Writing Tips

Writing Notes: Novel Outline

Novel outline - a document that includes important planning information about your novel’s structure, plot, characters, scenes, and more. It is the skeleton of your novel.

An outline can be anything from a one-page written document to a comprehensive visual mindmap that uses diagrams to represent the link between information and ideas.

If you have the space, you can write your sentences on index cards and post them on a wall to make it easier to view and manipulate the parts.

Each event should be a single, short sentence (e.g. Danny gets shot in the leg).

How to Create a Novel Outline

Grab your notebook (or index cards) and follow these simple steps:

1. Craft your premise

This is the underlying idea for your story.

A good way to find the premise is to ask yourself, “What would happen if…?”

For example: What would happen if a young man who survives a shipwreck spends months in a lifeboat with a large Bengal tiger? (Life of Pi, 2001) Or: What would happen if four strangers met in an Italian villa during World War II? (The English Patient, 1992).

Next, it might help to try and answer a few key questions to help expand on the premise and generate new ideas. Things like:

Who is the main protagonist?

What is the situation?

How will the protagonist change from the beginning of the novel to the end?

What is her/her objective?

What does he/she want?

How does he/she get or not get what they want?

Is there an opposing force that is stopping the protagonist from achieving this objective?

What is the central conflict of the novel?

What about the central theme—what are you trying to say?

Once you’ve worked out the answers to these questions, write a 1-paragraph summary of the novel. Think of it as an elevator pitch.

2. Determine your setting

In a novel, the setting (time, place) can be just as important as the characters. Readers need to feel a sense of where things are happening, just as much as why they’re happening.

Planning setting can depend on a number of things, depending on what kind of novel you’re writing. Get to know your setting intimately. Do as much research as you can. If your novel is set in the real world, find photos, descriptions, and other materials to inform your ideas.

Is your novel set in a boarding school? During a particular period in time?

Find as much information, both written and visual, about boarding schools in that time. Picture your settings in your mind, and write down as much detail as you can: everything from how something looks and sounds to how it might smell, taste, or feel.

3. Get to know your characters

Write character profiles. Visualize them. Pretend you’re introducing these characters to your friends. What would you say about them? What details would you include, and what details would you omit—and why? What kind of journey will each character undertake in the novel? Where will they start, and where will they end up? Who will be central to the novel’s plot, and who will just serve as color and background?

Develop character backstories. Think of the moments in each character’s life that have led them to the point where they are introduced in the novel. What elements have shaped their personality and progression as characters? Do they have unresolved issues crucial to the plot?

One method is to conduct a Q&A with the most important characters, as a way of finding out more about them. Ask your characters a series of questions (get as personal as you want) and have him/her answer in his/her own words.

4. Construct your plot

Construct a timeline of events. Write down everything that happens in the novel, from the beginning to the end. Include details where you can, such as where the events take place, and who is involved. If you know the outcome of the events, and how they will impact the novel’s overall plot, include this as well (these can help form the foundation of additional subplots).

Beginning: The beginning of your novel has to accomplish a lot. It must introduce the hero, the villain, and the world of the story, as well as the story’s sole dramatic question, and it must do this with enough energy to grab your reader’s interest right away. A prologue can be useful for seizing the reader’s attention.

Middle: Often, tension evaporates in the middle of a novel, so it’s a good idea to figure out your ending first. It may not be perfect, and you can always change it later, but it’s useful to know the climax to which your characters are headed. Having that destination will help you stay focused during the “middle muddle.” Write as many short sentences as you need to describe the pathway your characters will take to reach the climax.

End: While it may seem daunting to figure out the ending so early, just return to your sole dramatic question, which already has your ending hidden within it. For example, if your question is: Will Ahab catch the whale? Then your story’s finale will be the moment when he does.

5. Write your scenes

Once your plot outline is in place, you’ll have a better idea of what scenes will need to be placed where. Add them to the outline. Flesh them out as much as you want—everything from where the action takes place to who is involved, even dialogue if you already know what you want your characters to say. Don’t worry about things making sense at this point, you’ll have time later to go back and highlight anything that feels out of place. Just focus on getting everything down so you can see it in front of you.

Once your outline is complete, you’ll be free to start writing your first draft with the knowledge that if you falter, you can always turn back to the outline to see the big picture. As you begin the writing process, watch out for gaps in logic. Refer back to the outline, and update storylines, plot points, and the timeline as you go along.

While it’s necessary to have a basic grasp of your characters and your world when you start writing, it’s not essential to know everything up front. In fact, even with the most meticulous outlines, you may still find that your characters do things to upset your plans. When this happens, follow your instincts. Don’t be afraid to toss your outline or significantly revise it mid-way through your novel. A good rule to remember is that outlines involve plotting what will happen to your characters, but in the end, your characters should determine your plot.

