FANTASY FAQ

So one of the wonders of doing a hybrid publishing thing (aka Indie but not self published) is getting to have ARC ebooks to send out. A.R.C (advanced reader copies) are typically sent out for free 3-6 months before the book release, so we're right in the sweet spot.

If you are interested in a YA SFF novel that's like queer gothic ATLA meets Percy Jackson, this is right up your alley! Read the book for free, and leave a review on Goodreads (or Instagram or Storygraph) / wherever you leave book reviews. Ratings/reviews on Amazon are also much appreciated, all ideally by Jan/Feb 2026. The book is a little over 110,000 words (so a decently long fanfiction).

I have people I'm hoping / planning to send to as well, but I thought I might as well come to the almost 100 of you here first as a Big thank you for following and being interested in the book. If anyone would like to read the first chapter first before agreeing to an ARC, feel free to let me know here / in the form itself, and I'll get back to you!

Here are some of the reviews the book has received so far:

BOOK BLURB:

Ally Hatten is tired of waiting to be believed in.  As the Infran of Life, she's supposed to be one of Alvoskia’s eight admired reincarnated protectors—if she still had her powers. When the Infran Claiming ceremony comes to call, it seems she’ll be left behind. Again.  But when war is brought to her doorstep, all of the Infrans are thrust into a world of deceptive politics on a ticking time limit: two weeks to travel to the enemy capitol and negotiate a peace treaty, or war will threaten their world like never before… whether they’re ready for it or not.  Joined by her embittered twin, Jamie, the Infran of Death, and her friend / one-sided rival — the sweet-hearted Infran of Fire, Flames, a prodigy with a rare skill not seen for centuries — all three of them have demons to face in the city of Serkdan, with danger lurking around every corner.  To stop the war before it begins, Jamie must confront the monster who raised her, and Flames the shadows of a past she can’t quite burn to ashes. And perhaps, Ally can finally find the secret to unlocking her powers, if the last Infran who was dormant like her isn’t the monster everyone says he is.  Haunted by the Infran who went off the rails, and struggling to find her place in a world that seems determined to shut her out of it, Ally and the Infrans must rise to the challenges set before them, or risk losing the only family they have left: each other.

What is the Try/Fail Cycle? 

The try/fail cycle is a writing approach where a character attempts to achieve a goal multiple times and fails at least twice before succeeding.

For example, our child protagonist may have the goal to own a bike. She goes to a neighbor who has outgrown hers, and asks if she can have it (try), and the neighbor says no (fail). So, then she decides to do a bake sale on her sidewalk to earn money to buy a new one (try), but it rains, so no one shows up (fail). She learns about a contest that has a new bike as a prize, so she competes (try), and wins (success). She now has her own bike.

This is a very simple example, but the try/fail cycle is simple in and of itself (which is simultaneously a strength and a weakness).

The try/fail cycle approach was common in the 1950s, and taught by author, editor, and critic Algis Budrys. Unfortunately, though, no one seems to know who originated it, since it wasn't Budrys himself. I first learned about it from David Farland, who was mentored by Budrys, but I've never been able to track down the original source (though David talks about it in his book, Million Dollar Outlines). David himself mentored many writers who went on to become best-selling authors (like Brandon Sanderson and Dan Wells, to name two). And in more recent times, some of those writers (and others) have evolved the concept. For example, Mary Robinette Kowel pairs it with the "No, and" vs. "Yes, but" rule. And I've seen others relate it to Orson Scott Card's M.I.C.E. quotient. 

In its initial form, though, the try/fail cycle is that simple. The character tries and fails at least twice, before succeeding.

Why Write Failures?

A story where a character fails is more interesting. If the character succeeded on her first try, then the antagonistic forces weren't formidable. They were weak or nonexistent. It also, in some sense, isn't much of a story.

At the most basic level, a strong plot needs to have a goal, antagonist, conflict, and consequences. But if little Suzy wanted her own bike, went and asked a neighbor for one, and the neighbor said yes, we would be missing the antagonist and conflict. The plot would be unsatisfying. 

