Eli Grant Books

With NaNoWriMo around the corner, I thought I might show you how I plotted my novel.

This is the story structure I used:

0% inciting incident

0%-20% introduction in the world, ends with a point of no return

20% first plot point: the hero receives his marching orders

20%-50% response to the first plot point

35% first pinch point: reminder of the nature of the antagonistic force

50% midpoint: big fat plot twist that changes the hero’s AND reader’s experience

50%-80% attack: the stakes are higher now

65% second pinch point: again reminding the reader of the antagonistic forces at hand

80% second plot point: the final injection of new information into the story to give the hero everything she needs to become the primary catalyst in the story’s conclusion (no new information past this point)

80%-100% resolution + final conflict + return home

I didn’t make this up. I think it’s by Larry Brooks, if The Internet informs me correctly. Fun Fact: once you pay attention to it, you’ll see this structure everywhere. Just take a look at any Harry Potter book, for example.

These points are the “bones” of my story. Next, I decided what “flesh” to put on them.

I simply made a list of things I like to read about:

Books about books and libraries

Magic

Quirky characters

Intelligent, fast-paced and sometimes silly

So, I combined this list and the structure points into a story that makes sense. Because I don’t want to spoil my plot / I am still to shy about my wip, I will make up a new plot for this post, so I can show you.

0%: The hero does something magical without knowing how she did it. She discards it, because everybody knows it can’t have been real.

0%-20%: We see the daily life of the hero: she is unhappy because all she wants to do is read, but she is not allowed to. She reads in the dead of night and is punished for it by her evil stepcousin. She finds a book on magic.

20% It all clicks together: she can do magic!

20%-50% The daily life for the hero changes. Instead of reading all night, she practices magic. She now loves books even more. She has little victories over her evil stepcousin, but hasn’t won yet.

35% The evil stepcousin finds out that she can do magic and takes away the magic book.

50% She discovers she can do magic without the book.

50%-80% The hero is not the only one who is bullied by the evil stepcousin. Her younger cousin is a victim as well, and he doesn’t have magic to defend himself. The stakes are raised, this is bigger than herself now. The younger cousin also wants to read, so they have several bonding moments over reading.

65% The evil stepcousin hurts the younger cousin, he’s in a coma now.

80% The hero discovers the evil stepcousin could do all these evil things because he knows magic too.

80%-100% The hero confronts the evil stepcousin, fights him off, nearly loses but wins in the end. He gives up and releases his power over the younger cousin who wakes up from the coma.

It’s not the most genius plot ever, but I literally made this up in minutes. So can you! And imagine the genius plot you can come up with if you spend more than a few minutes on it.

Then I calculated how many scenes I need in which part of the story. My wip is a YA or 12+ book, so I want it to contain about 75,000 words in total. I want my scenes to be around 1,000 words long to keep it snappy, so I need 75 scenes.

Scene number 1 (0%) is the inciting incident, scene number 15 (20%) is the first plot point, scene number 26 (35%) is the first pinch point, scene number 37 (50%) is the midpoint, scene number 49 (65%) is the second pinch point, scene number 60 (80%) is the second plot point and scene 75 (100%) is the last scene.

Some sidenotes on the 1,000-word scenes:

That’s more of a vague rule of thumb than a strict rule. If your scene needs to be longer or shorter, make it longer or shorter of course. My wip has some 2,300-word scenes as well.

Having 1,000-word scenes does not mean I have 1,000-word chapters, that would be really short. I will divide my novel into chapters after I’m finished writing my first draft.

For NaNoWriMo, maybe you could write scenes of 1,667 words, so you do one scene per day. A 50,000-word novel has 30 scenes of 1,667 words. Inciting incident is at scene 1, first plot point at scene 6, first pinch point at scene 11, midpoint at scene 15, second pinch point at scene 20, second plot point at scene 24 and scene 30 is your last scene. That’s just an idea, you got to see what works for you.

Then I made up in one sentence what will happen in every scene. For example: “They meet the dragon and he sends them on a sidequest.” Now my outline consists of 75 one-sentence scenes. This way, I prevent the problem of the sagging middle and other pacing problems and I still get to surprise myself when writing.

From those one-sentence scenes, I flesh out every scene into a first draft, using the process I described in my post How I never have to face an empty page when I write.

And that’s my first draft! I hope everything is clear. Feel free to ask me questions if it isn’t.

I’m gonna tag a few people I admire, who I hope are interested. If you aren’t, feel free to ignore me, or message me to take you off my tag list. If you would like to be added to my writing advice tag list, let me know.

Subplots can be tricky business, but when gone about correctly can make your story a thousand times better. This is a little guide to knowing when, how, and what types of subplots to include in your story. Enjoy!

Purpose

a subplot in a story should always serve a purpose. Subplots are not a device you use to bulk up the word count. They can be super helpful with progressing toward the main resolution, and can greatly improve your reader’s experience.

Connect To The Main Plot

You subplot(s) need to connect to the main plot in some way. I needs to push the story forward and somehow add to the resolution of the main conflict.

Reveal Information That Is Imperative To The Plot

Your subplots must serve to reveal information that is important to the main plot’s resolution. Whether it be revealed to the reader, to a character, or both, it needs to happen at one point or at multiple points throughout the subplot’s timeline.

Keep The Reader Interested

If your subplot is boring and only serves to give information, it may drive the reader away. Even though it isn’t the main plot, you still spend a considerable time with this plot, and it needs to be interesting to your reader. Subplots add to the main plot as well as the reader’s experience, so try to manipulate the subplot to keep your readers on their toes.

The Subplot Must Be Resolved

Finally, the subplot has to be resolved at some point in the story. Not necessarily in time with the main conflict resolution, because some subplots continue in sequels of stories, but if your story is a standalone, then it needs to be resolved before or at the same time as the main conflict.

When To Use A Subplot

Some subplots begin to appear very early in stories and some don’t appear to the reader until the very end. Subplots must flow with the main plot, and as you introduce characters, plot points, themes, goals, and conflicts, the subplots will appear and thicken. Don’t fool yourself into believing that subplots have to begin at the beginning and run the entire course of the story. Life isn’t like that, and oftentimes, stories aren’t either. Let subplots begin where they may and run their courses at their own paces.

How Many Subplots?

There is no expectation or limit to the amount of subplots you can include in your story. However, in reality, you should only include the amount of subplots you, as a writer, can handle. If you can gracefully weave 20 subplots into the main plot and come out with a product your readers will understand and appreciate, then do so as you please. Do what makes sense for you, your audience, and your story.

Weaving Them Into The Main Plot

Subplots within a main plot should follow the same format when it comes to characters. The supporting character(s)’s story should intertwine with that of the main character. There should be an element within the subplot that is essential to the pain plot moving forward and being resolved. One of the most effective ways of weaving a subplot into the main plot is to create alternate sections or chapters in which the perspective changes to that of a supporting character and focuses on the subplot. Your subplots will seem to run parallel to the main plot but at various times, they should cross over and impact each other.

What Not To Do

Include a subplot that does not serve a purpose

Include a subplot that is purely meant to make the story longer

Include subplots that you and/or your story can’t handle

Force the subplot into a time frame that does not fit its purpose

Allow the subplots to run parallel to the main plot their entire durations

Request a prompt list/writing advice/playlist/study help post here

I made these as a way to compile all the geographical vocabulary that I thought was useful and interesting for writers. Some descriptors share categories, and some are simplified, but for the most part everything is in its proper place. Not all the words are as useable as others, and some might take tricky wording to pull off, but I hope these prove useful to all you writers out there!

So listen up y’all, nothing drives me crazier as both a writer and a scientist than seeing alien diseases that make no fuckin’ sense in a human body. 

If you’re talking about alien diseases in a non-human character, you can ignore all this.

But as far as alien diseases in humans go, please remember:

DISEASE SYMPTOMS ARE AN IMMUNE RESPONSE.

Fever? A response to help your immune cells function faster and more efficiently to destroy invaders.

Sore/scratchy throat? An immune response. Diseases that latch onto the epithelium of the throat (the common cold, the flu) replicate there, and your body is like “uh no fuckin’ thanks” and starts to slough off those cells in order to stop the replication of new virus in its tracks. So when it feels like your throat is dying? guess what it literally is. And the white spots you see with more severe bacterial infections are pus accumulation, which is basically dead white blood cells, and the pus is a nice and disgusting way of getting that shit outta here.

(No one really knows why soreness and malaise happens, but some scientists guess that it’s a byproduct of immune response, and others suspect that it’s your body’s way of telling you to take it easy)

headache? usually sinus pressure (or dehydration, which isn’t an immune response but causes headaches by reducing blood volume and causing a general ruckus in your body, can be an unfortunate side effect of a fever) caused by mucous which is an immune response to flush that nasty viral shit outta your face.

Rashes? an inflammatory response. Your lymphocytes see a thing they don’t like and they’re like “hEY NOW” and release a bunch of chemicals that tell the cells that are supposed to kill it to come do that. Those chemicals cause inflammation, which causes redness, heat, and swelling. They itch because histamine is a bitch.

fatigue? your body is doing a lot–give it a break!

here is a fact:

during the Spanish 1918 Plague, a very strange age group succumbed to the illness. The very young and very old were fine, but people who were seemingly healthy and in the prime of life (young adults) did not survive. This is because that virus triggered an immune response called a cytokine storm, which basically killed everything in sight and caused horrific symptoms like tissue death, vasodilation and bleeding–basically a MASSIVE inflammatory response that lead to organ damage and death. Those with the strongest immune systems took the worst beating by their own immune responses, while those with weaker immune systems were fine.

So when you’re thinking of an alien disease, think through the immune response.

Where does this virus attack? Look up viruses that also attack there and understand what the immune system would do about it. 

Understand symptoms that usually travel together–joint pain and fever, for example.

So please, please: no purple and green spotted diseases. No diseases that cause glamorous fainting spells and nothing else. No mystical eye-color/hair-color changing diseases. If you want these things to happen, use magic or some shit or alien physiology, but when it’s humans, it doesn’t make any fuckin’ sense. 

Some bacteria have physical effects on the body that cause symptoms (EHEC varitype of E. coli ruptures cells at the site of infection, which is usually the large intestine, hence, you have bloody stools from it). If your alien or “made-up” bacteria or virus causes a certain symptom, find a real bacteria or virus that causes the same symptom. They need to behave in a similar fashion and have similar physical traits. Bacteria and viruses do not evolve functions because they’re cool. They evolve them because they’re useful.

There are also dietary issues, medications and chronic diseases that cause physical changes–copper toxicity can cause an orange ring around the iris, an eyelash lengthening “medicine” causes darkening and/or color change of the iris, hemochromatosis (sometimes known as “Bronze Diabetes”) causes darkening of the skin etc. If you want to use this sort of thing, again, find something real that causes it and work through things logically. 

I’d like to add that the same goes for parasitic infections, more or less. If you want a certain trait for a diseases, cross reference with existing parasites to see what’s happening, and also make sure you check what happens if you put a parasite in a host it’s not meant for. We can sensibly assume that alien parasites that encounter a human would be ‘wtf’ and potentially cause complications that would never happen in the native species. Maybe in the native species it causes a cold like reaction at worst, but in a human the parasites may attempt to nest in a totally different tissue. Maybe that causes widespread tissue damage by the parasite itself as it tries to borrow in? Again, check existing cases to see what horrific things could happen.

While we’re on it, also check how your disease is communicated. One of the things that annoy me so much with zombie movies is that ‘biting’ is supposed to be a very effective way to spread it. It’s not. Anything that requires such intimate contact is actually kind of hard to communicate. Airborne things? Now there we are at potential ‘oh shit’ territory. So if you want your disease to sweep the country/planet/ship, pick something that’s easily communicable. 

Also consider the incubation period. How long until someone shows symptoms? Are they already infectious to other people before showing symptoms or still after they stopped? As mentioned above, illness symptoms are in most part immune responses and the immune system needs time to get up and run. Give it that time.

Nothing makes me groan harder than a made-up plague which gives anyone X diseases within seconds to MINUTES. I’m looking at you, most zombie movies. And if your alien/synthetic/sci-fi pathogen is at all like a virus (read: no metabolism of its own, just genetic material of some kind which it uses to reprogram host cells), then the rate at which it mupltiplies is limited to what normal human cells can do. Now, viruses can multiply pretty damn fast. But give you symptoms within MINUTES? Nope.

So long as we’re on the subject of epidemiology, and speed:

 "Oh no, patient died less than a day after being infected! We’re all doomed!“ Wrong. While that SOUNDS scary, a plague that kills that quickly would not actually be that dangerous, and would be unlikely to have evolved to begin with. A disease needs to pass itself on to at least one other person, on average, before it kills its host, or it’s doomed to extinction. Any virus that kills its host before it has a decent chance of being passed on will basically quarantine itself. (Of course, you CAN do this if you handwave its origins as being made in a lab or whatever, just know it won’t realistically pose a truly terrifying threat on a population level.)

Mmore ideas for a realistically scary made-up plague:

- Long incubation period (say, a couple of weeks), making quarantine much more difficult, disruptive to everyday life, and unlikely to succeed. - Infectious period != symptomatic period, i.e. someone can spread the disease before they appear sick. (Note: if this condition is met, then dying very rapidly after *manifesting symptoms* becomes plausible again, more plausible than dying quickly after being infected.)

- The possibility or relative prevalence of healthy carriers - think Typhoid Mary. I.e. rare people who skip the symptoms part entirely but are still infectious.

- The disease is transmitted through an animal that is hard to keep out, the definition of “hard to keep out” would depend on the setting here. Poor water sanitation means waterborne bacteria and microscopic parasites would be a huge danger. Insect or arachnid (e.g. tick) bites could be a danger in almost any setting..

- As an alternative to above point: the bacterial/viral/parasite/whatever can form spores that are fucking EVERYWHERE. (Read: the reason for both tetanus and botulinum poisoning.)

- The pathogen is both dangerous and impossible to fully exterminate through vaccination because it has a huge population of reservoir hosts. (Reservoir hosts are entire SPECIES that can carry and propagate the disease without being affected much by it.) Same way the Black Plague is still out there because a shitton of rodent species passively carry it.

I drew a shitty teeth tutorial™ for my friend but I figured someone else might find it useful so here ya go!! also im not an expert so theres that but ya enjoy :>

Ok. I’m tired of the typical vampire, werewolf and fairy.I’m also tired of the occidental-centrism in mythology. Hence, this list. 

I tried to included as many cultural variants as I could find and think of. (Unfortunately, I was restricted by language. Some Russian creatures looked very interesting but I don’t speak Russian…) Please, add creatures from your culture when reblogging (if not already present). It took me a while to gather all those sites but I know it could be more expansive. I intend on periodically editing this list. 

Of note: I did not include specific legendary creatures (Merlin, Pegasus, etc), gods/goddesses/deities and heroes.

Dragons

The Chinese Dragon

The Japanese Dragon

The Korean Dragon

The Vietnamese Dragon

The Greek Dragon

The Indian Dragon

The Polish Dragon

The Austrian Dragon

The British Dragon

The Ancient Dragon (Egypt, Babylon and Sumer)

The Spanish Basque Dragon

Of the Cockatrice (creature with the body of a dragon)

Alphabetical List of Dragons Across Myths (Great way to start)

Little creatures (without wings)

The Legend of the Leprechauns, The Leprechaun

Chanaque /Alux (the equivalent of leprechauns in Aztec/Mayan folklore)

Elves

Elves in Mythology and Fantasy

Elves in Germanic Mythology

Kabeiroi or Cabeiri (Dwarf-like minor gods in Greek mythology)

Norse Dwarves

The Myth of Loki and the Dwarves

Ten Types of Goblins

Goblins

Tengu: Japanese Goblins

Gnomes 

More on Gnomes

Pooka: an Irish phantom

Creatures with wings (except dragons)

Fairies

All sorts of Cultural Fairies

Fairies in Old French Mythology 

A Fairy List

Bendith Y Mamau (Welsh fairies)

Welsh Fairies

Peri (Persian fairies)

Yü Nü (Chinese fairies)

The Celtic Pixie

Angels in Judaism

Angels in Christianity

Hierarchy of Angels

Angels in Islam

Irish Sylph

Garuda (Bird-like creature in Hindu and Buddhist myths)

Bean Nighe (a Scottish fairy; the equivalent of a banshee in Celtic mythology)

Harpies

Spirited Creatures

Druids

Jinn (Genies in Arabic folklore)

Types of Djinns

Aisha Qandisha and Djinn in Moroccan Folklore

Oni (demons in Japanese folklore)

Nymphs

Spirits in Asturian Mythology

Valkyries

Lesovik

Boggarts: The British Poltergeist

Phantom black dogs (the Grim)

Demons in Babylonian and Assyrian Mythology (list)

Demons in the Americas (list)

European Demons (list)

Middle-East and Asia Demons (list)

Judeo-Christian Demons (list)

Nephilim, more on Nephilim

Mahaha (a demon in Inuit mythology)

Flying Head (a demon in Iroquois mythology)

Ghosts

Toyol (a dead baby ghost in Malay folklore)

Malay Ghosts

Yuki-onna (a ghost in Japanese folklore)

The Pontianak (a ghost in Malay mythology)

Funayurei (a ghost in Japanese folklore)

Zagaz (ghosts in Moroccan folklore)

Japanese Ghosts

Mexican Ghosts

Horse-like mythical creatures

Chinese Unicorns

Unicorns

The Kelpie (Could have also fitted in the sea creatures category)

The Centaur

The Female Centaur

Hippocamps (sea horses in Greek mythology)

Horse-like creatures (a list)

Karkadann, more on the Karkadann (a persian unicorn)

Ceffyl Dwfr (fairy-like water horse creatures in Cymric mythology)

Undead creatures

The Melanesian Vampire 

The Ewe Myth : Vampires

The Germanic Alp

The Indonesian Vampire

Asanbosam and Sasabonsam (Vampires from West Africa)

The Aswang: The Filipino Vampire

Folklore Vampires Versus Literary Vampires

Callicantzaros: The Greek Vampire

Vampires in Malaysia

Loogaroo/Socouyant: The Haitian Vampire

Incubi and Sucubi Across Cultures

Varacolaci: The Romanian Vampire

Brahmaparusha: The Indian Vampire

Genesis of the Word “Vampire”

The Ghoul in Middle East Mythology

Slavic Vampires

Vampires A-Z

The Medical Truth Behind the Vampire Myths

Zombies in Haitian Culture

Shape-shifters and half-human creatures (except mermaids) 

Satyrs (half-man, half-goat)

Sirens in Greek Mythology (half-woman and half-bird creatures)

The Original Werewolf in Greek Mythology

Werewolves Across Cultures

Werewolf Syndrome: A Medical Explanation to the Myth

Nagas Across Cultures

The Kumiho (half fox and half woman creatures)

The Sphinx

Criosphinx

Scorpion Men (warriors from Babylonian mythology)

Pooka: an Irish changelings

Domovoi (a shape-shifter in Russian folklore)

Aatxe (Basque mythology; red bull that can shift in a human)

Yech (Native American folklore)

Ijiraat (shapeshifters in Inuit mythology)

Sea creatures

Selkies (Norse mermaids)

Mermaids in many cultures

More about mermaids

Mermen

The Kraken (a sea monster)

Nuckelavee (a Scottish elf who mainly lives in the sea)

Lamiak (sea nymphs in Basque mythology)

Bunyip (sea monster in Aboriginal mythology)

Apkallu/abgal (Sumerian mermen)

An assemblage of myths and legends on water and water creatures

Slavic Water Creatures

The Encantado (water spirits in Ancient Amazon River mythology)

Zin (water spirit in Nigerian folklore)

Qallupilluk (sea creatures in Inuit mythology)

Monsters That Don’t Fit in Any Other Category

Aigamuxa, more details on Aigamuxa

Amphisabaena

Abere

Bonnacon

Myrmidons (ant warriors)

Troll, More on Trolls

Golems 

Golems in Judaism

Giants: The Mystery and the Myth (50 min long documentary)

Inupasugjuk (giants in Inuit mythology)

Fomorians (an Irish divine race of giants)

The Minotaur

The Manticore, The Manticore and The Leucrouta

The Ogre

The Orthus (two-headed serpent-tailed dog)

The Windigo

The Windigo Psychosis

Rakshasa (humanoids in Hindu and Buddhist mythology)

Yakshas (warriors in Hindu mythology)

Taqriaqsuit (“Shadow people” in Inuit mythology)

Stick Indians

References on Folklore and Mythology Across the Globe

Creatures of Irish Folklore 

Folklore and Fairytales

An Overview of Persian Folklore

Filipino Folklore

Myths, Creatures and Folklore

Alaska Folklore

Spanish (Spain) Mythology

Mythical Archive

Mythology Dictionary

List of Medieval and Ancient Monsters

Native American Animals of Myth and Legends

Native American Myths

Bestiary of Ancient Greek Mythology

Mythology, Legend, Folklore and Ghosts

Angels and Demons

List of Sea Creatures

Yoruba Mythology

Ghosts Around the World, Ghosts From A to Z

Strange (Fantastic) Animals of Ancient Egypt

Egyptian Mythology

Creatures from West Africa

On the Legendary Creatures of Africa

Myths, Creatures and Folklore

References on writing a myth or mythical creatures

Writing a MYTHology in your novel?

How to Write a Myth

10 Steps to Creating Realistic Fantasy Creatures

Creating Fantasy Creatures or Alien Species

Legendary Creature Generator

Book Recommendations With Underrated Mythical Creatures

1.  The Edward Cullen (i.e. the glorified stalker)

How to spot him:

He’s gorgeous.  Brooding.  Bejeweled with countless sequins.  He stresses over and over again that he and the female protagonist have a “connection,” are “soulmates,” or something else that you’d generally expect to hear from that one creepy kid who used to stare at you in class.  Similarly, in true creep fashion, he uses their supposed connection as an excuse to blatantly stalk her, and is narratively treated as nothing short of a romantic in spite of it because he’s attractive (and sparkly) enough to pull it off.

Examples:      

In the Twilight Saga, Edward is canonically over one hundred years old, making it extra creepy that he’s A) hanging around a high school for no particular reason, and B) dating a seventeen-year-old girl.  He uses derogatory terms about past lovers, attempts suicide when Bella tries to break up with him, and shows up at her home uninvited to watch her sleep.  Moreover, his systematic isolation of Bella from her friends and family is all-too reminiscent of real life abusive dynamics.  

How to avoid him: 

Read up on signs of abuse in a relationship.  This is a good thing to do anyway as a means of self-education, but it’s also important for writers who plan to include romantic subplots.  A good one to start with can be found here, at least in terms of emotional abuse: https://psychcentral.com/blog/archives/2014/10/13/21-warning-signs-of-an-emotionally-abusive-relationship/.

Try to avoid a blatant power imbalance.  Edward is stressed to be older, stronger, more experienced, and more intelligent than Bella.  Sometimes power imbalances are unavoidable due to species differences, but this can be countermanded by giving the human love interest qualities that make them valuable in other ways.

Overall, if you’re attempting to portray a healthy relationship, try to base it on an equal exchange of power and mutual respect.

2.  The Christian Grey (i.e. the glorified rapist)

How to spot him:

When I first found out that the 50 Shades of Grey franchise was originally Twilight fanfiction, I initially (incorrectly) presumed it to be a joke.  After I’d come to terms with the fact that it was not, my next thought was that it made perfect sense, because Christian is literally Edward Junior on steroids:  the same abusive brand of stalker who gets off on a blatant power imbalance, with the added unpleasantries of excessive wealth and bad BDSM etiquette.  Oh, yeah.  And he’s a rapist.    

Examples:

Christian disregards Ana’s request for a condom, stating “her body belongs to him,” threatens punishment when she refutes his attempts to discretely grope her in public, and at one point, ignores her safe word.  Throughout the book, Ana is pressured into sex she feels uncomfortable with.    

How to avoid him: 

If you’re going to write about BDSM, actually study BDSM etiquette.

Healthy BDSM relationships are forged on mutual trust and a consensual, mutually beneficial exchange of power.  Even if you are writing about BDSM, if you intend to write about a healthy relationship, be sure to base it off of these values. 

Just because a character is dominant doesn’t mean they need to be emotionally callous;  Christian completely neglects Ana’s emotional needs, such as her aftercare (i.e. the period of tenderness recommended after BDSM sessions to compensate for the emotional and physically taxing task of surrendering one’s power.)

In short, don’t use kink as a means of excusing emotionally unhealthy and abusive dynamics.       

3.  The Ross Geller (i.e. the entitled “nice guy”)

How to spot him:

He thinks his hot female friends (and only the hot ones, mind you) are owed to him because he’s “nice,” romantic, and intelligent.  However, upon closer scrutiny he really isn’t a particularly nice guy (i.e. he bullied his sister Monica and benefits from enjoys her emotionally abusive parents’ favoritism), is self-centered, and consistently places his needs ahead of her own.

Examples:  

The minute Rachel begins to find self-fulfillment in her career, Ross becomes jealous and hounds her at work, accuses her of “not having enough time for (him),” and generally tries to make her feel guilty for being successful and having priorities other than him. 

How to avoid him: 

Again, I cannot stress this enough:  mutual respect.  This is literally the foundation of all successful relationships, fictitious or otherwise.

Have your male characters support their significant other’s decisions and allow them to be happy for their success.  

Your male character’s significant other is allowed to do things that don’t necessarily involve him.  Make sure he understands that.

Intelligence in and of itself does not make a character a better person than his fellows, and intelligence does not have to equate the superiority with which Ross appears to associate himself.   

Just look to the healthier couples Friends churned out in its time:  Monica and Chandler, for example, love and respect one another’s goals, and are no the less interesting and hilarious because of it.  

4.  The Sheldon Cooper (i.e. the annoying autism stereotype)

How to spot him: 

He’s a bloated paragon of autism stereotypes.  He’s got zero regard for the feelings of his friends, considers himself superior to everyone, and is incapable of talking about anything but his own interests.  As someone who’s on the spectrum myself, he’s basically my personal pet peeve.

Examples:   

“His spot” on the sofa, his need to knock three times before speaking to the person on the other side of the door, etc.  These are stereotypical and inaccurate portrayals of some autistic people’s comfort in routine.   

How to avoid him: 

Research symptoms of Asperger’s in adults (and for god’s sake, stay away from Autism Speaks.)  Similarly, try and learn from actually people with Asperger’s, as anti-autism, “cure”-based sentiment tends to run high in allistic academia.  

Study the mannerisms of famous people who may have been on the spectrum, such as Albert Einstein, Allan Turing, Leonardo da Vinci, and Sherlock Holmes’s inspiration, Joseph Bell.

If you’re not ready to depict an autistic character, I’m going to say wait.  It’s okay to admit to ignorance, and it’s okay to wait to do more research before depicting a certain subgroup.        

Try to avoid inserting autistic symptoms into characters to use as comedic fodder.  

Asperger’s coded (and confirmed, by creators and cast) characters like Temperance “Bones” Brennan (Bones) and Spencer Reid (Criminal Minds) have their stereotypical moments, but they’re still successfully presented as lovable, intelligent, and productive characters;  look to them to see better representation of intelligent, autistic characters in mainstream television.  

5.  The John Winchester (i.e. the abusive parent with a redemption arc)

How to spot him:

The John Winchester is a textually abusive or otherwise toxic parent who damages his children’s lives for his own purposes, inflicts emotional or physical harm, and is shown or mentioned to be violent, controlling, and/or neglectful.  However, his redeeming/sympathetic qualities or otherwise heroic actions lead him to be narratively treated as a benevolent character and “good” parent. 

Examples:  

In Supernatural, John leaves his boys for weeks on end in motel rooms, sometimes over important holidays (and keep in mind that this was in the 80s and 90s, when child sexual abuse was at an all-time high.)  He often places his eldest son as the soul caregiver of his other child, despite the fact that he was a child too at the time, and left them both alone with loaded firearms. He also uses unfairly harsh punishments, such as leaving his young son alone at a boy’s home for an entire summer because he stole food for himself and his brother.  His son literally, unironically realized he was being possessed by a demonic entity when it said it was proud of him. 

How to avoid him:    

Educate yourself on the different definitions of abuse (emotional, verbal, physical, etc.) and what qualifies as each.  Psychology Today is a great resource for this (they have some rudimentary definitions here:  https://www.psychologytoday.com/conditions/child-abuse.)   

Feel free to endow abusive parents with sympathetic qualities (in fact, please do;  100% evil characters tend to be campy, boring, and/or unintentionally hilarious) but be aware that no sympathetic qualities negate or justify child abuse.

Please, for the love of God, don’t use the “he was doing his best” excuse as a resolution.  Many abusive parents legitimately are doing their best, and many abused children are acutely aware of this.  It really doesn’t provide much comfort.

Remember that abused children frequently refuse to turn on their parents, often defending them long into their adulthood.  The child’s forgiveness does not equate the parent’s redemption.  

Similarly, I’d personally recommend staying away from the “I can finally forgive him” trope as well;  it’s done to death, and often frustrating to real-life survivors. 

Before the Meninsits™ come for me about this, I am going to be writing a list of female character archetypes as well, and then make lists of positive attributes to include in male and female characters, respectively, to provide a counterpoint.  I might also make a part two of this post for all the other characters I hate, because I fear it would get too long. 