Classic Methods for Creating Novel Outlines

No two outlines are ever the same, however there are myriad methods to kickstart the novel outline process.

Synopsis outline. This involves the creation of a short document, usually one or two pages long, that gives you a rough idea of the novel’s structure but also leaves room for flexibility. Think of this as a synopsis of the book, hitting all the major beats: what happens in the beginning, middle, and end? What are the major plot points and twists? What is the climax? What is the resolution?

In-depth outline. This is a more evolved outline that usually involves writing chapter summaries and outlining the different scenes within those chapters. This is more comprehensive and can take a lot more time. However, some writers swear by this method to stay on track. Some in-depth outlines can almost be mini-novels themselves, hitting around the 10,000-word mark.

Snowflake method. This method was created by author and writing instructor Randy Ingermanson. It begins with a one-sentence summary of the story you’re trying to tell. For example, the sentence could be something like: “Two teenagers discover a secret cave that contains treasures that a group of criminals has been hunting for.” The snowflake method would then require you to build that sentence into a paragraph, and then use that paragraph to create a series of character descriptions, and from there a series of storylines that involve those characters. The process spans outward until you have a fully outlined novel.

Bookend method. This method is for writers who prefer to leave some things to chance. It involves plotting the start and end of the story, as well as each of the main characters—but nothing more. This method is usually recommended for writers who already have a strong grasp of the characters and the kind of story they want to tell.

Basic Questions Every Outline Should Answer

Besides listing characters and plot points for story structure, your outline should give you a general sense of the direction of your story as well as the primary conflicts and tensions that will make it intriguing for readers. Keep the following questions in mind while creating your outline:

What is the main contract of the story? You must resolve the promises you made to your reader by the end of the novel.

What sort of time pressure is working on your characters?

What is at stake for the protagonist of the novel? Does the pressure on the main characters grow more intense as the story progresses?

Pros & Cons of Creating an Outline

Some writers are comfortable creating a detailed outline for a novel. New writers in particular find it helpful to have a road map.

Others feel that writing an outline diminishes the pleasure of discovering the story along the way. They argue that working from an outline means you’re not creating anymore, you’re translating your ideas.

In the literary world, novelists who use outlines are referred to as “plotters.” Example: Ernest Hemingway.

Those who don’t are known as “pantsers” — a reference to flying by the seat of their pants. Famous pantsers include Margaret Atwood and Stephen King.

While every writer is different, there are some general pros and cons to consider before creating your novel outline.

The benefits of creating an outline:

Helps visualize the big picture

Keeps the story on track

Logs which scenes go where

Clearly presents character arcs

Acts as a guide to ease writer’s block when you’re stuck

Clarifies the middle, to avoid the “muddle”

The drawbacks of creating an outline:

Can create a stilted narrative

If followed too closely, can feel formulaic

May lead to more showing rather than telling in the actual writing

Characters may seem to make inauthentic choices, solely based on plot points instead of natural results from narrative action

Bestselling author Stephen King supposedly swears by putting interesting characters in difficult situations and just seeing what happens. He famously said: “Outlines are the last resource of bad fiction writers who wish to God they were writing masters’ theses.”

That aside, both plotters and pantsers agree on one thing: there is no correct way when it comes to novel writing. It simply depends on what kind of writer you are, and what works for you.

Sources: 1 2 ⚜ More: References ⚜ Writing Resources PDFs

20 Compelling Positive-Negative Trait Pairs

Here are 20 positive and negative trait pairs that can create compelling character dynamics in storytelling:

1. Bravery - Recklessness: A character is courageous in the face of danger but often takes unnecessary risks.

2. Intelligence - Arrogance: A character is exceptionally smart but looks down on others.

3. Compassion - Naivety: A character is deeply caring but easily deceived due to their trusting nature.

4. Determination - Stubbornness: A character is persistent in their goals but unwilling to adapt or compromise.

5. Charisma - Manipulativeness: A character is charming and persuasive but often uses these traits to exploit others.

6. Resourcefulness - Opportunism: A character is adept at finding solutions but is also quick to exploit situations for personal gain.

7. Loyalty - Blind Obedience: A character is fiercely loyal but follows orders without question, even when they're wrong.

8. Optimism - Denial: A character remains hopeful in difficult times but often ignores harsh realities.

9. Humor - Inappropriateness: A character lightens the mood with jokes but often crosses the line with their humor.

10. Generosity - Lack of Boundaries: A character is giving and selfless but often neglects their own needs and well-being.

11. Patience - Passivity: A character is calm and tolerant but sometimes fails to take action when needed.

12. Wisdom - Cynicism: A character has deep understanding and insight but is often pessimistic about the world.

13. Confidence - Overconfidence: A character believes in their abilities but sometimes underestimates challenges.

14. Honesty - Bluntness: A character is truthful and straightforward but often insensitive in their delivery.

15. Self-discipline - Rigidity: A character maintains strong control over their actions but is inflexible and resistant to change.

16. Adventurousness - Impulsiveness: A character loves exploring and trying new things but often acts without thinking.

17. Empathy - Overwhelm: A character deeply understands and feels others' emotions but can become overwhelmed by them.

18. Ambition - Ruthlessness: A character is driven to achieve great things but willing to do anything, even unethical, to succeed.

19. Resilience - Emotional Detachment: A character can endure hardships without breaking but often seems emotionally distant.

20. Strategic - Calculative: A character excels at planning and foresight but can be cold and overly pragmatic in their decisions.

These pairs create complex, multi-dimensional characters that can drive rich, dynamic storytelling.

Kisses Prompts that sends the readers reeling:

(5th, and 7th onee!! omfg 12th one PLSPLS somebody write and tag mee!)

hesitant kisses, but when they part one whispers "do it again. please."

hands caressing your neck or tracing your jaw as they kiss you nuts

their lips on yours, hot, feverish, partly sucking, teasing with their tongue (OMG-)

heated kisses - their hands on your bare skin, yours in their soft hair, lips nibbling, biting, moaning into yours, while heavily breathing after.

"love, don't hide your face, don't.." hands gently removing yours from your flushed face. "you make me fluster." you say, but they kiss you through those words and mumble against your lips, "you fluster me more, sweetheart."

kisses trailing down your chin, leaving love bites on your neck, chest, and all the shyness in between > < feeling their hot, sloppy wet kisses all over ur body, everywhere and beneath your stomach, and above it. :')

"i don't know how to kiss but let me kiss you, and I'll do it just right." (on my damn knees ffr)

moving to gasp for air, but the other still leans in, eyes closed, lips parted, absolutely wanting more!!! a string of saliva connecting each other's lips!!

hugs after kisses, that lasts several heartbeats long, as they nuzzle their face in your crook. kissing there as well, shyly smiling into it. (fyi im single since birth and haven't experienced ANY OF THESE BEFORE.)

"kiss me again, but- mphh"

cupping your lover's cheek. staring into their eyes with a grin before the kiss, their hands curling around your neck, anticipating it.

"lay down, love and let me do you how you deserve it."

More medieval dyes for y'all!

Describe your Main Character sheet

Skin

Tone: Pale, Rosy, Olive, Dark, Tanned, Alabaster, Ebony, Bronze, Golden, Fair

Texture: Smooth, Rough, Silky, Coarse, Flaky, Supple, Wrinkled, Calloused, Bumpy

Condition: Moles, Acne, Dry, Greasy, Freckled, Scars, Birthmarks, Bruised, Sunburned, Flawless

Complexion: Clear, Ruddy, Sallow, Glowing, Dull, Even-toned, Blotchy

Eyes

Size: Small, Large, Average, Tiny, Bulging, Narrow

Color: Grey, Brown, Blue, Violet, Pink, Green, Gold, Hazel, Crimson, Amber, Turquoise, Sapphire, Onyx

Shape: Doe-eyed, Almond, Close-set, Wide-set, Round, Oval, Hooded, Monolid

Expression: Deep-set, Squinty, Monolid, Heavy eyelids, Upturned, Downturned, Piercing, Gentle, Sparkling, Steely

Other: Glassy, Bloodshot, Tear-filled, Clear, Glinting, Shiny

Hair

Thickness: Thin, Thick, Fine, Normal

Texture: Greasy, Dry, Soft, Shiny, Curly, Frizzy, Wild, Unruly, Straight, Smooth, Wavy, Floppy

Length: Cropped, Pixie-cut, Afro, Shoulder length, Back length, Waist length, Past hip-length, Buzz cut, Bald

Styles: Weave, Hair extensions, Jaw length, Layered, Mohawk, Dreadlocks, Box braids, Faux locks, Braid, Ponytail, Bun, Updo

Color: White, Salt and pepper, Platinum blonde, Golden blonde, Dirty blonde, Blonde, Strawberry blonde, Ash brown, Mouse brown, Chestnut brown, Golden brown, Chocolate brown, Dark brown, Jet black, Ginger, Red, Auburn, Dyed, Highlights, Low-lights, Ombre