And not only does it weaken plot, but it weakens the character. It's only through antagonistic forces and conflict that we can truly show how badly little Suzy wants this bike and what it means to her. If she fails twice and keeps trying, we know it's that important to her. 

Also, without opposition, we can't have much of a character arc, because Suzy can't grow. She's not being challenged to change or remain steadfast. Likewise, we can't show much depth with her, because a person's layers usually come off only when facing difficulties. The easy road rarely reveals true character. The hard road does. The hard road reveals things about Suzy we wouldn't know otherwise.

If the character succeeds on the second attempt, the story isn't much better. It takes three attempts to convey the difficulty and test the character's perseverance. (There is also something about the human mind that prefers the number three in general.) It also makes the final success feel "earned," and therefore more satisfying.

Strengths of the Try/Fail Cycle

As I alluded to above, one of the strengths of the try/fail cycle is its simplicity. It's easy to teach. It's easy to learn. It's easy to plot with (though it won't guarantee you'll never have problems). It also inherently ensures you have a goal, antagonist, and conflict in your story.

And like most approaches to story structure, it can work within scenes, acts, or the whole narrative arc (the whole story). However, it's most frequently referenced in relation to the narrative arc.

Most stories follow the three-act structure, with the second act taking up about 50% of the story (though often that second act gets split in half by a major turn, the midpoint). I like to diagram it like this:

When the try/fail cycle is applied to the whole narrative arc, it shows up like this:

As a note, the first major peak in the story, Plot Point 1, is often neither a success nor failure, but rather used to get the protagonist into the main conflict. However, it can appear as one or the other, so with the try/fail cycle, it can show up as a fail, like this.

The idea behind the try/fail cycle is that the character is failing two or more times, until he succeeds at the end.

Physicalize - I am personally a very emotional human being, and I feel things very physically. I think that helps me describe emotions on paper, because I tend to connect emotions with physical sensations. For example, instead of "he felt sad," I would say "sadness washed over him in a lukewarm tide." That physicalization of the abstract feeling can make it easier for people to replicate the feeling in their own minds. So basically, I'm taking the emotions I want to convey and thinking, "how does this emotion feel on a physical level?" and then describing that. "Anxiety tightened in her gut." "Anger bubbled under his skin." "Her body was light, drifting in euphoria." Metaphors are your friends.

~Body Language~ - Another physical indicator of emotion is how people's body language changes to reflect what they feel. This is huge when dealing with non-POV characters. Any time that you could say "she looked upset," you would do better to just describe how she looked. "She furrowed her brow, looking down." "His fist tightened on the door handle." "The silverware rattled in the drawer as she jerked it open." Emotions often come through in the way characters interact with objects around them. In that vein, you can usually express it more clearly if you focus around some action that the character is performing (even a tiny little one). Making note of details like avoiding eye contact, how/when people fidget, whether their movements are sharp or fluid, and stuff like that can go a long way in conveying emotions more naturally.

Wait How Do People Talk Again?? - Dialogue can be really tough if it doesn't come naturally to you. I voice-act quietly to myself pretty much all of the dialogue I write just to make sure it sounds natural. Again, pulling from real-life experience is usually best here; imagine how you've heard real people talk when they are feeling angry, depressed, panicked, etc. Think about phrasing and tone inflection - do their words sound short, sharp, and clipped? How do their phrasing choices show that? Do they ramble in a bright, bubbly tone? Are they monotone and flat? Do they use a lot of filler words because their brain is moving too fast (or too slow)? Are they so tired or hesitant that they trail off or pause frequently?

As many of you know, I am an American who lives and studies in London. I thought I’d make a little general rules list about aspects of UK culture which I feel are misrepresented quite often when I read fiction written by someone who’s never experienced life here. So here it goes, every American fiction writers’ incomplete yet somewhat sufficient guide to writing fiction based in the UK.

KNOW YOUR SUPERMARKETS. Tesco isn’t the only one. Tesco and Sainsbury’s are the two most popular, like Safeway, Albertson’s, or Kroger. M&S and Waitrose are where the posh white people shop. Everything is over-priced; the American equivalent would be Whole Foods (which the UK has but is not nearly as common). Then there’s Morrison’s and Co-Op which are both good but not as popular as Tesco or Sainsbury’s. And then you have the discount supermarkets like Lidl and Aldi, where everything is off-branded so the prices are lower. And of course there’s ASDA which is Wal-Mart only smaller and not as terrifying.

