Read That Marimos Can Get Sick From Receiving Too Much Light, But This Man Of Sunshine Is Only Making

Chapters: 1/1 Fandom: One Piece Rating: General Audiences Warnings: Creator Chose Not To Use Archive Warnings Relationships: Roronoa Zoro/Vinsmoke Sanji, Roronoa Zoro & Vinsmoke Sanji Characters: Roronoa Zoro, Vinsmoke Sanji, Kuina (One Piece), Monkey D. Luffy, Portgas D. Ace, Aka Ashi no Zeff | Red-Leg Zeff Additional Tags: Soulmates, Alternate Universe - Soulmates, POV Alternating Summary:

A soulmate's words on your right arm doesn't always mean something special, or so Zoro and Sanji naively thought.

Blue’s Feathers and Wings Compendium: Atypical Wing Shapes

Part 1 [Standard ]| Part 2 [Atypical] | Feather Markings | Tail Feathers

A compendium of different feather marking types that can be used for inspiration in writing and art; especially if you want to be explicitly clear on the markings and don’t want to just have “striped” or “spotted”.

Disclaimer: I am aware that some of these markings have different names when coming from different birds, and that some of these markings are more artistic than realistic, but this for the fun and benefit of others, not for science.

opens box that reads "i wanna draw again". inside lies a note. the note says, "mental illness and difficult circumstances have taken years of interest, accessibility, and skill away from me. i want to forgive myself for that. i want to heal my relationship to my hobbies. i want to feel connected to something that once made me feel good, but the cyclic discouragement is difficult to overcome." i turn over the note. on the back it reads "wannta drawe sexy bodies awooga"

Worldbuilding with Psychology

I haven’t mentioned this before, but I’m close to graduating with a psychology degree. As I was organizing things to move back in at university, I came across some notes from my Developmental Psych class. Psychologist Urie Bronfenbrenner presented an ecological systems model of child development, which represents a dynamic model of how people develop psychologically depending on their environment. I realized this may be an interesting reference for writers as we consider worldbuilding.

The individual is at the center. Each level interacts with the others and may affect them in different ways and to different degrees at different times. The individual is at the center of the model and has inherent traits which are the result of genetics. The microsystem is the individual’s most immediate surroundings. These are the places and people they come into close contact with on a daily basis, including the home and peer groups. The way microsystems treat the individual influence them, but the behavior of the individual also influences how the microsystems react to them. The mesosystem is essentially comprised of links between microsystems - between home and school, between home and church, between family and peers. Active involvement between microsystems promotes harmony and a sense of like-mindedness. The exosystem consists of linkages between systems that do not directly influence the individual, but do so indirectly by influencing a microsystem. For instance, the parents’ workplaces influences the parents’ behavior in the presence of the individual. The macrosystem consists of more distant influences that still have a significant impact on the individual. These elements often include beliefs, values, and other aspects of culture. For instance, life in a country at war will influence an individual differently than life in a country at peace. The chronosystem simply incorporates the meaningful passage of time. What is in each system, how much it affects an individual, and how can all shift in time.

What does this have to do with worldbuilding?

One can relate Bronfenbrenner’s model to creating a fictional sense of place however one likes, but I’ve drawn some parallels between each level and a corresponding element in worldbuilding. The model looks something like this.

The Protagonist:

The main character (or characters) lies at the center of your worldbuilding. It is through their eyes, or over their shoulder, that the reader experiences the world in which your story is set. A strong sense of place is vital to telling a satisfying tale, and a great deal of it comes down to your protagonists. Like in the original model, the protagonist has certain inborn traits that are a result of nature, but are also influenced by nurture - the other systems, in this case. The world is reflected in the hearts, minds, and behaviors of the people who live in it, and the people are reflected in the world they populate.

The Supporting Cast:

These are the people the protagonists interacts with most, and it’s a two-way street of influence. Their behavior influences the protagonist, but the protagonist affects them as well. You can present a great deal of information about the world through the interactions between characters. The way your protagonist interacts with parents and siblings can reveal family structure and dynamics, and interactions with friends or coworkers can shine light on social classes, pastimes, or employment. What your characters do, how they do it, and how they speak or feel about it will reveal what is normal or not.

The Immediate Surroundings:

Where are all these interactions taking place? The actual physical locales in seen in your story have an impact on the way people behave, but don’t forget the direct effect of setting the scene. One behaves differently at school, as opposed to the mall - how can you use differences like this to portray societal norms and mores in your story? Additionally, the events and values of a world leave physical reminders, which may be as simple as smog over a city unconcerned by or incapable of controlling pollution. Perhaps there is graffiti in the streets leftover from social or political unrest. The remnants of a torn-down shrine or monument may reflect changing values, war, or persecution of certain religions or other groups. Living conditions can portray class differences. Possibilities are endless.

The Social Structure and Culture:

Social structure has ramifications on who can interact with whom and what’s considered appropriate. These rules may be very strict or much more informal. If there are rigorous separations in place according to class, an interaction between members of different status will be shocking to your characters. Speaking out against an elder coworker may have severe consequences, or employees may be under forced retirement deadlines - these differences reveal if old age is revered or looked down upon. What holidays do people celebrate, and how? What manners of speech or behavior are unique to the setting? Social norms will be reflected in the behavior of your characters, but the population is capable of changing those norms.

The Physical Setting: 

The setting at large still has far-reaching influence on your story. The geography itself will determine a number of things about the setting, including the landscape, weather, physical resources available, methods of transportation and more. All of these things trickle down into each of the layers beneath it and leave their fingerprints. If transportation is unfavorable, how does this affect information and cultural exchange? How about the economy? The physical setting is an umbrella of elements which may change everything under it, even in small or indirect ways.

The Genre:

The genre determines, amongst a few other things, how much of each of the above is needed. In essence, genre can be your guide to where you should place your focus in worldbuilding. Fantasy and science fiction often call for a greater emphasis on the physical setting and cultures, while realistic fiction set in real-life places readers are likely to be familiar with is likely to need emphasis on the protagonist and supporting cast. Some genres, such as historical fiction, may need a more evenly balanced blend of each system. The plot structure itself will also have an influence. For instance, in a ‘pursuit’ plot, the ticking clock and pursuit itself are typically considered of more import than the characters, while ‘forbidden love’ plots are all about the people and culture.

Remember, as always, to mold writing advice to your work and not the other way around. The influence of one or more of these systems may be heightened or lessened, depending on the needs of your story, and they may interact differently, perhaps even from chapter to chapter. Thank you for reading, and I hope this can be a useful model for you to use as a springboard in some of your worldbuilding.

Writing Notes: Outline

Outline - a skeletal representation of the sequence of the main ideas in your essay.

The sequence of ideas/topics also serves as a guide for the reader(s) of your paper.

2 Purposes of an Outline

For You as a Writer (this is the “working outline”)

You may draft a working outline in order to organize the sections of your paper as you list the major ideas/topics you plan to discuss.

You may add minor topics and supporting details as your research continues.

In the research and drafting processes, you may need to revise the information included in your working outline as new information comes to light.

For Your Instructor (this is the “final outline”)

The most important aspect of the final outline is that it is truly representative of your actual paper.

If a topic is in your outline but not adequately discussed in your paper, revision is necessary.

To serve as a guide for the reader, the final outline must accurately reflect the content of your paper.

About the Working Outline

The working outline does not need to be written in any specific format.

It is for your own use, an informal rough draft of tentative information that you may use or discard later.

You may write a working outline in whatever form seems most helpful for you.

By the time you have finished your research and begun your paper, you should have a nearly complete outline to edit and use as your final outline.

About the Formal Outline

The standard format for a formal outline includes large Roman numerals for the main headings, capital letters for subtopics and Arabic numerals for the sub-subtopics.

To find specific information regarding correct spacing and alignment, consult your university's handbook.

Example

OUTLINE

Thesis Statement: There are benefits as well as drawbacks to purchasing a home.

I. Benefits of purchasing a home

A. Financial investment B. Personal privacy

II. Drawbacks to purchasing a home

A. Financial commitment B. Costly maintenance

Things to Consider About Outlines

Thesis Statement

Most outlines begin with the thesis statement, aligned to the left and placed directly below the heading (Title) of your outline.

