... and kyr pwns.

[insert some awesome crap here about what awesome crap i write]

5 notes

things my viewer/reader self would ask from my writer self


  • don’t go with your first idea: it’s the most obvious one. think of more creative solutions.
  • challenge my beliefs and respect my intelligence. don’t force a message on me; ask me questions and point me toward answers if you wish, but let me draw my own conclusions in the end.
  • recognize the point of view from which you’re writing. don’t pretend you don’t have a bias, but please look outside of it! consider other points of view that might need telling too.
  • tropes aren’t inherently bad, but turn them on their head sometimes. bring something new to the table. (this can help with that first bullet up there. everyone has come to expect certain stereotypes: there’s creative potential to mine by breaking out of those). addendum — one trope I’d really love to see broken, personally, is “religion is hokey and imaginary, let’s make fun of it”
  • characters inform story. world informs characters.
  • by all means use romance in the story but please for the love of odin do not make romance the story. especially the lady’s story. do feel free to make friendships and family relationships the story though. esp if ladies are involved.

that’s all for now, I’ll think of more to add :D

24 notes


Flash Fiction Prompt: Cyber Companion

Write a story about a humanoid robot who has some sort of relationship with a person. This could be from the robot’s perspective or the human.

  • Did the person purchase the robot? Or did they meet?
  • Is the robot a cyborg or android? Is it part human or 100% A.I.?
  • What is the nature of their relationship? Are they a companion, a servant, a lover, a body guard, a trainer?

(If you need more info on the challenge please visit Writrs #4xF FAQ or www.fourbyflash.com)

Image source: Robots vs People Perspective

(via kinsara)

56,445 notes






100 Roleplay Scenarios!

Here’s How It Works!

  1. You and your RP group elect one RPer to roll the 100-sided dice. If you can’t decide, just go in alphabetical order of your tumblr roleplay blog usernames. Don’t worry, everyone will get a turn. (If you change your name to get ahead, you will be skipped over until the next time they get to your name. No excuses. Fair is fair).
  2.  Rolling the dice is easy: you go to this site, select “100” from the drop down list for number of sides, “1” for number of dice to roll and “1” for number of rolls. You are only allowed to roll once.
  3. Whatever number comes up, you look up the corresponding number on the scenario list above and figure out a way for your character to instigate it or introduce it. Be creative. Many of these scenarios are left open-ended and vague so the interpretation is entirely up to you.
  4. Watch the scenario unfold.
  5. Repeat once everyone gets bored/or when you want to heighten the stakes. Make sure you’re communicating with your RP group via OCC chat.
  6. Enjoy! :)

Keep in mind, that this isn’t just for the RPers out there. If any writers or artists are feeling stuck, you can use any of these scenarios as a prompt. Pick and choose or roll the dice and see what comes up.

Happy Imaginative Play!

Note: if Reposting, credit tmnt2k12.tumblr.com as the source. Please and thank you.



I think I’m going to do some of these myself.


(via kinsara)

96,414 notes


So you want to make an OC?: A Masterpost of Ways to Create, Develop, and Make Good OCs!

i made this masterpost in hopes that it helps you in making your own OCs ah;; it can also apply to developing RP characters i suppose! if you’d like to add more resources then go for it sugar pea (´ヮ`)!

How to Write Better OCs:

Character Development:








again, this is to help inspire you or help establish your OCs! i hope you get a lot of info and help from this ahh ( ´ ▽ ` )ノ

(via burdge)

4,657 notes

How to Write a Strong Beginning



1. Don’t open before the beginning.

Mystery author William G. Tapley points out, “Starting before the beginning… means loading up your readers with background information they have no reason to care about.” Don’t dump your backstory—however vital to the plot—into your reader’s lap right away. No one wants to hear someone’s life story the moment after they meet them.

2. Open with characters, preferably the protagonist.

Even the most plot-driven tales inevitably boil down to characters. The personalities that inhabit your stories are what will connect with readers. If you fail to connect with them right off the bat, you can cram all the action you want into your opening, but the intensity and the drama will still fall flat.

