Upon logging into Facepunch, one grim and darkened day
I found the forum I once knew had all but gone away.
Migrated to a new design, VBulletin dethroned
And though the site no longer crashed we all still bitched and moaned
~~ WHAT IS THIS? ~~
Over the years, Facepunch has seen a whole bunch of threads dedicated to writing and writers. All of them died within fucking days, because there are way fewer writers on this website than there are artists. But since writing's one of the few creative things I do with my free time, I thought I'd try to resurrect this genre of thread with our arrival on Newpunch and give it another shot.
~~ OH SHIT, I'M A PERSON WHO WRITES THINGS. WHAT DO I DO NOW? ~~
Post some fucking writing, or talk about writing, or ask for help about stuff - even if people aren't professionals, anyone who's written anything for a while will have picked up a thing or two they could share. Try to join in regularly, because like all creative threads they tend to die otherwise.
~~ WHY SHOULD I BOTHER DOING ANYTHING? ~~
You want some motivation? Everyone wants some motivation. Once I get a feel for how many people will (or won't) be contributing to this thread, I'll see about setting up a reoccurring contest! With a prize! What will the prize be? Fuck if I know! Maybe it'll be a video game, maybe just cold hard CA$H. Either way, I'll try and make it worth people's time (... do... do we still have a community fund? That'd be nice to use...)
The contest will be to write something of a set length (e.g. 5k words) on a specific topic à la Reddit's WritingPrompts. The judging will either be done by me, or via poll in this forum or General Discussion (if I can clear that with a mod). This'll be organized a week or two after this thread goes up, again, to judge who'd be interested in it.
~~ HOW DO I SHARE MY WORK ON THIS STUPID WEBSITE? ~~
Well here's the good news! With Newpunch, you can upload word documents and link them directly in your posts (Those aren't temp files, right?)! Sure, people will have to download them to view, but it beats hosting it on an external site. Or maybe you want to upload it to google docs! Or dropbox! I'm not your goddamn mother, you do what you want! If something's short enough, you can probably just copy it directly into your post. Maybe mess with quotes so it doesn't take up the whole page, but idk if quotes work like that nowadays.
And hey, to get things started, here's a sample of the prologue for a stupid fucking sci-fi book I wrote a while back that maybe, possibly, who-fucking-knows-it's-still-in-the-submission-phase might get published by real publishing people! It PHYSICALLY HURTS ME to read, which is a reminder that unless you're a psychopath you will never, ever like anything you've made that's more than a few months old. Of course, it could genuinely be shit - but there's only one way to find out.
So go on, share your stuff. Criticize, complain and prototype your writing. It'll be fun. Or torture! We'll find out.
This is a great idea for a thread; I can't wait to see all the stuff written by fellow FP'ers
I have an ongoing series that I've mostly been doing to get better at writing. Here's a link to the first part
and the next part of the series that I'm currently working on
Leave any criticisms and whatnot. I'm dying for them
Also this is a cool idea for a thread, hope to see more from you guys.
Very nice! I like that you've got a consistent playground/universe to practice and improve in, as imo getting better involves being weird with your plots (I can safely say that yours is the first "Hunt Down the Freeman" fanfiction cameo I have seen, and perhaps will ever see). I can tell the difference between the stuff you've done at the beginning and the stuff you're doing now, even though there's only a few months between them.
One of the things I'd work on is formatting - again, you've already made some improvements over your earlier stuff, but focus on readability. One of the strange things I've learned is that a lot of the time presentation doesn't just change how a piece looks, it can completely change the flow of how it's read. It can be considered a stylistic choice to include tabs at the beginning of new lines (plus I don't know if the website you're using supports them, some don't seem to), but there's a big reason why most people use them - it draws a line in the reader's brain between different chunks of context. Seeing as you use lots of dialogue pressed together, tabs would help the reader jump between the characters much more fluidly. For some reason it works better than just a newline.