Sentence Outline OR Topic Outline

Consistency is the key to writing your outline.

If your outline is in sentence form, all parts of it (major topics, minor topics, supporting details) must be in sentence form.

If your outline is written in words, and phrases, all of it must be in that form.

The main point to remember is that your outline will be one or the other, all sentences or all words and phrases, not a combination of both.

Paired Headings

If you have a I., you must have at least a II. If you have an A., you must have a B.

If you have a 1., you must have a 2.

There is never a division without at least two headings, although you may have several more than two.

Comparable Numerals or Letters

Like headings are also of equal significance to your paper.

The B or C following an A is of comparable importance to the A.

If the paired headings do not seem aligned, one being a minor point and the other a major area of discussion, you may need to move headings and subheadings around in the working outline to create smooth transition of ideas and information.

Coherence

Your outline will reflect the progression of ideas in each section of your paper, from major topics to minor topics to supporting details or further information.

In organizing your outline, you should find that you have grouped topics in a logical order, and you will be able to see at a glance if you have done so.

Source ⚜ Writing Notes & References

How to Write Flashbacks More Effectively

Many of our favorite books include a flashback or two. They put the main story on pause and reveal things readers need to know, but how do authors decide when to use them?

These are a few tips I have about writing flashbacks effectively so you can feel confident about weaving them into your stories.

1. Create a Clear Trigger

When you walk into a kitchen and smell cookies baking in the oven, the smell might trigger a memory. Maybe it’s a happy memory of baking with your family or exchanging cookies with your friends during a holiday party.

You wouldn’t think about that memory in that exact moment without the sensory trigger. Flashbacks work the same way.

Give your character a specific trigger so it’s obvious they’re having a flashback. You shouldn’t only rely on making the flashback italicised or set off by page breaks. It will feel more expertly integrated if there’s a cause-and-effect relationship with the scene.

The trigger can also serve a purpose. Maybe your protagonist hears a car honking and has a flashback to their recent car accident. It could let the reader in on how the accident happened or what it was like. The sound being a trigger also shows readers that your protagonist hasn’t dealt with the emotional ramifications of that traumatic experience, so it’s still fresh and affecting how they live their life.

Remember, there should be a clear point of return when the flashback ends. It may not always be a second trigger, like your protagonist’s best friend calling their name. It could also be a sensory moment or experience within the flashback that makes the protagonist essentially wake up due to discomfort or becoming aware that it’s a memory.

2. Make It Plot Essential

Flashbacks are plot essential, meaning that they have to either do something for the reader or your protagonist (maybe both at the same time). 

In the above example, reliving the car accident informs the reader about what the protagonist experienced before the story started. 

A flashback about an ex-partner treated the protagonist in a previous relationship could motivate the protagonist to make a choice in their current relationship that they wouldn’t have otherwise. The choice propels the story in a new direction.

3. Get to the Point

It’s important to keep flashbacks brief. Readers are investing their time and energy into the story you’re telling, not the story that happened leading up to your plotline.

Extended flashbacks can also confuse readers. They may not understand when the flashback has ended, especially if the relived experience happened to your protagonist recently.

A few paragraphs to a page or two will likely be more than enough to get your flashback’s point across. If it runs longer, make a mental note to return to that particular scene when you’re in your editing phase.

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Flashbacks can be effective storytelling tools, but use these tips to avoid relying on them too much or in the wrong ways. If one doesn’t feel right even after you’ve worked through your initial edits, you can always take it out and work the information in by writing another present-day scene or conversation.

So I just started my short story writing class! These are dialogue tips from Janet Burroway’s Writing Fiction: A Guide to Narrative Craft

5 Ways to Make Your Writing Sessions More Productive

1. Set specific goals: Before each writing session, establish clear objectives for what you want to accomplish. This helps you stay focused and motivated throughout the session. Whether it's completing a certain number of pages, reaching a specific word count, or finishing a particular section, having a goal in mind keeps you on track.

2. Create a conducive writing environment: Find a quiet and comfortable space where you can minimize distractions. Eliminate clutter, turn off notifications on your electronic devices, and set up a writing area that inspires creativity. Some people find instrumental music or ambient sounds helpful for concentration, so experiment to find what works best for you.