Eyebrows: Thin eyebrows, Average eyebrows, Thick eyebrows, Plucked eyebrows, Bushy eyebrows, Arched eyebrows, Straight eyebrows

Lips

Shape: Full, Thin, Heart-shaped, Bow-shaped, Wide, Small

Texture: Chapped, Smooth, Cracked, Soft, Rough

Color: Pale, Pink, Red, Crimson, Brown, Purple, Nude

Expression: Smiling, Frowning, Pursed, Pouting, Curved, Neutral, Tight-lipped, Parted

Nose

Shape: Button, Roman, Hooked, Aquiline, Flat, Pointed, Wide, Narrow, Crooked, Upturned, Snub

Size: Small, Large, Average, Long, Short

Condition: Freckled, Sunburned, Smooth, Bumpy

Build

Frame: Petite, Slim, Athletic, Muscular, Average, Stocky, Large, Lean, Stout, Bony, Broad-shouldered, Narrow-shouldered

Height: Short, Tall, Average, Petite, Giant

Posture: Upright, Slouched, Rigid, Relaxed, Graceful, Awkward, Stiff, Hunched

Hands

Size: Small, Large, Average, Delicate, Strong

Texture: Smooth, Rough, Calloused, Soft, Firm

Condition: Clean, Dirty, Manicured, Scarred, Wrinkled

Nails: Short, Long, Polished, Chipped, Clean, Dirty, Painted, Natural

Voice

Tone: Deep, High, Soft, Loud, Raspy, Melodic, Monotonous, Hoarse, Clear, Gentle

Volume: Loud, Soft, Whispery, Booming, Muted

Pace: Fast, Slow, Steady, Hasty, Measured

Expression: Cheerful, Sad, Angry, Calm, Anxious, Confident, Nervous, Excited, Bored

How to show emotions

Part IV

How to show bitterness

tightness around their eyes

pinched mouth

sour expression on their face

crossed arms

snorting angrily

turning their eyes upward

shaking their head

How to show hysteria

fast breathing

chest heaving

trembling of their hands

weak knees, giving in

tears flowing down their face uncontrollably

laughing while crying

not being able to stand still

How to show awe

tension leaving their body

shoulders dropping

standing still

opening mouth

slack jaw

not being able to speak correctly

slowed down breathing

wide eyes open

softening their gaze

staring unabashingly

How to show shame

vacant stare

looking down

turning their head away

cannot look at another person

putting their head into their hands

shaking their head

How to show being flustered

blushing

looking down

nervous smile

sharp intake of breath

quickening of breath

blinking rapidly

breaking eye contact

trying to busy their hands

playing with their hair

fidgeting with their fingers

opening mouth without speaking

Part I + Part II + Part III + Part V

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Word List: Said

Said—to express in words; state

Alleged - asserted to be true or to exist

Argued - to give reasons for or against something

Articulated - to utter clear and understandable sounds

Asked - to seek information

Asserted - to state or declare positively and often forcefully or aggressively

Babbled - to talk enthusiastically or excessively

Bellowed - to shout in a deep voice

Bragged - to talk boastfully

Commented - to explain or interpret something by comment

Communicated - to convey knowledge of or information about

Complained - to make a formal accusation or charge

Cried - to utter loudly

Declined - to refuse especially courteously

Demanded - to call for something in an authoritative way

Denied - to declare (something) to be untrue

Encouraged - to attempt to persuade

Expressed - to represent in words

Giggled - to utter with a giggle

Growled - to utter angrily

Inquired - to ask about

Mentioned - to make mention of; refer to

Moaned - lament, complain

Nagged - to irritate by constant scolding or urging

Rebuked - to criticize sharply; reprimand

Rebutted - to contradict or oppose by formal legal argument, plea, or countervailing proof

Rejected - to refuse to accept, consider, submit to, take for some purpose, or use

Replied - to respond in words or writing

Retorted - to answer back usually sharply

Roared - to utter or proclaim with a roar

Scolded - to censure usually severely or angrily

Shrieked - to utter a sharp shrill sound

Shrugged - to raise or draw in the shoulders especially to express aloofness, indifference, or uncertainty

Stated - to express the particulars of especially in words; report

Taunted - to reproach or challenge in a mocking or insulting manner

Voiced - to express in words; utter

Vowed - to promise solemnly; swear

Warned - to give admonishing advice to

Whined - to complain with or as if with a whine

Whispered - to speak softly with little or no vibration of the vocal cords especially to avoid being overheard

Yelled - to utter or declare with or as if with a yell; shout

More: Word Lists

I forgot to post this commission I got from @baklavagyna

Of Ma'na and rolan!

