kicking this off with a little intro post - HI, my name’s rune, i’m 24, use he/they pronouns, and mostly write fantasy novels and playscripts. see below for my projects (still being updated as of june 2026)!
MAIN PROJECTS.
death from the pasture (a psychological novella, intro here).
fate’s protégés (tba).
NOVELS.
the hero's protege wip intro (a dark fantasy novel).
amelia locket (a queer fantasy boarding school novel).
coded (a dark fantasy/sci-fi novel).
SCRIPTS.
the book burner (a queer historical play).
the monkey ladder experiment (a psychological horror play).
‘what’s rotting in the office fridge?’ project (a psychological absurdist play).
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He was as tall as he was tall, and his eyes were the color they were. To describe his hair one would say that he had some. His face had all the features you'd expect, and none of the ones you wouldn't. "There he is," people would often say of him, but only when he was there. And they were right.
it is honestly amazing how much of writing and editing is just. logistics. like... do i use a name here or a pronoun? if i move this dialogue tag to the middle of this line and break it in half, does the end of the line hit harder that way? what if i move the tag to the front? what if i remove it entirely? ...wait, whose point of view am i in; can i reasonably say this character is appalled, or must i say they look or seem or sound appalled? is this a deliberate action or a step-removed one; is her hand closing on his shoulder, or is she closing her hand on his shoulder? environment environment environment, we need to break all this dialogue up with some narration, the scene is coming untethered. what! are! they doing! with! the rest of their bodies that are not hands! fuck fuck fuck FUCK i forgot we covered this two chapters ago and now i either need to cut this whole chunk or find a reason to reprise the conversation from earlier. name or pronoun? name or pronoun? name or pronoun? move this clause around in this sentence? oh i'll add this phrase-- nope, never mind, past!me added the same phrase two lines down. okay, if i add too much environmental narration it's going to take away from this bit, but not enough and it won't feel grounded. what if i move this to its own line? where the FUCK are their hands?
How I think I’m writing: Using eye contact, or lack thereof, to display emotions such as intimacy, shock, denial, or nervousness.
How I’m actually writing: She looked at me, and I looked away. I tried to look back, but she was already looking at the sky. “Look,” she sighs, looking back at me for a split second. “I don’t know how to say this.” We looked at each other and time stopped, but then she looked her lookers at something else to look at, looking tired.
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i do not “delete sentences” when they start “hindering the plot” i COPY PASTE THEM into a SEPARATE DOC made just for keeping all my USELESS LINES that i will also NEVER USE so therefore i should JUST DELETE THEM but i DONT because id FEEL BAD if i did
not all of us can live in fantasy 100% the time like i see some people on here do and it's refreshing to learn something new. its been philosophy, essays, and history for me and i feel much more at home on planet Earth for it knowing that people have been struggling and wishing similarly for millenia.
its not that fiction doesnt have its place, its important and healthy to exercise the imagination, but non-fiction can do so much to boost and supplement that. if not for yourself, for your art or for the people you're around
this version of the post doesnt seem to be getting much traction but this is arguably the most important reason why we should be reading nonfiction in addition to fiction
hi! please feel free to ignore this question, but do you have any tips/advice/information sources for someone who wants to start submitting to them for the first time? i did a high amount of writing in uni and got into some student journals, but now i'm trying to get back into it years later i have no fucking clue what i'm doing. love your blog and good luck with the submissions!
hello yes, very happy to!
as a caveat I mostly do science fiction & fantasy submissions and the magazine sectors for different genres have different norms.
these days the easiest way to find potential markets is a submission managers such as The Grinder. Submission managers provide both search engine tools for finding markets and a tracker for logging your submissions.