In the UK, pants = underwear. I thought this would be quite known but I still see the mistake all the time? Jeans and trousers, folks!

Accents are hugely different from one another. First you have to learn the distinction between Irish, Scottish, Welsh, Northern Irish, and English. Then from there you have all the regional accents. And accents are classed and racialised as well. A middle class white person raised in West London is going to have a completely different accent from a working class PoC raised in East London, even though they may live within 15 miles of each other. If you want to really impress readers, study different types of accents and incorporate them into your dialogue, it makes things much more interesting (think Hagrid from Harry Potter).

Pubs are also classed. There are old white working class pubs that don’t do food (besides maybe crisp packets), are always showing greyhound or horse racing, and still smell of cigarette smoke. Only locals go here, and they usually go pretty much every night. Like the Winchester from Shaun of the Dead. And then you have the hipster pubs, which are expensive and do fancy food. The people working at these pubs usually look pretty cool—dyed hair, piercings, that stuff—but there probably aren’t any ‘regulars’ who come there every day. 

Wetherspoon’s is the backbone of society. Wetherspoon’s (or Spoons) is a chain pub that’s pretty much in every damn post code. It’s cheap as shit and beloved by many. You can get a huge cocktail pitcher for under £10, and you can guarantee you’ll get wasted pretty quickly cause they’re full of sugar and have a high alcohol content.

Drinking culture in general is quite different from the US. People start drinking at about age 15/16, and it’s legal to drink at 18. Kids drink WKD (which is like Mike’s Hard Lemonade I think??? I’ve never actually had it but it seems like it’s on the same tier), Smirnoff Ice, Malibu, and cheap fruity wine (Echo Falls, Hardy’s, Blossom Hill, Kumala, and Gallo Family are the usual brands).

Drunk food consists of: fried chicken, chips (+cheese, salt and vinegar, gravy, or curry, depending on the region), kebabs, pizza from a shop with bad graphic design, microwaveable burgers. You can also get delivery from a lot of restaurants, and they bring it right to your house. Indian, pizza, and Chinese are the most common.

Speaking of food, it’s hard to find good Mexican food in the UK. There’s Wahaca but it’s spendy as it’s a sit-down restaurant and it kind of only exists in touristy and gentrified areas. You won’t have any luck finding cheap, authentic street tacos the way you would in Southern California. There also isn’t really any fast food Mexican (although there are a handful of Taco Bells splattered around the country). I’m sure there are some trendy areas which are bringing in Mexican street food in London, but let’s be real, it’s probably not authentic and is also probably stupidly over-priced. I’m getting off topic, sorry.

Nando’s is also the backbone of society. They do grilled chicken there, ranging from mild (but still seasoned) to burn your tonsils off spicy. There’s stuff for vegetarians too, like portobello mushroom and halloumi (a type of cheese you grill—it’s amazing and difficult to find in the US without spending an obscene amount of money) wraps which are incredible. Nando’s is usually packed and they play really fun Spanish/Portuguese/South African music which is really fun when you’re drunk and in the toilets. 10/10, perfect for a cheeky night out with the lads. The kind of place Gryffindors probably love (I’m sorry I keep using Harry Potter references)

You don’t ‘sign for the check’ in the UK. Almost every credit/debit card in the UK has a chip, and you put it in the chip and pin machine, type in your pin, and voila! You’ve paid! It’s actually much more secure than signing, honestly, the amount of times I’ve just scribbled my signature in a US shop and they’ve accepted it without even checking is appalling. 

Public transport is actually good in most cities. Buses are common everywhere, and bigger cities like Manchester, London, Birmingham, Glasgow, etc all have some sort of mass rail system, whether that’s a subway, tram, lightrail, whatever. Also nearly everywhere (even the tiny villages!) at least has a train station. It may be tiny as shit and trains may not go through very often, but they do exist.

