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Things to consider when writing about Dystopias !!!

⊹ What specific thing went wrong to create this. Climate disaster? War? Plague? Fascist takeover? Corporate control? Be specific because "everything sucks now" isn't enough. How did we get from our world to this one

⊹ Who's in charge and how did they get power. Did they seize it violently or did people willingly give up freedom for safety/convenience? Because that second one is way scarier and more realistic

⊹ What's the propaganda like. What lies is the government telling? What history has been rewritten? What's banned? How do they control information? This is always the first thing authoritarian regimes do

⊹ How do they maintain control. Surveillance? Fear? Making people dependent on the system? Turning people against each other? Rewards for loyalty? All of the above probably

⊹ What's illegal that used to be normal. Books? Certain jobs? Relationships? Having kids without permission? Traveling? Speaking freely? The specific restrictions tell you what the government fears

⊹ How do normal people survive day to day. What's the economy like? Is everyone struggling or is there a comfortable middle class that supports the regime because it benefits them

⊹ What's the class system. There's always a class system. Who has resources and power vs who's barely surviving. How do you move between classes or can you even

⊹ What do people do for entertainment. Is it controlled/approved entertainment only? Underground stuff? Has the government banned fun entirely? Do they use entertainment as distraction from how bad things are

⊹ How do they handle dissenters. Public executions? Reeducation camps? Make them disappear quietly? Turn them into examples? Exile?

⊹ What's the resistance like if there is one. Organized or scattered? Effective or constantly failing? Do normal people support them or are they seen as outsiders?

⊹ What technology exists and who has access to it. Is it advanced but only for the elite? Has technology regressed? Is certain tech banned because it's too dangerous

⊹ How does this society justify itself. Every dystopia thinks it's a utopia or at least necessary. What's their reasoning for why things have to be this way

⊹ Is there anywhere else in the world that's better or is this global. Can people escape or is that impossible. What's beyond the borders if anything?

Write it badly or it'll never be written

Write it badly or it'll never be written

Write it badly or it'll never be written

Write it badly or it'll never be written

Write it badly or it'll never be written

Write it badly or it'll never be written

Write it badly or it'll never be written

Write it badly or it'll never be written

of course it's the groceries but it isn't just the groceries, it's everything. now it is $25 for you to eat at chipotle. you remember when they were famous for their portion sizes (and their food safety issues). you were a hungry college student and could actually-afford to eat there. these days the food is worse and the price is higher - why not just go anywhere else?

you have just a quick question for your pharmacy so you look at their website and even do battle with their chatbot but inevitably the answer isn't there. you try calling customer service. you listen to a long automated message telling you to go online and try the website. you listen to an AI voice named Jan or Kelly as she asks you to state the nature of your request and hems and haws and says i'm sorry, i don't think i'm understanding. you try pressing "0" and saying "speak to an operator" and "talk to a representative" and "live agent". she never connects you. if literally one person spoke to you, you'd have been able to resolve this in approximately 15 minutes. it has now been an hour and Jan/Kelly's server farm is out there somewhere ruining the environment while she fails to do her job.

you watch as more and more corporations choose shady business practices - are caught on camera doing so - and discover that no legal action has been taken. that the company is calling the obvious and deliberate action "a sad accident." you watch people point out that "black friday sales" are literally more expensive than the original price. you watch as someone shows an email that is literally violating consumer safety laws. you watch as someone blatantly commits fraud.

but who are you supposed to call about that? there are no regulations anymore. they're free of that nasty "red tape" republicans hate so much. food is spoiling on the shelves and there is cesium in your shrimp. everywhere you look, the same dedication to the shareholders. everywhere you look, the prices get higher while the product gets worse.

they can keep doing it forever, right! they can just keep doing whatever they want, forever. infinite money glitch.

and the thing is: you were okay to pay a certain amount to watch a movie for the experience (and of course that one moment with nicole kidman). you understand that verizon has always been evil; you weren't expecting a rapturously friendly experience. you came from a family where money was always tight: you have always been trying to "do the right thing". the coupons and the price-matching and going to twenty stores just to find 6 different things.

as an adult: actually, you are okay to spend a little extra if the product is nice, if you are given something wonderful. if it is worth it.

but now the bag is half-empty. now the clothes are ever-thinner. now they release the game half-finished with the attitude of: whatever, you'll buy it. the technology that used to last you 5+ years now falls apart in the second month due to a known manufacturing error that you have to pay to resolve. the gas monopoly quietly installs a new "smart meter" that artificially raises your costs by 300 a month. the trip to disney is not magical; it is expensive and hostile. you are priced out of your own life in order to worship the shareholders.

you do the capitalist thing: you take your business elsewhere.

instead ask:

is it SINCERE

was it CATHARTIC

was it FUN TO MAKE

is it MADE BY ME

The Chief Graphic Designer:

HEY, UH

The people who are putting my tiny self published book (Here, the World Entire, aka the book I poured my whole dang soul into!) up on piracy sites / requesting a pdf of my book on piracy sites:

CAN YOU LITERALLY THE FUCK NOT

I’m very glad that people want to read my book! It brings me joy that I very truly cannot even begin to explain! It’s basically my dream come true! But please don’t steal my work!