Another thing you could change is something I got caught up on a lot when I first started writing really long pieces - almost always add which character is talking for each line of dialogue, even when it's two people talking in order and you think people should be able to tell. From the stuff I've written and shown to people, they weren't able to keep track of which character was speaking even when it was in short chunks. Even an 'I said', 'He said', 'She announced' etc adds context and helps. Occasional lone lines of dialogue are fine, but more than two in a row seem to cause problems for readers.
Aside from that, you tend to repeat words a bit too often (i.e. starting two sentences in a row in the same way, though that can be used sometimes as a literary device). Everything else is about plot structure, dialogue, grammar/comma usage etc. but every single author is constantly working on that so I wouldn't be too concerned. Just read books you like and take mental notes about how it's all constructed to help you get better at that. Keep doing what you're doing - you've improved a lot so far, so as long as you keep changing things up every so often you should keep doing so. Good work!
Thanks so much!
Ah, I was hoping a thread like this was in here.
I can't wait to see what you guys post!
I'm currently suffering from too many ideas and taking on too many projects.
Though the main thing I've been wanting to work on is Solar Winds, my sci-fi universe.
at all times i'm stuck in a perpetual writer's block but sometimes i get bursts of creativity and write shit
i'm currently trying, for the third time, to write up a full fantasy universe, after a botched and horribly flat first attempt and a semi-decent but too heavily-inspired second attempt (that also had an unfinished novel, too, which isn't actually that well written in hindsight)
i also tried to, more recently, write a Warcraft-based story for one of my characters because i felt the need to justify her existence but ended up cutting that short just as quickly. i'll hyperlink it here in case anyone wants to take a gander at it
if any of you do care to read into either of the stories, i'd love to hear some tips on either improving my pacing, writing style or finding a way to get out of a creative block xoxo
Aaayyy I've been contemplating making a thread like this for a long time, but I never had the confidence to do it. Might as well shill talk about stuff I'm working on:
I have about fifty concurrent universes/plots stored in my head, but I've been working on three in particular.
One is an alt-history thing set in the midst of World War II, except in this timeline the moon follows a north-south orbit so the arctics are not completely frozen. Thus, Antarctica is a nation-state inhabited by another species of [url=What Happened to the Hominids Who May Have Been Smarter Than Us?..]homo (who happen to possess physical features that make them easily identifiable)[/url]. Colonialism almost completely fell through during the 1860s, so the European Allied powers and, to a much smaller extent, the United States lack the material support, ports, safe transport routes, and auxiliary personnel provided by their ex-vassals. Hitler is more partial to the advice of his generals and field marshals, so he never makes many of the mistakes that lost him the war. Additionally, he and Stalin manage to set aside their ideological differences and enter an expedient logistical alliance—the two support each other's exploits on opposite ends of the Earth. Hitler's conquests begin in 1936 after the Berlin Olympics are bombed by Jews (and probably Antarcticans, according to German investigators). He twists the event into a casus belli; Western Europe does not act against him until much later than in reality because they, too, were affected by the bombings and find Hitler's actions to be righteous.
Computer science and radar technology became prominent toward the end of World War I; mathematics (especially calculus, regression, and probability theory) similarly evolved at an accelerated rate. In the 1920s, an American supercomputer combined with an OTH radar array predicted the path of a hurricane and saved thousands of lives. By the time the plot begins (May 3rd, 1943), mainland Europe has become practically impenetrable thanks to the presence of similar radar and computing systems as well as the lack of an Eastern Front. The Soviets and Japanese work (although a line of contention still exists between them, Germany encourages cooperation between the two states) to swallow East Asia and the Pacific while the Germans and Italians work to engulf Africa and the Middle East.
The United Kingdom and America suffer from severely diminished navies after multiple major incidents and now work tirelessly to rebuild them:
The Americans, who were lead by an embattled Garner administration, practically threw away their foothold in the Pacific as an emboldened Japan made its rounds along the Ring of Fire. It was not until the Japanese took the Philippines in 1940 that the United States began to take action against them. This led to a full scale invasion of Hawaii in late 1940 (the human error that allowed the real attack to go unnoticed still occurs). The invasion succeeded due to the Soviet Union's logistical support and the use of Siberian reserves to aid in the landings. Much of the U.S. Pacific Fleet is either destroyed or captured. The United States was forced to route ships from the Atlantic to protect the Pacific Coast. Hitler used this as an opportunity to further eliminate America's fighting capacity with an extremely aggressive submarine campaign and the leveraging of Argentinian (who are Axis-aligned) ports and intelligence. Since that series of attacks, Japanese and German vessels have been able to act almost completely unimpeded in the Western Hemisphere, and American ship construction efforts are constantly set back by attacks on ports and naval factories. America has resorted to reconstructing their navy inland (think around Baltimore, where the infrastructure to construct warships does not exist) and heavily mining their waters.
The United Kingdom did not declare war on the Tripartite (or, in this case, Quadripartite) Pact until 1938/39 (haven't worked out this part of the timeline precisely) when the Nazis invaded France and Luxembourg. Since Britain lost most of its territorial claims in the 1800s and thus lacked a reason to maintain a strong navy for nearly one hundred years, its fleets were already reduced and relatively outdated, and what remained of them were concentrated within the English Channel. Italy, Germany, Belgium, and the Netherlands launched a major surprise attack (exploiting Belgium's "friendly" relations with the U.K.) against British ports and managed to annihilate a significant portion of their fleet. Belgium and the Netherlands participated in the attacks to guarantee their independence and "neutrality." They abandoned the West because of Britain's lackluster support and dismissive diplomacy.
By 1943, the world is at a stalemate. An Allied invasion of the Eastern Hemisphere is impossible, but Britain and America are similarly impenetrable due to the deficit in offensive versus defensive wartime technologies. The Allies are composed of many African and Asian states that were drawn into the war by Axis invasions, the United States, the United Kingdom, Canada, a few nominally participant South American states, and Sain (pronounced sine), the nation that controls Antarctica.
While the other Allied nations desperately hold out against the advantaged Axis forces, Sain remains untouched. The Antarctican archipelago is encircled by a forty-mile thick ring of ice that no navies know how to bypass (Their flag is styled after this ring. It is actually my avatar background. :funny:). It is the invulnerability of the Antarcticans, as well as their biological status and past actions, that makes them the most elusive and hated peoples on Earth. World powers have attempted to breach the ring since the dawn of colonialism, yet none have succeeded. The Antarctican people are the only people on Earth who possess black hair or grey eyes (not even the Japanese or blacks have such features in this timeline); these phenotypical qualities, along with the fact that they cannot reproduce with humans, renders them the easily stigmatized and persecuted (or renders them exotic/attractive/feared/mysterious/etc). All of this is compounded by an event toward the end of World War I that cemented them as demons in the collective consciousness of humanity:
Although they had not previously participated in the Great War aside from announcing their support for the United States, Sain gained infamy the world over when it launched a series of simultaneous surprise air raids upon the capital cities of the Central Powers (date tbd), killing a little over 1.2 million people (mostly civilians) and drawing the war to a premature conclusion. After the armistice was signed, Sain was offered a significant position at the bargaining table only to refuse participating in negotiations.
By 1943, Sain mainly supports the Allied war effort by providing technology (which was superior in World War I and remains superior now) to the United States and weapons to the British. Few have ever so much as seen photographs of what lies within the ring, let alone know what Sain's true military and technological capabilities are like. Hitler despises the Antarcticans perhaps more than the Jews because of their involvement in the Great War and their (supposed) involvement in the Olympic bombings, but he believes that they lack resources and the logistical capabilities to pose a direct threat. He thinks their ring imprisons them. He does, however, fear the technological trade between them and the United States, and he (along with his cronies) work tirelessly to steal any relevant secrets.
