Wars.

DC-15S Rifle Carbine:

A stretched out version of the '15A Carbine, easier to hold and to aim. Patented in the middle of the clone wars and afterwards saw widespread distribution throughout the GAR.

DC-17 Hand Blaster:

Small pistols, typically dual-wielded, but some clones (like Commander Gree) carried only one. Versatile and lighter and better suited to small spaces than the DC-15 series weaponry, at the cost of a shorter range of fire.

Z-6 Rotary Cannon:

A Big Fucking Gun (TM), heavy and unwieldy, especially unsuited for close range. Best for large scale battles in wide open areas, such as Umbara before the jungle. Used by clone heavy gunners like Hevy and Hardcase (pictured above). Does not have a stun setting like the DC series weapons do.

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My only criticism of clone wars is that they haven't hurt Kenobi enough.

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learning that apparently several hundred people have been pronouncing 'miette' as 'mighty' has actively worsened my day