& that's pretty much it!! there used to be a lot more research n stuff involved but these days it's just like. The Grinder has it for you.
some other tips:
the standard advice is to start by submitting to the highest paying/most prestigious relevant market and work your way down. if you are into SFF I can tell you what the prestige markets are. if not i am afraid i don't know BUT i can tell you that it's surprisingly easy to submit to The New Yorker.
magazines generally ask that you read an issue before submitting to get a feel for what they publish; in practice I think only uhh Extremely diligent writers are actually doing this.
most markets will ask for a cover letter. unlike with cover letters for jobs or for literary agents, there is 0 expectation that you will get creative or even really sell yourself. it is just for information.
many markets will ask for a third person bio upfront. you can get creative in your third person bio but you don't have to. this blog post has some info about what cover letters and bios should look like. this one has some more info on bios including an example with no publication credits.
another good thing to do is follow some fiction magazines you like on social media; in addition to making announcements about their own submission calls many magazines will share calls from other similar magazines so you can learn about all sorts of stuff this way.
ok that's all I can think of for now! good luck! :D
Anya is live and ready to show you everything. Watch her strip, dance, and perform exclusive shows just for you. Interact in real-time and make your fantasies come true.
✓ Live Streaming✓ Interactive Chat✓ Private Shows✓ HD Quality✓ Free Actions
Free to watch • No registration required • HD streaming
It's not perfect- Strawpage's design tools are... not great- but I did my best to bring you all a Tumblr-free transcription of all my lessons. This is probably the most labor-intensive thing I've done for this page (next to the character polls). Four months of blood, sweat, and tears... and now, she LIVES!!!!
Some Notes:
I created it with the intent of Desktop use, so Mobile might have some issues. If it's not working on your phone, try desktop.
Out of the multiple browsers tested (Firefox, Google, Edge, Brave, Safari), Firefox had some issues sporadically.
I'm still going to post lessons on here, first. This page is priority to me, and the website is more of an archive.
The fonts are normal past this opening page.
I will be adding a portion to send funds soon, if'n you are feeling kind and generous.
Thank you all for your patience while I worked on this. It was a labor of love and I hope that it shows. 🙏🏾 Happy scrolling!
Tropes: Not enemies or lovers but a secret third thing; Forced proximity; Violence as a love language; Imperfect victimhood; Unreliable narrators; Mutually - assured destruction; "Who did this to you?" (I did); "Family" violence; Non-linear narrative; Trauma and trauma responses; Trans healing (and lack thereof); Sacrifice.
Comp Titles: VICIOUS (VE SCHWAB); ALL FOR THE GAME (NORA SAKAVIC).
Tag List: reply below or send me a dm to be tagged in anything i post re. death from the pasture!
read on for the summary &. the characters!
SUMMARY.
When an officer knocks on his door one morning and tells him the Shepherd’s Flock, the cult he was raised in, has been disbanded, Hayel gets only a fleeting moment of freedom. Though the group is dead, Eiki is not, and has his sights fully set on Hayel. As the Flock’s Lamb, Eiki had been vicious, controlling, and violent. As the Flock’s Butcher, Hayel had been tasked with killing Eiki when the time arrived. Hayel has built a life without Eiki, despite their past codependence: those roles are supposed to be behind them.
But with Eiki staying in his house and the Lambslaughter growing closer, Hayel’s new life begins to crumble. wonders if he will ever escape his past. Eiki remains convinced that his death will bring about the world’s redemption. Hayel tries not to think that Eiki’s death may bring about his own peace. Has he truly managed to escape his past, or will he always be the Butcher, Eiki’s killer to-be?
MEET THE CHARACTERS.
HAYEL (he/him) / THE BUTCHER is a twenty-six year old young Jordanian man who was raised by the cult, The Shepherd's Flock, from the age of five after his father died. Given the title of the Butcher, he was raised with the knowledge he would be the one to kill Eiki and save the world. A year prior to the dissolution of the Flock, he fled and started up a new life for himself. Kind, distrusting of himself and those around him, and devastatingly codependent, Hayel's new life unravels with the unexpected forced arrival of Eiki. His adoration and fear of Eiki causes his mental health to once again fall apart, as he struggles with the violent thoughts inflicted on him by the Flock.
EIKI (he/him) / THE LAMB is a twenty-five year old young Japanese man who was The Shepherd's Flock golden boy. His parents, who were a part of the group who ran the Flock, were convinced his death would save the world, and as such Eiki was raised with the knowledge he would be killed on a specific date and time. He is cruel, volatile, obsessive, and determined to fulfill the Flock's teachings. His relationship to Hayel is the centre of the novella, as is his mingled violence and vulnerability.