3. Develop a routine: Establish a regular writing schedule and stick to it. Consistency builds momentum and makes writing sessions feel more like a habit. Whether you prefer to write early in the morning, late at night, or during specific time blocks throughout the day, find a routine that aligns with your energy levels and other commitments.

4. Use productivity techniques: Explore different productivity techniques to enhance your focus and efficiency. One popular method is the Pomodoro Technique, which involves working for a concentrated period (e.g., 25 minutes) followed by a short break (e.g., 5 minutes). Repeat this cycle several times, and then take a longer break (e.g., 15-30 minutes). Other techniques include time blocking, task prioritization, and setting deadlines.

5. Minimize self-editing during the drafting phase: When writing your first draft, try to resist the urge to constantly edit and revise. Instead, focus on getting your ideas down on paper without judgment. This allows for a more continuous flow of thoughts and prevents self-censorship. Save the editing for later drafts, as separating the drafting and editing stages can lead to increased productivity and creativity.

Heres a google drive folder filled with art book pdfs, if anyone has some others that you'd like me to add to it thats missing, please let me know and send me the link

How do you find a balance between “show, don’t tell” and “readers might not catch/understand this subtle concept or showing it would be too convoluted or more open to interpretation than it needs to be”? It doesn’t help that everyone encourages more showing even if it swallowing little details that are supposed to stand out. Basically, I feel like I overthink my showing as being too tell-y even when it already has several layers of meaning and is already too dense for average readers.

“Show don’t tell” resources & advice...

I think people often mistake the advice of “show don’t tell” as being in the interest of making one’s writing more literary; more “high art” than candid prose typically is. The advice is intended to help one recognize when their prose is becoming dull or unengaging to the reader. Showing is supposed to promote an organically flowing reading experience, rather than turn the writing into a flowery, pretentious, and unintelligible mess. Finding a satisfying way to deliver information in the text that isn’t “I felt” or “I thought” is important. It should never dilute the information. Clarity comes first, and then one can configure the sentence to add as much richness to the reader’s ability to immerse themselves as possible. 

If the desire is to show that the character is sad, writing that “she looked down at the floor and wrapped her arms around her own waist” is not going to be any less indicative of that information than “she felt sad”. That is the point of this advice. It is not a way for one to convert information into a code that the reader must analyze in order to comprehend the basic idea of what the scenes are about. This isn’t 1597, and nobody is asking anyone to be Shakespeare. 

Density of a piece of writing does not give it inherent worth. Ease of comprehension doesn’t always have to be the number one priority, but it should be a considerable factor when one accounts for their audience and their subject matter. If one is writing a young adult fantasy trilogy, the density of the writing should be adherent to the demographic’s ability to comprehend certain writing styles. “Show, don’t tell” applies to all writing, but different writers interpret it differently, often based on who they’re writing for. If the concept you’re trying to convey to the reader in a subtle manner is not coming across without blurting it out in the text, perhaps the problem isn’t the way you’re describing it, but the concept is weak in its current state. 

Easily misinterpreted meanings or concepts are often not the victim of descriptive style, but being underdeveloped sub textually. No important concept can be described once within a dense text and expected to translate as intended into the reader’s understanding. If it’s important enough to the bones of your story and meaning, it shouldn’t rely on the manner of description to shine through. Sometimes the density of a text is a product of too much intentional symbolism or motif. It’s okay to allow some things to be meaningful purely in interpretation. It’s okay to acknowledge that you allowed something that obviously implies meaning to be prescribed its implications by the readers. 

Here are some of my other resources on the topic that you may find helpful:

Resources For Describing Characters

Resources For Describing Emotion

Conveying Emotions

All About Colors

A Writer’s Thesaurus

Showing VS Telling in First Person POV

Using Vocabulary

Balancing Detail & Development

+ When To Use “Felt”

Showing Vs Telling

How To Better Your Vocabulary & Description

Describing emotion through action

Improving Flow In Writing

How To “Show Don’t Tell” More

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Masterlist | WIP Blog

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