During the first act of the plot (which belongs to a graphic novel/comic/mango, so I don't have anything in way of documents to provide until I improve my artistic skills), Antarctica is a distant echo resonating from the background.
The story itself begins with an Austrian scientist who has been exiled to the city of Leuven in Belgium because of his black hair (although he has blue eyes, so he is often referred to as an "impossibility"). He is somewhat famous among the intelligentsia of Europe for his (theoretical) proof of fission in 1936 (occurred in 1938 in reality) and his work in computer science. He looks up from his desk while working on some unspecified paper, sees a twinkle in the sky, bursts out of his apartment, and begins sprinting toward a bunker. He stops himself when his eye catches upon a young girl riding the shoulders of a soldier handing out morning rations to a crowd (Belgium and the Netherlands rely upon food imports from Germany, who intentionally limits supply.) Cut to black, blah blah blah, we the most important bits of what I just explained (mostly about the moon changing orbit, the bombing of the Olympics, and the major events in the war so far) compressed into a bunch of wordless panels separated by very concise black pages containing exposition, and then there's a title drop. We regress several hours to follow the day of the soldier who was carrying the girl on his shoulders (who's actually his sister). We introduce his comrades, some of which will be relatively significant side characters, and we establish him as a fairly nationalistic (running theme among many characters, good and bad), idealistic young man. His friend tries to hook him up by having him write his details down on ration packages (which we find are German because of their peculiar decals). They go to hand out rations, the soldier meets with his sister (who is well known an adored among that particular unit). They mess about and do their morning duties, but the scientist runs up to them and begins yelling about the bomb. The soldiers (and civilians) look to the air and see nothing. The scientist points out the twinkle, and a few people disregard it as a plane. Someone points out that the mark upon the sky is too high or too small to be a plane. The scientist gives up on the crowd and starts off for the bunker again. The soldier (the one with a sister) looks up at the sky for a moment longer while everyone ignores or discusses it and then begins walking off for the bunker (along with a others astute civilians) while carrying his sister. An explosion rocks the city, and he begins running. He spots the bunker, but a building adjacent to him is struck and he is knocked down by a hail of shrapnel.
I have much more to write about this, but I think here is a good stopping point. I'd rather gauge people's interest before I spend another three-something hours writing. I also have those other two things I'm working on, but I think they're a lot more difficult to talk about.
If my tense is broken (lots of past perfect/past because I'm talking about the events leading up to something that already happened in [our] past), well, it's five in the morning.
I will write ten thousand lines of exposition to keep this thread alive.
Hey guys. I mostly do free writes with a bunch of characters I made up that I consider blueprints for possible comics. I feel like I need practice with descriptions though. Anyone got any tips on how much detail should go into describing a setting, person, or thing? Does it heavily matter on importance? I'd like to get better at this to write something more fleshed out sometime.
Well looking at your more recent stuff, I can tell that your actual prose is pretty good. I'd say you have a habit of moving very quickly through the plot, with lots of very short paragraphs and quick dialogue, but that can be justified if you're doing a shorter piece. One thing I'd pick out is that you don't have much scene setting - again, you're rather dialogue focused, without many paragraphs adding context to the world your people are moving through. This can be stylistic ofc, but breaking up segments of talking with some longer detail about the world probably wouldn't go amiss - so long as the detail serves to make some larger point (e.g. peppering the first few chapters of a book with details about how poor a village is, to then unveil much later catacomb underneath it filled with gold that people go nuts over etc would serve to tie the broad, sparse 'fluff' paragraphs with a major plot point).