How I learned to write smarter, not harder

(aka, how to write when you're hella ADHD lol)

A reader commented on my current long fic asking how I write so well. I replied with an essay of my honestly pretty non-standard writing advice (that they probably didn't actually want lol) Now I'm gonna share it with you guys and hopefully there's a few of you out there who will benefit from my past mistakes and find some useful advice in here. XD Since I started doing this stuff, which are all pretty easy changes to absorb into your process if you want to try them, I now almost never get writer's block.

The text of the original reply is indented, and I've added some additional commentary to expand upon and clarify some of the concepts.

As for writing well, I usually attribute it to the fact that I spent roughly four years in my late teens/early 20s writing text roleplay with a friend for hours every single day. Aside from the constant practice that provided, having a live audience immediately reacting to everything I wrote made me think a lot about how to make as many sentences as possible have maximum impact so that I could get that kind of fun reaction. (Which is another reason why comments like yours are so valuable to fanfic writers! <3) The other factors that have improved my writing are thus: 1. Writing nonlinearly. I used to write a whole story in order, from the first sentence onward. If there was a part I was excited to write, I slogged through everything to get there, thinking that it would be my reward once I finished everything that led up to that. It never worked. XD It was miserable. By the time I got to the part I wanted to write, I had beaten the scene to death in my head imagining all the ways I could write it, and it a) no longer interested me and b) could not live up to my expectations because I couldn't remember all my ideas I'd had for writing it. The scene came out mediocre and so did everything leading up to it. Since then, I learned through working on VN writing (I co-own a game studio and we have some visual novels that I write for) that I don't have to write linearly. If I'm inspired to write a scene, I just write it immediately. It usually comes out pretty good even in a first draft! But then I also have it for if I get more ideas for that scene later, and I can just edit them in. The scenes come out MUCH stronger because of this. And you know what else I discovered? Those scenes I slogged through before weren't scenes I had no inspiration for, I just didn't have any inspiration for them in that moment! I can't tell you how many times there was a scene I had no interest in writing, and then a week later I'd get struck by the perfect inspiration for it! Those are scenes I would have done a very mediocre job on, and now they can be some of the most powerful scenes because I gave them time to marinate. Inspiration isn't always linear, so writing doesn't have to be either!

Some people are the type that joyfully write linearly. I have a friend like this--she picks up the characters and just continues playing out the next scene. Her story progresses through the entire day-by-day lives of the characters; it never timeskips more than a few hours. She started writing and posting just eight months ago, she's about an eighth of the way through her planned fic timeline, and the content she has so far posted to AO3 for it is already 450,000 words long. But most of us are normal humans. We're not, for the most part, wired to create linearly. We consume linearly, we experience linearly, so we assume we must also create linearly. But actually, a lot of us really suffer from trying to force ourselves to create this way, and we might not even realize it. If you're the kind of person who thinks you need to carrot-on-a-stick yourself into writing by saving the fun part for when you finally write everything that happens before it: Stop. You're probably not a linear writer. You're making yourself suffer for no reason and your writing is probably suffering for it. At least give nonlinear writing a try before you assume you can't write if you're not baiting or forcing yourself into it!! Remember: Writing is fun. You do this because it's fun, because it's your hobby. If you're miserable 80% of the time you're doing it, you're probably doing it wrong!

2. Rereading my own work. I used to hate reading my own work. I wouldn't even edit it usually. I would write it and slap it online and try not to look at it again. XD Writing nonlinearly forced me to start rereading because I needed to make sure scenes connected together naturally and it also made it easier to get into the headspace of the story to keep writing and fill in the blanks and get new inspiration. Doing this built the editing process into my writing process--I would read a scene to get back in the headspace, dislike what I had written, and just clean it up on the fly. I still never ever sit down to 'edit' my work. I just reread it to prep for writing and it ends up editing itself. Many many scenes in this fic I have read probably a dozen times or more! (And now, I can actually reread my own work for enjoyment!) Another thing I found from doing this that it became easy to see patterns and themes in my work and strengthen them. Foreshadowing became easy. Setting up for jokes or plot points became easy. I didn't have to plan out my story in advance or write an outline, because the scenes themselves because a sort of living outline on their own. (Yes, despite all the foreshadowing and recurring thematic elements and secret hidden meanings sprinkled throughout this story, it actually never had an outline or a plan for any of that. It's all a natural byproduct of writing nonlinearly and rereading.)

Unpopular writing opinion time: You don't need to make a detailed outline.

Some people thrive on having an outline and planning out every detail before they sit down to write. But I know for a lot of us, we don't know how to write an outline or how to use it once we've written it. The idea of making one is daunting, and the advice that it's the only way to write or beat writer's block is demoralizing. So let me explain how I approach "outlining" which isn't really outlining at all.

I write in a Notion table, where every scene is a separate table entry and the scene is written in the page inside that entry. I do this because it makes writing nonlinearly VASTLY more intuitive and straightforward than writing in a single document. (If you're familiar with Notion, this probably makes perfect sense to you. If you're not, imagine something a little like a more contained Google Sheets, but every row has a title cell that opens into a unique Google Doc when you click on it. And it's not as slow and clunky as the Google suite lol) (Edit from the future: I answered an ask with more explanation on how I use Notion for non-linear writing here.) When I sit down to begin a new fic idea, I make a quick entry in the table for every scene I already know I'll want or need, with the entries titled with a couple words or a sentence that describes what will be in that scene so I'll remember it later. Basically, it's the most absolute bare-bones skeleton of what I vaguely know will probably happen in the story.

Then I start writing, wherever I want in the list. As I write, ideas for new scenes and new connections and themes will emerge over time, and I'll just slot them in between the original entries wherever they naturally fit, rearranging as necessary, so that I won't forget about them later when I'm ready to write them. As an example, my current long fic started with a list of roughly 35 scenes that I knew I wanted or needed, for a fic that will probably be around 100k words (which I didn't know at the time haha). As of this writing, it has expanded to 129 scenes. And since I write them directly in the page entries for the table, the fic is actually its own outline, without any additional effort on my part. As I said in the comment reply--a living outline!

This also made it easier to let go of the notion that I had to write something exactly right the first time. (People always say you should do this, but how many of us do? It's harder than it sounds! I didn't want to commit to editing later! I didn't want to reread my work! XD) I know I'm going to edit it naturally anyway, so I can feel okay giving myself permission to just write it approximately right and I can fix it later. And what I found from that was that sometimes what I believed was kind of meh when I wrote it was actually totally fine when I read it later! Sometimes the internal critic is actually wrong. 3. Marinating in the headspace of the story. For the first two months I worked on [fic], I did not consume any media other than [fandom the fic is in]. I didn't watch, read, or play anything else. Not even mobile games. (And there wasn't really much fan content for [fandom] to consume either. Still isn't, really. XD) This basically forced me to treat writing my story as my only source of entertainment, and kept me from getting distracted or inspired to write other ideas and abandon this one.

As an aside, I don't think this is a necessary step for writing, but if you really want to be productive in a short burst, I do highly recommend going on a media consumption hiatus. Not forever, obviously! Consuming media is a valuable tool for new inspiration, and reading other's work (both good and bad, as long as you think critically to identify the differences!) is an invaluable resource for improving your writing.

When I write, I usually lay down, close my eyes, and play the scene I'm interested in writing in my head. I even take a ten-minute nap now and then during this process. (I find being in a state of partial drowsiness, but not outright sleepiness, makes writing easier and better. Sleep helps the brain process and make connections!) Then I roll over to the laptop next to me and type up whatever I felt like worked for the scene. This may mean I write half a sentence at a time between intervals of closed-eye-time XD

People always say if you're stuck, you need to outline.

What they actually mean by that (whether they realize it or not) is that if you're stuck, you need to brainstorm. You need to marinate. You don't need to plan what you're doing, you just need to give yourself time to think about it!

What's another framing for brainstorming for your fic? Fantasizing about it! Planning is work, but fantasizing isn't.

You're already fantasizing about it, right? That's why you're writing it. Just direct that effort toward the scenes you're trying to write next! Close your eyes, lay back, and fantasize what the characters do and how they react.

And then quickly note down your inspirations so you don't forget, haha.

And if a scene is so boring to you that even fantasizing about it sucks--it's probably a bad scene.

If it's boring to write, it's going to be boring to read. Ask yourself why you wanted that scene. Is it even necessary? Can you cut it? Can you replace it with a different scene that serves the same purpose but approaches the problem from a different angle? If you can't remove the troublesome scene, what can you change about it that would make it interesting or exciting for you to write?

And I can't write sitting up to save my damn life. It's like my brain just stops working if I have to sit in a chair and stare at a computer screen. I need to be able to lie down, even if I don't use it! Talking walks and swinging in a hammock are also fantastic places to get scene ideas worked out, because the rhythmic motion also helps our brain process. It's just a little harder to work on a laptop in those scenarios. XD

In conclusion: Writing nonlinearly is an amazing tool for kicking writer's block to the curb. There's almost always some scene you'll want to write. If there isn't, you need to re-read or marinate.

Or you need to use the bathroom, eat something, or sleep. XD Seriously, if you're that stuck, assess your current physical condition. You might just be unable to focus because you're uncomfortable and you haven't realized it yet.