I don’t have the backing of a big publishing house. I self published, so there’s no advance for me. The only money I make off that book is through sales, and although it’s not a lot at all per sale, it’s the only source of income that book produces. I very strongly believe that writers deserve to get paid for their work. That includes me.

If you want to read my book but really can’t justify using the funds you have to do so (because hey, we’re all in different financial situations, I get it), I know it’s in a couple of library systems so it’s worth trying that. I’m reluctant to send out free ebooks now because the last time I did that someone put it on a pirating site, but you’re welcome to ask and I may decide to do so on a case by case basis.

If you wanna stiffle that be my guest.

I don’t need exposure. I don’t need ‘audience’. That doesn’t pay my bills. That doesn’t compensate me for my months of hard work. I don’t need people to ‘share’ my work for me free of charge by stealing it and distributing it for free without my consent.

You fundamentally misunderstand how the publishing industry works. It doesn’t work by people stealing books. That sure benefits the reader, but it royally fucks over the author. Work being shared on pirating sites does absolutely sweet bugger all for me as an author. Audiences who know they can get my shit for free aren’t going to suddenly start paying for it just because they’ve now heard of me, so your comments about building an audience are asinine; it’s not building a paying audience for me, but an audience of people who steal my shit. Some audience.

I’ve sold hundreds of copies of my book based on the quailty of it (presumably; either that or my mum has been bribing people). It’s selling itself pretty well, thanks. It’s been performed as a play! It has pretty good reviews! I don’t need to eschew being financially compensated in exchange for more audience, especially not if that audience isn’t going to fucking pay. An audience gained from a pirate site is useless to me. It does nothing for me. I have one book out currently. Every person who steals it is someone who doesn’t buy it. It’s another sale lost. It’s nothing gained. I don’t have a back catalogue for people to buy once they’ve heard of me. It’s theft and then fuck all benefit to me.

Writing isn’t all about making money and it’s a privilege to have your work out there and read, but it’s also work, and in a capitalist society, that merits being compensated for the acknowledgement of that work. I’m not just a money hungry piece of shit (or I’d have priced my book at an actually decent profit margin) but I need money to, y'know, eat. Writing is one way I do that. I can’t do that if people steal my work.

If a billion dollar company is charging extortionate amounts for software you need for your livelihood, pirating that is between you and your conscience.

If you bought a thing but due to DRM or whatever you can no longer access the thing you bought, you can decide whether to pay again or pirate.

But pirating something from a billion dollar company is not the same as pirating a self-published book, or an indie-game, or even a book from a small press. The margins in publishing are tiny. Most authors have a second job because they earn so little from their writing. If you pirate their stuff, you’re hurting their chances to support themselves with their writing.

Source: [X] By: Laura Whitcomb

We’ve all been there: basking in the glow of a finished manuscript, only to read it over and realize something is wrong with the plot. Finding ourselves unable to identify the problem only makes matters worse. But take heart! Here are some common plot gaffes and sensible ways to revise without starting over.

1. THE PLOT ISN’T ORIGINAL ENOUGH. Go through your pages and highlight anything that you’ve read in another book or seen in a movie. In the margin, write where you’ve seen it. Then list these sections and make a note for each one about how it could differ from its lookalike. A mental patient escapes by throwing something heavy through a window. Too much like One Flew Over the Cuckoo’s Nest? Instead, the patient walks out with a visiting grandma after convincing her he’s an old friend. Quick notes like these can help you detach from unintentional imitation.

2. READERS ALWAYS KNOW EXACTLY WHAT’S GOING TO HAPPEN. This may be because you’ve chosen a plot point that’s overused, or because you keep giving away the answer in advance. Readers know the villain is going to whip out a picture of the hero’s son and blackmail her by pretending to have kidnapped the little boy because you showed the villain taking pictures of the child and driving away from the schoolyard. You could be less obvious by only showing the antagonist sitting in the car watching the boy on the playground, and no more. 3. THE PLOT IS BORING. Take each page and imagine what different writers might do with the same plot. Choose extreme examples. Would a comedy writer have the cab driver and the villain coincidentally be childhood friends with unfinished business? Would the mystery writer have the taxi pass a clue on a street corner that makes a new connection for the hero? Would the horror writer have the cab driver channel a ghost? Or, imagine the most surprising thing that could happen in a given scene. It doesn’t matter if these ideas don’t fit your story. You’re not going to use them. But often, after thinking of wild ideas to make the story more interesting, you begin to come up with workable ones that are just as stimulating, but better suited to your book. 4. THE PLOT IS ALL ACTION AND THE FRENZIED PACE NUMBS READERS. Let them breathe. Give the readers a little downtime now and then in your action story. Look back at your favorite action novels. Notice the conversations, summarized passages, meals, introspection and releases of emotions that are set in between the car chases, shootouts and confrontations. List them. Then give the readers a chance to breathe in your own manuscript. Find the dramatic respites that come from your characters’ needs, flaws and strengths.