3. Open with the hook.

Every story begins with a hook, the first domino, which, when knocked over, starts the chain of dominoes tumbling. This catalyst is the moment your story officially begins, and, presumably, it’s also the first moment of high interest. Use that to your advantage and get right to the point.

4. Open with conflict.

No conflict, no story. Conflict doesn’t always mean nuclear warheads going off, but it does demand that your characters be at odds with someone or something right from the get go. Conflict keeps the pages turning, and turning pages are nowhere more important than in the beginning.

5. Open with movement.

Openings need more than action, they need motion. Motion gives readers a sense of progression and, when necessary, urgency. Whenever possible, open with a scene that allows your characters to keep moving, even if they’re just walking down the street.

6. Open with something that makes the reader ask a question.

Unanswered questions fuel intrigue; intrigue keeps the reader’s interest. If you can present a situation that immediately has your reader asking questions, you’ve significantly upped the odds that he’ll keep reading.

7. Anchor the reader to avoid confusion.

As a caveat to #6, make sure you have your readers asking the right questions. You want to give them enough information so they can ask intelligent, informed questions, not “What the heck is going on here?!” As soon as possible, anchor them with the pertinent facts: who the characters are, what the current dilemma is, etc.

8. Establish the setting.

Modern authors are often shy of opening with description, but a quick, incisive intro of the setting not only serves to ground the reader in the physicality of the story, but also to hook their interest and set the stage. In Worlds of Wonder,David Gerrold explains that opening lines “that hook you immediately into the hero’s dilemma almost always follow the hook with a bit of stage setting” and vice versa.

9. Orient the reader with an “establishing” shot.

Anchoring the reader can often be done best by taking a cue from the movies and opening with an “establishing” shot. If done skillfully, you can present the setting and the characters’ positions in it in as little as a sentence or two.

10. Set the tone.

Because your opening chapter sets the tone for your entire story, you need to give the reader accurate presuppositions about the type of tale he’s going to be reading. Your beginning needs to set the stage for the inevitable denouement—without, of course, giving it away.


Following at least a few of these tips will definitely create a great beginning!

(via elevatortonowhere)

1,635 notes


since everyone’s talkinbout all these different merfolk based aroudn different fish how about

city slicking pigeon harpies

Inuit auk bird harpies with short wings

intelligent crow and raven harpies who discuss poetry and astronomy

indigenous american bird of prey harpies with spears

beautiful Chinese nightingale harpies

flightless penguin harpies with vast fishing economies

duck, crane and stork harpies living in swamp communities


(via elevatortonowhere)

10,650 notes

Ten questions to ask a friend who just read your novel


Found this article. Found it incredibly helpful. Be sure to go read the full story, but these are the ten questions the author (Lydia Netzer) covers in it:

Some of this could be easily adapted into roleplay critiques, though it’s primary use is, of course, novel writing.

(via elevatortonowhere)

3,462 notes

People too often conceive of worldbuilding strictly as background research, asa sort of dry and exhaustive homework. Every tiny and immediate detail in a story can be worldbuilding. Every button and widget can imply or reveal something to the reader. You can replaces pages of deadly boring infodump with a few comments in conversation, a few glances at what people wear or eat or venerate. You shouldn’t think of worldbuilding as something boxed off from the rest of the text. it can be intrinsic with dialogue, description, etc. It’s crucial (and liberating) to realize that every word you put on a page can and should perform multiple duties simultaneously. Description can be worldbuilding. Dialogue can be character development. Messages within messages, revelation within revelation. Also, remember that nobody can follow all these guidelines all the time without exception or flaw. The point is just to keep aiming higher. It’s art as well as craft. Some parts of it you can measure almost scientifically. Some parts are mad whack inscrutable alchemy. But chances are, if you work hard to lay a solid foundation of craft, you’ll strengthen everything that’s more numinous and subjective, too. There is no “one true way” to write anything, nor one true goal in writing/publishing. Treasure beautiful oddballs and weird experiments.
Scott Lynch, author of the Gentlemen Bastards series, on world-building and the craft of writing and publishing, as collated from a series of tweets I woke up to this morning, (via theletterdee)

(Source: kammartinez, via jhwanies)