Anyway! I hope that was helpful, or at least interesting! XD Sorry again for the text wall. (I think this is the longest comment reply I've ever written!)

And same to you guys on tumblr--I hope this was helpful or at least interesting. XD Reblogs appreciated if so! (Maybe it'll help someone else!)

Places in Faerun: Darkhold

I don't suppose you've heard of Darkhold. It's been many years since folk whispered the name of the place in fear. After all, the Zhentarim, the organization that gave Darkhold its evil reputation, are by all accounts no longer the cadre of thieves, assassins, and evil wizards they once were. And strangely enough, according to my source among the Zhentarim, that change in character can be traced right back to Darkhold. As it was told to me, it came about like this…

Zhentil Keep was burning. The Citadel of the Ravens lay in ruins. The leadership of the Zhentarim died, were captured by the Shadovar of returned Netheril, or were in flight. The vaunted Black Network was shredded. Cells of Zhentarim agents were cut loose, and without connections or direction, they dissolved or were crushed by rivals. The Zhentarim was no more.

Or so it seemed. There was one stronghold of the Zhents that had not fallen and whose leader never wavered in his dedication to the organization. Darkhold stands deep in the mountains of the Western Heartlands, and there the remnants of the Zhentarim quietly gathered. There they swore allegiance anew to the leader who promised to reforge the organization into something stronger than before.

The man to whom this new Zhentarim owed fealty was a dark knight known only as the Pereghost. The Pereghost had long led the armed forces of the Zhentarim at Darkhold, and his vision for the revival of the organization was along military lines. After a time of recruitment and training, the Zhentarim emerged from Darkhold not as conquerors or as bullying capitalists but as mercenaries willing to serve others instead of forcing them to serve.

In the years that followed, the transformation served the Zhentarim well. They earned a reputation for sterling service, and their ranks swelled. Those who knew of Darkhold thought of it as the headquarters of this new version of the Zhentarim.

Membership in the Zhentarim is difficult to assess, but my source told me they might have greater numbers now than before their organization's fall. New leadership for this larger group has led to a shift in focus. While still a source of capable mercenaries, the Zhentarim have diversified into mercantile pursuits. Zhent guards now ride alongside caravans of their own. And whereas a military organization served it well in the chaotic period after its fall, my source frequently described the Zhentarim as a "family" and leaders as "my good friend."

My source also spoke in awed tones of the Pereghost, as though that figure were still alive and a leader of Darkhold. The Pereghost is never seen without his full armour and a face-covering helm. If it isn't an elf behind the mask, then I suspect a series of humans might have masqueraded as the Pereghost during the past century.

Darkhold Vale

I was curious about my source's tale, and so when I had cause to be in the region, I made my way toward Darkhold. An enormous mountain peak called the Gray Watcher of the Morning looms behind Darkhold to the east, casting a great shadow over the keep from sunrise until nearly midday. Darkhold sits in a cleft in the side of the Gray Watcher, the highest point of permanent occupation in a relatively fiat and defensible valley called Darkhold Vale.

Darkhold Vale contains a small settlement of the same name, consisting mostly of shepherds who tend their flocks in the high meadows of the Sunset Mountains, and a few farmers who coax fine crops from the soils that cling to the vale's fields. The settlement's main source of prosperity is the black stone quarry at the south-eastern edge of the vale; the heavy carts groaning with slabs of stone for sale and the large, muscled workhorses that pull them are common sights here. The common folk of Darkhold Vale tend to be surly and suspicious of outsiders, though they are careful to avoid offense.

This settlement of about a hundred or so is utterly under the dominion of Darkhold and has seen some benefit from the situation: the vale folk see a great deal more traffic and trade than the little hamlet would ever expect otherwise. Until recently, all the caravans bound for Darkhold could seek sanctuary only in the shadow of the keep itself. Now the people of the vale have recently built both an inn, called the Wyvern's Rest, and a separate tavern, called the Rookery.

Some of the locals send to market bales of the thick, rich wool they shear from their sheep. Others make a living hawking the dandelion wine that Darkhold Vale has always produced, but only recently begun to sell abroad. The vale has a small militia, technically under the command of the Pereghost, but which answers to a local captain named Sulvarn.

To those who've come into conflict with the Zhentarim, living in a place so firmly in their power seems unthinkable, but the reality is that life is sedate here. Certainly, the soldiers in the castle aren't to be trifled with, but they hardly ever engage in the acts of petty cruelty that one expects from warriors serving a local lord. Those who misunderstand the Zhentarim often do so because they imagine them to be cackling villains in the vein of the Zhents of yore. In reality, they are pragmatic, willing to do whatever necessary to achieve their ends. But they have no need to terrorize the folk of Darkhold Vale, for one simple reason: they already control them.