5. THE PLOT IS TOO COMPLEX. Often, a complex plot can be trimmed into a sleek one by cutting out some steps. Does your protagonist have to visit her father in the hospital twice—once to bring him flowers and talk about Mom, and then again to find he has taken a turn for the worse? Couldn’t he take a turn for the worse while she’s still there the first time? Does your villain need to have three motives for revenge? Would one or two be interesting enough? To find the messiness in your overly complex story, summarize it out loud to yourself. When a section takes too long to explain, make a note. When you find yourself saying, “Oh, wait, I forgot to mention that …” you’re probably in need of a plot trim. When deciding whether or not to simplify the plot, ask yourself over and over again,

“Why does she do that? Why didn’t she just do this?” Making a plot less complicated doesn’t have to make it less clever. 6. THE PLOT IS TOO SHALLOW. Sometimes as writers we get caught up in the action. The symbolism. The metaphors. The witty dialogue. The great character names. The slick descriptions. Sometimes we ride these skills over the surface of the story and forget what’s really important. If you or your first readers (friends, family, agent) complain that the novel feels insubstantial, step back and ask yourself these questions: Why am I bothering to write this story? Why does the outcome matter to the characters? How do the characters change? How did my favorite book affect me the first time I read it?

7. SUSPENSION OF DISBELIEF IS DESTROYED. Readers need to buy into the reality put forward by what they’re reading. You may go too far with a plot point or not far enough with preparing your audience for that plot point. If something that sounded right when you outlined it is coming off as farfetched even to you, look back at the stepping-stones that led to the event. If your murderer turns over a new leaf at the end of act two, make sure you’ve given her reason to.

8. TOO MANY SUBPLOTS MAKE THE PLOT OVERLY COMPLEX. If you start to feel weighed down by your numerous storylines, start cutting them. List the subplots (shopkeeper with a crush, neighbor’s dog that tears up the garden, accountant who threatens to quit every day), and then list under each title all the ways it’s necessary.

Only subplots that are so vital that you could not remove them without destroying your novel get to stick around. Be bold. 9. THE SEQUENCE IS ILLOGICAL. Sometimes the sequence set down in an outline starts to show its true colors when you’re writing the chapters. If you feel the order of scenes or events in your story is off, list each scene on a separate index card and, in red ink, write a question mark on every card that doesn’t feel right where it is in the story. Shuffle the cards. I’m not kidding. Mix them up completely. Lay them out again in the order you think they might work best, giving special attention to those with red question marks.

Something about these scenes tricked you the first time. This time, really look closely at the proper place for those tricky bits.

10. THE PREMISE ISN’T COMPELLING. If you fear that a mediocre premise is your holdup, take out a sheet of paper. Make a list on the left-hand side of everything that’s dodgy in your present premise. Then write a list down the right-hand side about all the things that work great in the premise of a similar favorite book, play or movie.

See where you might make the stakes higher, the characters more emotional, the setting more a part of the overall plot. Remember: The premise should make your readers curious.

✧ Broken ribs suck. You don’t just “walk it off.” Breathing hurts. Laughing hurts. Existing hurts. Characters with rib injuries won’t be doing heroic sprints.

✧ Concussions aren’t instant naps. Dazed vision, nausea, dizziness, maybe even personality changes, but they’re not going to collapse neatly like in the movies.

✧ Blood loss is sneaky. It’s not just about dramatic pools of blood. It’s dizziness, confusion, and the body getting cold as circulation tanks.

✧ Adrenaline lies. Someone can take a serious injury and not feel it until the fight’s over. That “I didn’t realize I was bleeding until later” trope? Very real.

✧ Twisted ankles are brutal. One bad step and suddenly running is off the table. Even walking hurts like hell. Perfect way to ground a chase scene.

✧ Burns linger. Even small burns hurt more than most people expect. Blisters, infection risk, constant pain, it’s not just a cool scar later.

✧ Dislocated shoulders = useless arm. Characters can’t keep swinging a sword or firing a gun. They’re basically fighting one-armed until it’s fixed.

✧ Shock is a thing. Pale skin, trembling, rapid heartbeat, and eventually disorientation. A character might not even realize how bad their wound is.

✧ Stitches aren’t magic. Getting sewn up is painful and recovery takes time. They’re not instantly battle-ready after a needle and thread.

It's a necessary emotion. There are reasons we have it. It makes everything so. much. worse. when you use it wrong.

Shame and guilt are DE-motivators. They are meant to stop behavior, not promote it. You cannot, ever, in any meaningful way, guilt someone into doing good. You can only shame them into not doing bad.

Let's say you're a parent and your kid is having issues.

Swearing in class? Shame could work. You want them to stop it. Keep it in proportion*, and it might help. *(KEEP IT IN PROPORTION!!!)

Not doing their homework? NO! STOP! NO NOT DO THAT! EVER! EVER! EVER! You want them to start to do their homework. Shaming them will have to opposite effect! You have demotivated them! They will double down on NOT doing it. Not because they are being oppositional, but because that's what shame does!

You can't guilt people into building better habits, being more successful, or getting more involved. That requires encouragement. You need to motivate for that stuff!

If you want it in a simple phrase: