Hi all,

I'm writing this because recently I have been occupied with personal work and writing original stories, and I haven't had as much time to interact with the Fimfiction community. I want to do what I can to help throw a little more fuel into the Reviewer's Mansion Halloween Contest , which has been extended to the end of November.

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Due to editing and rewriting taking more time, the next update for "We Are Dragons" will be delayed for about 2-3 weeks.

October Edit: This didn't age well.

Below I have linked the first chapter of a story that came to me in a dream. Set in the fictional city of Santa Josina, two girls are swept up in a battle between angels and demons. I wanted to post the synopsis and first chapter to get a feel for whether this idea is something readers would be interested in.

Description:

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This lesson is going to be a little different as it’ll consist of more technical examples or demonstrations rather than the usual explanations. We will begin with a general overview and some statements on goals and focus, but for the most part, this lesson is going to focus on tools you can use for outlining. 

Discovery Writers vs Outliners

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No time for introductions, we’re getting right into the swing of things from where we left off from part one.

Our Orcs Are Different

The “Our Orcs Are Different” trope highlights that in fantasy media, orcs have become kind of a staple fictional race, sarcastically calling them “different” when in reality, the audience kind of already knows an orc when they see one. 

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Worldbuilding is the least important part of storytelling compared to characters and plot. 

That might surprise some people, especially when we consider some of the most successful books and media that have come out in the past few decades. Harry Potter, Avatar the Last Airbender, Hunger Games, Maze Runner, Dune, the Witcher, Zootopia, Beastars, Marvel’s Loki, Arcane, Hilda, and so many other books and shows that have been wildly successful also happen to have incredibly compelling worlds.

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A lot of times when I see people asking questions about their plots, it’s because they lack a clear endpoint or guiding line that can help them orient themselves towards what the story needs from them. So, I’m going to try my best to break down some of the basic principles that can help you maintain clarity in your workflow at every stage of the story. 

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And here we come to one of the big questions we often ask ourselves as writers. “How do I make people interested in my character?” And that’s the million-dollar question, isn’t it? Before our readers can become deeply invested in the lore of our worlds, or get on the plot train and ride it out to the ends of Mordor, they have to care about the people involved.

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I want to ease us into the next segment of our lessons, which will be on characters, plot, and settings. Each one of these story elements affects our stories in its own complicated way, and there’s a lot more that can be said about them than what I will be covering. So for now, I wanted to help shorten the next few lessons by touching upon some common ways that writers should approach any of these. 

Where to start? (And why it should be characters)

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If you think you already know what themes are present in your writing, and that you know how to clearly convey the meaning of your themes, I can guarantee that you don’t. No! Wait! Don’t write your hateful comments, at least not yet. There’s still a lot more to come.

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