All schools have uniforms.

Infant school = preschool, primary school = elementary school, secondary school = middle school/half of high school, further education (6th Form) = second half of high school, uni = college. The first two and last one are pretty self explanatory. At 16, you take your GCSEs, and after that, you’re not required to continue school, but many go to further education and take A Levels, which are like the pre-requisite for uni (although you can get into uni without A Levels, this is quite rare). Most take 2-3 subjects for A-Levels, but I think you can take more if you have a death wish (kind of like AP classes for us Americans). Here’s a good link for people who want to know more about the UK education system: https://www.internationalstudent.com/study_uk/education_system/

No one says “What’s up?” Instead, it’s “Alright?” which is confusing at first, but you get used to it. An example greeting between two friends: ‘Hey mate, alright?’ ‘Yeah, you alright?’ And that’s it. 

Religion is different. I actually know very little about religion so I can’t offer a whole lot of insight on this, but I’ve had a lot of people tell me it’s very different. If anyone wants to have their input here, that would be lovely!

Houses don’t have yards, they have gardens. This is mostly just a terminology thing to be honest. 

Speaking of terminology, use ‘pavement’ instead of ‘sidewalk’. Obviously people aren’t stupid, they’ll know what you mean if you say sidewalk, but still, gotta stay authentic for the plot.

House layouts in general are very different. Houses are either terraced (town houses in the US), semi-detached (duplex in the US), or detached (typical US house). Terraced are most common in big cities, and most houses are made of brick. Take some time to research different architecture styles (Victorian, Edwardian, Georgian, 60s), the differences between them become quite apparent when you do a bit of looking. 

 There are also a variety of apartment/flat styles. Old period properties are often divided up into flats, and there are also purpose-built blocks of flats, which is like a US apartment complex. There are also luxury flats, which I think we call condominiums in the US. They’re all really modern and have lots of glass.

Since the entire country is so damn tiny, long roadtrips aren’t really a thing. It’s more like, you drive somewhere to go camping, like Cornwall or Devon (basically Florida for British people).

Holidays to warm places are quite common. South of France, Greece, Portugal, and Spain and some of the usual destinations. You usually fly to these places on budget flights like Easy Jet or Ryan Air, unless you’re rich, then you probably take British Airways.

Stop signs don’t exist. No, I’m serious. If the intersection (or crossroads) is big enough, there’ll be traffic lights or a roundabout. But other than that, you just have to be careful. Which is generally okay, because people in the UK can actually drive.

No one refers to a section of street as a block. Cities in the UK aren’t really set up in a grid the way US cities are. Streets are kind of weird and curvy and don’t make sense, so saying ‘it’s two blocks that way!’ doesn’t really work. Instead, write about distance in terms of vague relation: ‘It’s just up that road a bit, past the M&S, then left at the The King’s Head pub’.

London, in general, is a fucking huge city. You can’t walk across the whole thing in a day. Hell, you can barely drive across the whole thing in a day. Big Ben and Tower Bridge are 2.5 miles apart from each other. I know, it was a shocker for me too when I first got here! Take a look at a map of London and you’ll see what I mean. It is possible to do most of Westminster in a day, but that would be a very full day and you wouldn’t get to really see anything in-depth. And most people live very far away from these landmarks. So keep that in mind next time you have a character who lives in London saying they can hear Big Ben chime from their flat. That character must have a lot of money.

- Cards nowadays are mostly contactless and don’t even need you to enter a pin if the amount is under 25 quid. Also, keep in mind that if you’re writing fic set in late 90s-early 00s, then signing the receipt was what we did back then when paying by card.

- The ‘alright’ confused me so much when I first moved to the UK. I kept worrying I looked ill. 

- Houses in the south tend to be painted in bright colours (well, at least Brighton and Portsmouth where I lived). Midlands and North it’s mostly brick. Living in a detached house means you earn good money. Semi-detached is usually affordable by a couple with two decent salaries.

- Accents are everything. They reveal where you were raised as well as your class. People will comment on or otherwise make note of your accent. In the first episode of Misfits, the very first thing the characters do when they meet each other is to talk/take the piss off the others’ accent.