In years past, these folk lived in fear and suspicion, with a hearty helping of racial prejudice; my first visit to Darkhold nearly a century ago was occasion for me to hear some of the vilest epithets attached to my kind that I've ever heard-even worse than those that fall from the foul lips of ore raiders in the North. The attitudes of the vale folk have changed over the years, however, no doubt due in part to the orders of the Pereghost when he reengaged the Zhentarim with the wider world.

Darkhold Castle

When l first beheld the great black walls of Darkhold, I thought all the legends about it must be true. On my second visit, I thought I'd try to confirm my suspicions.

According to legend, Darkhold's story began more then a millennium ago, when it was known as the Keep of the Far Hills. It was built as a summer capitol for the so-called "giant empires." Situated in the Far Hills, the castle was in a position to dominate trade routes north out of the Iriaebor Valley. It could also dominate river trade down the Yellow Snake Gorge.

The role of the so-called Giant Emperors is still a matter of conjecture and discussion today. However, there are some, scattered among the giant tribes of the North, who claim to be heirs to the ancient thrones. Whatever the truth of the empires might be, the castle itself was definitely built for giants. Its size and construction support no other explanation.

Legend has it that Darkhold was lost to the giants due to internal strife-a pair of brothers quarrelling over their inheritance. Through poison, magic, and mercenaries, the brothers thinned the castle's population until only the brothers themselves were left. The two fought and mortally wounded each other, and each dragged himself off to die alone. The brothers' spirits are still said to stalk the castle, each still seeking his brother's destruction.

The keep was then occupied by a succession of owners, including a dragon of some repute, but it was not until a lich claimed it that the castle came to be known as Darkhold. The lich was called Varalla, and supposedly she conjured all manner of evil creatures to serve her, sending them out to dominate the lands beyond and establish an empire of evil. Varalla ruled Darkhold until the infamous leaders of the old Zhentarim- Manshoon and Fzoul- heard tales of her wealth in magic and gold. Lured by the promise of such rich rewards, the pair defeated her and claimed the castle for themselves.

Upon my arrival at the great gates to the fortress, I found that I was expected, as I must have been watched since entering Darkhold Vale-perhaps even before then. After a short wait, I was met by a seneschal, a forthright woman with a strong handshake, who warmly referred to the person who secretly supplied me with the history of the Zhentarim. I found myself taken aback by this because I had thought my source and I had spoken in confidence. As you no doubt have noticed, I've avoided mentioning the name, gender, or physical description of my source, for I swore an oath of secrecy. Besides my initial shock, my exchange with the seneschal was pleasant, and I was given a tour of some of the mighty castle.

When I asked about the legends of Darkhold's creation and occupation, she told much the same story as I have told, adding a few characters from its history that I hadn't heard of before. When asked about castle hauntings, the seneschal only smiled in reply. Although it seemed a genuine smile, I could wring no truth from it.

Of the castle's defences, I can say little. My tour was limited. But I did note that, while some things on the giants' scale have been modified to suit humans (such as stairs and most doors), other things remain titanic. For instance, I have no idea how they managed to open the gates for my entrance without the use of magic.

Denizens of Darkhold

I didn't see the Pereghost during my visit, so I can't confirm anything about the man. But the seneschal and everyone else with whom I conversed spoke of the Pereghost in awed tones. Whatever the truth of this saviour of the Zhentarim, he is apparently too busy to entertain curious visitors. While at Darkhold, I heard the name of another leader of some importance, Manxam, but my queries about this figure were redirected to other topics, and I didn't feel comfortable pressing the seneschal on the matter.

Of the rest of Darkhold I can relate only a little more. The Zhentarim maintain two war units within Darkhold: the Storm Watch, a cadre of veteran Zhentarim soldiers who act as heavy infantry, and the Gray Feathers, archers primarily responsible for the defence of the fortress.

These aren't the only forces Darkhold can bring to bear, however. The years when a contingent of giants lived in Darkhold are long gone, but in their place is an aerie of wyverns, bred and trained to defend Darkhold and to obey the Pereghost. Their trainer is a ranger named Grigarr, whose body is pocked with myriad scars from wyvern stings. The man is a greedy wretch who claims he is now immune to the wyverns' venom, after having been stung so many times. He loves telling stories in the Rookery about how he got his many stings, and thinks himself an entertaining storyteller because people listen and applaud. The truth is that the locals are terrified of him, so they humour him while he is in his cups.

source: Sword Coast Adventurer’s Guide pg. 77-79