It's been a long time since I've done one of these, but stuck at home, hopped up on hours after taking Sudafed and barely conscious a little drowsy seems like the perfect time to start one that I've been meaning to do. This is going to be out of order from my original intent, but that's fine. These core concepts are core for a reason. I'm going to start with Character first because it's what I've been working more on lately than anything else.

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This is a story by Minds Eye, one of my followers and friends here on FIMFiction. He's been helping me to proofread and conceptualize my stories, acting as a sounding board for some of my sillier ideas and helping immeasurably with the quality of The Secret Lives of Doors. I was happy to do the proofreading and create a bit of cobbled together cover art for his story.

I Chose You

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What makes a good story hook? This is a good question. But first, what is a story hook? Also, thank you ZodiacSpear for suggesting this one.

A story hook is what's used to get your reader invested past the first few scenes of your story or, in the case of shorter fictions, the first few paragraphs.

A good hook should do several things, all at once, but in order of precedence, let's look at them.

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So, I just finished watching the finale. I've still got tears on my cheeks from the joy I felt during that last song. So much world building. So much confirmation of my ideas, so many more ideas to come. Just... So much awesome.

Okay... Calm down. Where to start?

Disclaimer: These are all off the cuff spewing out of thoughts after immediately finishing the finale. In other words, they will be changing. How much depends on what.

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Many types of magic exist. This blog will focus on the most basic three, what I call the Primal magics. These magics are those that are inborn and ingrained in every pony from birth onwards. They are elemental magic, dealing with the most basic forces of the world (borrowed from Ancient Greece.)

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Okay. This is going to be super-long. Close on to 4000 words. You have been warned. This is a seemingly simple concept with a lot of deeper implications to the flow of a story. Plus, the examples aren't exactly short either, but serve, I think, to demonstrate the point. This took me about 5 days to write.

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First off, I'd like to thank SirTruffles for suggesting this one.

Okay, so what is a Consecutive Action Overload? How better to explain than to show an example?

She twirled the fork in the spaghetti and looked across the table to her dinner partner. Lifting the fork, careful to not let any of the noodles slip off the end, she brought it to her mouth and slipped the noodles off.

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So... This kind of a topic. As I said in my last blog, I've been reading a lot of craft literature. One of the books I picked up was a book that went over the theory of telling vs. showing and gave lots of examples of both and why they do and don't work. Also, this is going to be a somewhat long blog entry. The story is tagged because it's what inspired this blog post and what I continue to work on.

So. First thing's first. What's telling?

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Okay, so I've answered a few questions about this before in PM, so I thought I might as well make a blog post about it.

(Also, to remove the 1400 word story that isn't a story from my user page)

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Alright... So following some thought... a lot of thought about the nature of the second story and it's place within the mythos of the world I'm trying to build, so I wrote a piece of... what is supposed to be a spoken word story passed down by generations. It might not be pretty to read, but it's in a style that I hope conveys a creation style myth passed along for so long only in spoken word form. So... Here goes. The Creation Myth passed down through generation upon generation of ponies

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