GCSEs are run on the 9-1 system, which no one really understands yet. I’ve had people tell me they hope I get a 1, which would be the worst possible marks. If you get a 3 or lower in maths and English, you have to resit the exam. There are rumours of a 10 being possible within 5 years and everyone hates that. I’m taking 11, but I have friends doing 9 and friends doing 13.

9=A**

8=A*

7=A

6=B

5=C

4=D

Schools in England use regions. So if you live just outside the good school’s territory, then you can’t go it to. Many people in England buy apartments that they don’t use, just to get their kids to go to the good schools. (it’s quite a big issue actually). And they don’t have grammar schools.

If your characters have different accents, they mightn’t understand each other. When I talk to people with a strong Belfast accent, I have no clue what they’re saying. And we’re from the same country.

You can say footpath instead of pavement. I don’t think anyone said this: One pound = a quid. 10 pound note is a tenner, 5 pound note is a fiver but a 20 pound note is not a twenty-er. Pretty much everyone says banter (i.e a good time) “It was great banter”. in N.I. we also say craic (said like crack) which means the pretty much the same thing, but you can also say “What’s the craic?” to mean, “What’s up?”

If you’re writing parents talking to their kids about exams, the kids will say “A-Levels” the parent will call them “O-Levels” because the system changed.

My school only let people with 20(ish) points at GCSE do four A-levels and you needs 12 points to get back in at A-Level. To get back for the second year we needed at least 3 Cs.

In reference to OP’s school names, I have never heard anyone say fucking “infant school”. We say “Nursery School” or “Nursery” for short.

I can be in a different country in 3 hours by driving and 45 minutes by flying. Because everything is closer together, unless your character is travelling from the country to London, their daily commute won’t take longer than half an hour. My commute to school takes 30 minutes depending on traffic and the bus driver. Driving to London can and will take at least an hour. Maybe even longer.

We make up words. In Northern Ireland, a normal conversation could include: “Oi, where’re youse’uns going?” which translates as: “Hey where are you lot going?” Youse is plural of you and “uns” is “ones”. Idk why we put “uns” on the end, but we do. Scotland does similar stuff, but I don’t know enough about their slang.

For example my school is bang in the middle of a small village town. As such a fair amount of the people there speak in what we’d deem today as ‘standard english’. However that being said, around said village is a ton of poorer, larger towns which often sound more ‘chavy’ (a common slang term for working class).

Moreover, individual schools will have their own slang attached to it so don’t be afraid to make up some slang and dot that on on top of general british slang. For example, for 5 years at secondary I went to a school in a large town - accent wise it was common to drop the ‘t’s’ and ‘g’s’ so I find myself doing that a lot and slang wise we’d have little dumb things like ‘ladies drop your weapons’ to signify a slut drop (don’t ask me why I just went along with it). Whereas at the school I’m at now that I moved to for sixth form, obviously as said before it’s in a different place so not only are the accents different (e.g out of pretty much all my friends and classes I’m often deemed to speak the most ‘chavy’) but the slang is different so if I don’t like something I find myself saying it’s ‘wack’ whereas before I’d have said ‘its peak’ or something like that.

Also, when a British person talks about “Asians” (or British Asians), they mean people of South Asian descent (i.e. Indians, Pakistanis, etc), rather than East Asian descent like in the US and Australia. South Asians are the largest ethnic minority in Britain (5% of the UK’s population), whereas East Asians are incredibly rare over here (and tend to refer to themselves as “British Chinese” – there are even fewer people of Japanese or Korean descent here than there are (Hong Kong) Chinese, who make up 0.5% of the population). 

The acronym “BAME” gets used for non-white people over here, and stands for “Black, Asian, and Minority Ethnic”, where “Asian” means South Asian, and “Minority Ethnic” includes all other minority ethnicities – such as Chinese, Turkish, Middle Eastern, etc. Hispanic/Mexican/Latino people are so rare it’s unlikely you’ll meet any, even in the big cities. 

And yes, we are ruder. Like the Australians, it’s not unheard of to call someone a “cunt” in a joking way (although it’s usually used as an insult, and is not a gendered slur over here like it is in the US). 