Tropes: Not enemies or lovers but a secret third thing; Forced proximity; Violence as a love language; Imperfect victimhood; Unreliable narrators; Mutually - assured destruction; "Who did this to you?" (I did); "Family" violence; Non-linear narrative; Trauma and trauma responses; Trans healing (and lack thereof); Sacrifice.
Comp Titles: VICIOUS (VE SCHWAB); ALL FOR THE GAME (NORA SAKAVIC).
Tag List: reply below or send me a dm to be tagged in anything i post re. death from the pasture!
read on for the summary &. the characters!
SUMMARY.
When an officer knocks on his door one morning and tells him the Shepherd’s Flock, the cult he was raised in, has been disbanded, Hayel gets only a fleeting moment of freedom. Though the group is dead, Eiki is not, and has his sights fully set on Hayel. As the Flock’s Lamb, Eiki had been vicious, controlling, and violent. As the Flock’s Butcher, Hayel had been tasked with killing Eiki when the time arrived. Hayel has built a life without Eiki, despite their past codependence: those roles are supposed to be behind them.
But with Eiki staying in his house and the Lambslaughter growing closer, Hayel’s new life begins to crumble. wonders if he will ever escape his past. Eiki remains convinced that his death will bring about the world’s redemption. Hayel tries not to think that Eiki’s death may bring about his own peace. Has he truly managed to escape his past, or will he always be the Butcher, Eiki’s killer to-be?
MEET THE CHARACTERS.
HAYEL (he/him) / THE BUTCHER is a twenty-six year old young Jordanian man who was raised by the cult, The Shepherd's Flock, from the age of five after his father died. Given the title of the Butcher, he was raised with the knowledge he would be the one to kill Eiki and save the world. A year prior to the dissolution of the Flock, he fled and started up a new life for himself. Kind, distrusting of himself and those around him, and devastatingly codependent, Hayel's new life unravels with the unexpected forced arrival of Eiki. His adoration and fear of Eiki causes his mental health to once again fall apart, as he struggles with the violent thoughts inflicted on him by the Flock.
EIKI (he/him) / THE LAMB is a twenty-five year old young Japanese man who was The Shepherd's Flock golden boy. His parents, who were a part of the group who ran the Flock, were convinced his death would save the world, and as such Eiki was raised with the knowledge he would be killed on a specific date and time. He is cruel, volatile, obsessive, and determined to fulfill the Flock's teachings. His relationship to Hayel is the centre of the novella, as is his mingled violence and vulnerability.
Steal from everything you love. watched a movie and thought "wow that scene hit different"? figure out why and use it. read a book where the banter made you kick your feet? study it. saw a tiktok that made you Feel Things? that's research. keep a notes app full of random lines you'll never use. screenshot tumblr posts at 4am for "inspiration." your influences should be obvious and chaotic. remix everything. that's not theft that's apprenticeship.
The most interesting question you can ask about any character is not what do they want. it's what do they believe they deserve. because those two things are almost never the same and the gap between them is where your entire story lives. a person can want love completely and believe they don't deserve it and that belief will destroy every good thing that comes toward them in ways they won't even notice they're doing. write the gap. the gap is the character.
Anya is live and ready to show you everything. Watch her strip, dance, and perform exclusive shows just for you. Interact in real-time and make your fantasies come true.
✓ Live Streaming✓ Interactive Chat✓ Private Shows✓ HD Quality✓ Free Actions
Free to watch • No registration required • HD streaming
one of my favorite things to do in limited perspective is write sentences about the things someone doesn't do. he doesn't open his eyes. he doesn't reach out. i LOVE sentences like that. if it's describing the narrator, it's a reflection of their desires, something they're holding themselves back from. there's a tension between urge and action. it makes you ask why they wanted or felt compelled to do that, and also why they ultimately didn't. and if it's describing someone else, it tells you about the narrator's expectations. how they perceive that other person or their relationship. what they thought the other person was going to do, or thought the other person should have done, but failed to. negative action sentences are everything.