As for writer's block, fuck if I know. I tend to get totally obsessed with something for a while and then leave it alone for a year, only to go back to it and hate everything about it. That usually leads to a near-complete re-write, where I can actually bear to read the thing. Otherwise, I just sit down and force myself to do something. I also sometimes jump ahead a few chapters and write the draft of a section that I'm more interested in doing, which makes writing the connective tissue between the bits much easier. I tend to only have a rough plan with the longer things I write, so improvisation also lends a hand in keeping me going forwards - it's more fun to go kinda random and off the wall on the first draft, then tidy it up when you do your second pass over it all. At least, that's my two cents.
argh cant quote partial stuff
thank you so much for the tips, though, jcorp; i'm sure to use them if i'm ever going to write something big anytime soon
Thanks for making this thread. I was beginning to think FP was somehow devoid of a writing community. Anyone here happen to write a bit of creative non-fiction?
sometimes i considered writing something that isn't a fantasy story, a sci-fi screenplay or something inbetween
i never get any good ideas for it, though, and it's even worse when my brain goes "hey dude what if you write something in german"
Whenever I try writing anything that's non-fiction, it always starts off okay but quickly descends into an absurdist's nightmare I always have a problem with grounding things more heavily in reality, the urge to make things weird is too great.
I like the fact that you've got a good grasp on the events in your alternate history - a lot of the time people tend to write just straight-up fiction where anything goes, but as that whole genre is supposed to be very realistic and focused on the consequences of historical changes it kinda goes off the rails. You've clearly got a strong hold on the real-world history, so I reckon you're onto a winner there.
Currently taking a composition class for college, but once I'm done with that I can get back to writing. I have quite a few stories in the works, some of which are pretty damn old.
This was the beginning of 2012's NaNoWriMo, I got 27 pages in.
Created this in 2013, based on prompts from /tg/. The original thread is out there in archives.
I wrote this sometime in 2013 while drunk, just a short story.
Fucking Magic is Fucking Real
Wrote this in October 2014, more of a sci-fi piece.
This was another NaNoWriMo, probably 2014. I've added to it since, sitting at 27 pages. Follows a space bounty hunter, so I started with a western feel, though I think I kinda lost the theme further in.
This one was NaNoWriMo 2015, and by far the most I've contributed to a story. It's a cyberpunk story that follows three different people: a head of security, a regular employee, and a shadowrun-esque runner.
I started this one on a bus in Kuwait on my phone last year.
I don't really create an outline or anything, my workflow is more of just creating a setting and some people, and putting them in situations and kinda seeing how it evolves. Makes me worried that my stories feel aimless, but at this point I just need to get my thoughts down on paper and edit later. Every link is open for comments, so critiques are very welcome.
Honestly all of these are pretty great, especially that alt-ww2 that MIR's doing. Make mine seem kinda small in comparison.
I have a few short stories I wrote for an in-game writing contest (EVE Online).
Katsumoto's Writing Corner
I enjoy creative writing, even if it's only to blow off steam. I still have a lot to learn if I am ever going to do writing somewhat seriously. I always tend to be a little too verbose, and learning to break bad habits to say something meaningful with fewer words has proven to be a challenge.
To me, less tends to be more. Overdoing it with frivolous details can put the reader off.
Try to keep it as lean as possible at the start. Your goal is to draw in the audience with a solid hook. You can always flesh out a character later, but keeping someone invested is hard when you present a lot at the top.
Do your best to stay away from prose. Reveal character through action, not monologue. Don't tell me who they are, show me who they are!
Here's a personal essay I wrote last year. I can tell everyone else is a fiction writer so I know this will be F U N. Anyway, I may post another I'm working on right now just as soon as I've given it the once-over.
Do not write walking plot contrivances. Write people. Pull from your own relationships or observations of interesting people in real life.
Make a functioning psychology for your characters. If you mark down a goal or motive they have, then explain why it exists. Connect everything together. Humans have very holistic minds, and that's why we're multidimensional.
Go into as much detail as possible, but avoid making lists. When you start to boil your character down to "5'7", black hair, likes cats, etc." you'll begin to lose focus.
If you're writing a comic, I don't think it's necessary to describe a character or a setting since the visuals will do that. If you're writing in prose, then it's important not to just up and drop fifty lines about how a character looks the second you introduce them or have them stand in front of a mirror for the convenience of describing them. Slowly fill in their details through contextualized situations (another character touches their soft cheeks or whatever), but let the reader's imagination do its share of the work, too. Basically, never turn a paragraph into an intelligence dossier on one of your characters unless you're actually introducing them through a dossier. Leaving some details out can allow your reader to fill them in with traits that will allow them to grow closer to your character.
The setting is another story (hah). If you're writing an extremely long hard science fiction epic, then there are times when the setting deserves a page or ten. If you're writing a character focused literary drama, then the setting should probably set the mood and act as a device. But not all sci-fi epics need to have cold, long descriptions of environments and some character dramas do rely a lot upon the environment, so it's up to you to choose how to describe a scene. The only rule that applies to addressing an environment is to keep your pacing, and the best way to do that is to track the selective attentions of your characters or the "speed" of a moment. If your character is caught in a battle, then they won't stop to admire the beauty of the watery globe upon which their dance with death is silhouetted, so do not break pace to write a paragraph about it (kinda fits into "show, don't tell" as well. Provide imagery, not direct metaphors). If a character is sitting around at the end of the battle having a nice PTSD moment, then focus on the emotional imagery of that planet. If the character is sitting around having a nice dinner in the space restaurant above the planet, then you can have your tangential exposition about the geopolitical role of the blue globe rice farmer people or what have you.
If you're talking about writing a world in general and not stuffing it into your prose, then I'd say the best way to go is to construct a complete world. World building is what makes series like Star Trek, Star Wars, the Lord of the Rings, Harry Potter, and whatnot feel so complete and grand. People love to bite into huge, fleshed out worlds. Build a world, and then formulate a plot within it. If your story is set within reality, then you should still build the characters' "world": a system of logic that dictates how they all interact and how their environment affects them. If you build a plot first and then contrive a setting around it, everything feels artificial. The natural world was here long before we were, so our lives already have a well established background. Imagine how fucked up it'd be if we lived in a void until the mechanisms of reality got around to constructing a makeshift world for us to live on.
If you need inspiration, then I'd say you should think of the images, (somatic) feelings, and memories that mesmerize you the most. You could also listen to music and allow your mind to construct something. I've never, ever just "formulated" a story or world by myself like some kind of generational algorithm. Ex nihilo nihil fit. You must find a locus, an essence, or a starting point, and then expand and expound upon it.
I should post my trash hamburger land short story when I get home.
Good god, that was amazing. Emotional, poignant and intelligent. An absolutely wonderful job, and I recommend anyone browsing this thread to give that a read.
In fact, that's given me an idea to add some sort of collection to the OP, a kind of 'library' thing to put high-quality finished works. I'll see if I can think of an appropriate way of doing that without cluttering the post.
Can't knock something that's real. You have a great talent for introspective, sentimental writing. You meshed the narrative portions with your own thoughts very well, and you understand pacing as intimately as a musician. There were only a few cases of word choice ("using dissections") and comma placement (commas that must go after parenthetical descriptive elements) that caught my eye, but that's just unimportant, stiff semantics that even professional writers forget or choose to forgo.
I very much enjoyed that, you've a rather elegant way with sentences and structure. The plot was very engaging - again, the fact you've got a clear grasp of your world is self-evident. I'd definitely egg you on to do more. The formatting was a bit strange, but it grew on me a bit as I read it.
I might as well throw my current WIP into the ring as well - coarse and unedited, but I suppose that's the whole point. It's the prologue to the 'sequel' of my other book, but only in that it's set in the same universe. The first book was a kind of slightly depressed, existentialist comedy, whereas this new one is a little darker by way of being very separated from the original events.
Ouroboros Sample - Facepunch.docx
Here's a general summary of the universe, and the ideas behind Ouroboros (sans main character details, I want to work on that a bit more before pushing that out);
It is the future, and that's just about all that anyone can agree on. Much to the embarrassment of Historians the precise date has been lost, and nobody knows quite which sofa cushion it's slipped behind. Safe to say, Humanity has spent 99% of its existence out in the stars, and everyone's become rather tired of it all. Every possible science-fiction scenario has come and gone, technologies and trends drifting in and out of the public consciousness like an ever-sweeping wind. Yet society itself is preserved - ideas, genetics and organizations being frozen in place by a hivemind of Galactic Governors, the chopped up brains of politicians finally removing personal ambition from the whole process of Government. While the Human empire has no official title - and indeed, due to the lack of aliens, no competition - it has come to be known as the 'Network'; the name of the underlying infrastructure that binds the planets to each other. Vast subspace, data and Shuttle Jump links allow the Human race to, more or less, act as a single entity.
"And everything was basically fine, except for when it wasn't."
In the rarest of circumstances, that of planets falling into total anarchy, diseased infestation or just plain bad manners, the second-most extreme option may be employed - total planetary Quarantine. Severed from the Network, no ships within a Quarantined system can travel faster-than-light: the residents are trapped, unable to spread themselves to the rest of the galaxy. Such is the case on the planet Erabus, a name which someone at some point must have thought was rather clever. Erabus has been alone for the better part of ten thousand years, and has indulged in the hobby of total global warfare in order to stave off the boredom. The bulk of the fighting is centered around or about Utopia - a passage into the planet's core where, so they say, you can find raw Happiness. Certainly, those who enter the tunnel never seem to return...
Amid an uneasy ceasefire between two countries (the kind that emerges when both sides have run out of ammo), an assassination sets off a series of nasty discoveries. Someone is trying to crack open Utopia, and they're willing to go to the deadly, frozen arctic wastes to do it.
I'll probably be slugging away at that over the next six months to a year, in the background of real life and the other things I tend to wind up spending my time on.
I'm looking forward to posting and reading in this thread.
Here's the garbage story called Burgerland.
Here's the second draft of the factions for Solar Winds.
I'm proud of my garbage, not so much Solar Winds but I want to keep working on it because I love the concept.
I'm about 117 pages deep in a story I'm writing and I feel it'll cap off at around 200 pages if I can ever find the motivation to start writing again and get through this next chapter.
How do you guys typically write? I tend to spend a good two months working away at it before taking several months off to think up new ideas and structure.
in my case it varies: Sometimes I get bursts of creativity and need to write something as fast as possible while at other times, I only end up feeling like writing up a scenario -- a setting, so to say, whether in the form of something that could happen in real life, in a pre-existing universe, or a completely new and made-up one on the spot. When it comes to writing stories, I've only put actual effort into two (although I RP a lot, which probably explains my need to be concise and fast-moving with the story). In the former case, my first story, I've only started writing because I felt it'd be really nice practice -- it was november, and a friend of mine sent me a link to the whole National Novel Writing Month stuff.
I ended up writing ~21 thousand words before giving up two weeks(?) in.
My second story didn't last as long, either. It was designed as a character backstory for something far too elaborate to exist in the Warcraft universe, and I felt the need to justify it. On top of that, I thought it'd make for a good story!
I ended up getting bored of the character itself after realizing there's no RP-potential, and in turn also stopped writing the story.
All in all, I'm fickle and will write when I feel like it, preparation or not.
Yeah, I really get into writing something down super fast when writing CF. I really want to get an certain idea down on the spot, even if it feels flawed sometimes.
I've been getting better so far, but A03 has some weird way to keep it all organized, like with html stuff and what not.
But I really like writing my stuff so far. I really like making my own universe and filling with stuff while still making sense. I like making characters that one would not normally see in other works. It's tons of fun.
Even writing in Mitchell from Hunt Down the Freeman is fun. I mostly did it just to see if I could actually flesh him out into a competent character.
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