London is very very racially diverse, but outside of the cities, the UK really isn’t. My husband grew up in a part of the English countryside that’s like 99% white (probably even 100% white). Whenever we visit, I am literally the only brown face there. 

Also, I feel like gay culture in London is quite different to what Tumblr often portrays LGBT culture as? Homophobia still exists, like it does everywhere, but in my experience, many gay and lesbian people in London are quite openly gay/lesbian – whether that’s out and about or at work or whatever. 

Foreign holidays are reasonably common. The vast majority of Brits will have been abroad (i.e. outside the UK) at least once in their lives, even if it’s just to Europe (and in Britain, we think of “Europe” as the mainland part of the continent where they don’t speak English as a first language. Americans tend to refer to Brits as “Europeans”, but we generally don’t tend to see ourselves as Europeans ourselves… although the Brexit vote in 2016 changed some of that in some people’s minds).

1) give them maximum level autism special interest style insanity about exactly one niche subject (ex. laois dungeon meshi, maomao apothecary diaries)

I see this a lot, no one has actual names, or any reference for names, that are legit Native American, varying among the tribes, for their characters.

Babynames.com and shit like that will give you names made up by white people.

However, I’ve got your solution.

Native-Languages  is a good website to turn to for knowledge on a lot of native things, including native names. If you’re unsure about the names you’ve picked, they even have a list of made up names here!

“They felt sick.” — Vague. “They threw up.” — Sometimes, but not always.

Illness isn’t a switch you flip. Fever and nausea creep, spike, ebb, lie to you, then come back worse. They live in the body first, and that’s where your writing should live too.

Below, I've written a lil' cheat sheet for you. Reblog so you can come back later.

It’s not about darkness. It’s about a precise use of habits and small things, their behaviour both when acting the villain and not.

1. Give them a contradiction.

Villains are scariest when they’re almost human. It's alot harder to harm, or even kill, when you can the part of them that is kind.

“He always apologised before hurting someone.”

2. Let them think they’re right.

No moustache twirling ('mustache twirling villain' is often used as a pejorative to describe poor antagonists/bad guys, usually they in comedy) — just conviction. Their ideals and values should stem from something important to them. Doesn't have to be important or make to others, just them.

“I’m not saving the world. I’m correcting it.”

3. Give them a normal habit that becomes unsettling.

• humming off-key

• straightening objects mid-argument

• collecting people’s abandoned pens (this was something I got from primary school where I watched someone collect them and i thought it was evil they were stealing pens😭)

4. Make their kindness selective.

Kind to dogs. Cruel to friends.

Kind to children. Absent to their own.

This really adds to their character and backstory, even if you don't elaborate or tell it.

5. Make their presence change a room.

Not with theatrics — with tone.

“The laughter thinned when he stepped inside.”

Making antagonists who aren’t evil (but still hurt you emotionally)

Some of the best antagonists are just… people.

1. Give them the same goal as the hero — different methods.

Hero wants peace.

Antagonist wants peace.

Hero uses unity; antagonist uses control.

2. Let the antagonist be right sometimes.

That stings.

3. Make the hero almost agree with them.

“You’re not wrong,” she admitted. “But you’re not right either.”

4. Show glimpses of softness.

“He tucked the child’s drawing into his coat.”

5. Let them break their own rules.

Instant complexity, villains change the rules to fit their momentary desires and whims.

(Edit: ive written this up from a book that ive been filling with writing tips and tricks from classes, im putting here a few pages from it

So I get it, I need to change how I format things 😭)

And you can expand them to see rank, number of babies, and percentage of babies and add a second name to compare. (in 1973 four percent of babies were named Jennifer! 1 in 25!!!)

on Fiction University: Be wary of going too far and turning a good sentence (or scene) into an overwritten mess.  The term “purple prose” has been around as long as I’ve been writing, and chances are you’ve heard it too. If you’re unfamiliar with the term, purple or flowery prose is so filled with adjectives and adverbs, similes and metaphors, that it screams “Hey look! I’m fancy writing” and…