So, since I actually work around boats all day and also have a thing for blathering about the voidfaring life, here’s a few things I wanted to share that maybe other people might find helpful for adding some realism and believability to their own fictions involving the same things.  Naming Conventions:  Ships are often referred to incorrectly in fiction. A ship’s name does not have “the” in front of it, unless that is actually part of the name of the vessel. Example sentence:  Correct: Vengeful Spirit was an exceptional vessel, the only Scylla variant-build ever constructed of the ancient and intimidating Gloriana pattern.  Incorrect: The Vengeful Spirit awaited them, a hulking monstrosity cruising slowly just above atmos as she waited in low orbit. Now, this is not a hard and fast rule. There is a time that you can call a ship “the -name-,” and that is if the ship has been destroyed/sunk/decommissioned, is a piece of history thought to be destroyed, etc. Examples of this: The Black Pearl, the Edmund Fitzgerald. Just be aware that, generally, if your ship in question is still in service and has not become a legend yet, she probably doesn’t have “the” in front of her name. However, you /can/ name a vessel The Fickle Female, or something like that,in which case “the” is part of the name and is fine. Also, pirate ships and privately-run vessels may have “the” in front of their names, though this can make them sound a bit hokey and corny. Another semi-exception is when using the vessel’s full name/title, example “the U.S.S. Enterprise” or “the H.M.S. Titanic” (although Titanic could also call under the “historical indicator from “the.” Passengers who are not familiar with shipfaring may also think of the vessel as “the Glorious Name,” but your crew, and most likely your omniscient narrator, would not.  Long story short? If your vessel left for her maiden voyage ten or a hundred years ago and hasn’t yet left service… no need for “the”– especially if it’s a crewman doing the talking.

This is gonna be a long list.

ab intra - from within

ab origine - from the source

absit iniuria - “let insult be absent”

absit invidia - “let envy be absent”

absit omen - “let omens be absent”

ab uno disce omnes - from one, learn all.

abyssus abyssum invocat - deep calleth unto deep

a capite ad calcem - from head to heel

acta non verba - actions not words

ad altiora tendo - “I strive to higher things”

ad astra - to the stars

ad fontes - to the sources

ad meliora - towards better things

ad oculos - to the eyes

ad undas - to the waves

ad victoriam - to victory

adsum - I am here

a fortiori - from the stronger/from strength

a mari usque ad mare - from sea to sea

audeamus - let us dare

audentes fortuna iuvat - fortune favors the bold

audi, vide, tace - hear, see, be silent

beatae memoriae - of blessed memory

bona fide - in good faith

bono malum superate - overcome evil with good

capax infiniti - holding the infinite

carpe diem - seize the day

carpe noctem - seize the night

cave - beware

ceteris paribus - all other things being equal

circa - around

citius, altius, fortius - faster, higher, stronger

clavis aurea - golden key

cogito ergo sum - I think, therefor I am

compos mentis - in control of the mind

concilio et labore - by wisdom and effort

concordia cum veritate - in harmony with truth

concordia salus - well-being through harmony

coniunctis viribus - with connected strength

consummatum est - it is complete

corruptus in extremis - corrupt to the extreme

crescit eundo - it grows as it goes

de novo - from the new

de profundis - from the depths

dies irae - day of wrath

dona nobis pacem - give us peace

ego te provoco - I challenge you

esse est percipi - to be is to be perceived  

esse quam videri - to be, rather than to seem

esto quod es - be what you are

ex animo - from the soul

ex luna scientia - from the moon, knowledge

ex scientia tridens - from knowledge, sea power

ex silentio - from silence

ex undis - from the waves of the sea

experientia docet - experience teaches

fac et spera - do and hope

fac fortia et patere - do brave deed and endure

faciam quodlibet quod necesse est - I’ll do whatever it takes

faciam ut mei memineris - I’ll make you remember me

facta, non verba - deeds, not words

fortis et liber - strong and free

fortis in arduis - strong in difficulties

gloriosus et liber - glorious and free

hic abundant leones - here lions abound

hic et nunc - here and now

hic sunt dracones - here there are dragons

hinc illae lacrimae - hence those tears

hinc itur ad astra - from here the way leads to the stars

igni ferroque - with fire and iron

in memoriam - into the memory

in nocte consilium - advice comes over night

libra - balance

littera scripta manet - the written words endure

locus standi - a right to stand

luceo non uro - I shine, not burn

luctor et emergo - I struggle and emerge

mare liberum - free sea

memento vivere - remember to live

more ferarum - like beasts

natura non contristatur - nature is not saddened

nec spe, nec metu - without hope, without fear

noli me tangere - do not touch me

ophidia in herba - a snake in the grass

pro se - for oneself

propria manu - by one’s own hand

quaere - to seek

quod abundat non obstat - what is abundant does not hinder

resurgam - I shall arise

semper ad meliora - always towards better things

semper anticus - always forward

semper apertus - always open

semper fortis - always brave

semper liber - always free

stet - let it stand

tuebor - I will protect

Writing a historical novel means knowing how far they can travel on a horse, This is good info right here.