💻👾Malware Codex👾💻

I don't quite know how to draw Vex properly just yet but once i figure it out there will be no end to the art (Hopefully)

⟡ Staring out a window for twenty minutes before a single word

⟡ Rereading the same paragraph six times before moving forward

⟡ Lying on the floor thinking about a scene that isn't written yet

⟡ Taking a walk with no phone just to let something untangle

⟡ Reading a book that has nothing to do with your current project

⟡ Sitting in a café doing nothing but absorbing the atmosphere

⟡ Daydreaming about characters like they're real people you know

⟡ Rewriting the first chapter for the fourth time instead of continuing

⟡ Listening to your playlist on repeat until the mood arrives

⟡ Journaling about why you can't write instead of writing

⟡ Reorganizing your notes, your files, your whole system

⟡ Reading your own old work looking for who you used to be

⟡ Researching something minor for three hours because accuracy matters to you

⟡ Sleeping on a problem and waking up with the answer

⟡ Having a full conversation in your head between two characters

⟡ Watching people in public and cataloguing everything

⟡ Cooking or cleaning while your brain quietly solves the plot problem

⟡ Writing the same scene in three different tones just to feel it out

⟡ Abandoning the document and writing by hand for a while

⟡ Reading poetry when prose feels impossible

⟡ Watching a film just to study how a scene transition works

⟡ Making a new playlist because the old one stopped working

⟡ Sitting with discomfort until the scene becomes clear

⟡ Rereading your favorite book and taking it apart sentence by sentence

⟡ Writing a scene you know won't make the final draft just to understand the character

⟡ Doing nothing and trusting that it's filling something up

Chosen One Prompts

The Chosen One Plot Twists

Trope of the day... defying prophecies.

The prophecy was misinterpreted for thousands of years

The prophecy was fabricated all along, the chosen one implanted

Chosen ones are just expandable pawns, one failing after the other

The true hero is the sidekick or the antagonist

The chosen one just says no

It's not real evil they have to destroy, it's someone innocent and it turns into a moral dilemma

There are contradicting prophecies and more than one chosen one

The status of being the chosen one isolates and destroys them

To save the world they have to sacrifice who they love - and they are not ready for that

The person who grew up as the chosen one, never actually was the one in the prophecies

They were just chosen, because they were thought to be easily manipulated

⋆.𐙚 ̊ because your first draft was you telling yourself the story. your second draft is you telling the story to your readers. there's a difference. you know what you meant when you wrote "she felt sad" at 2am, but your reader doesn't. editing is where you translate your midnight brain into something other people can actually feel.

⋆.𐙚 ̊ because you'll find so much you forgot you wrote. little gems buried in the mess. that perfect metaphor you threw in casually in chapter four that actually ties into the climax. that side character who showed up for one scene but could be so much more. editing is like going on an archaeological dig through your own imagination.

⋆.𐙚 ̊ because plot holes don't fix themselves and you've definitely got some. everyone does. your character's eye color changed. your timeline makes no sense. someone died in chapter eight but they're having breakfast in chapter twelve. editing is where you catch these things before your readers do, and trust me, readers always catch these things.

⋆.𐙚 ̊ because editing is where you kill your darlings and birth your favorites. that scene you loved writing but doesn't serve the story? it can go. but that throwaway line that suddenly becomes the entire thematic backbone of your book? that's editing magic. you're not just cutting and polishing. you're discovering what your book was actually about all along.

⋆.𐙚 ̊ because distance gives you perspective, and editing gives you distance. when you read your work weeks or months later, you're not the same person who wrote it. you can see the flaws. you can see the potential. you can be honest about what's working and what's just you being precious about words that don't earn their keep.

⋆.𐙚 ̊ because good books aren't written, they're rewritten. every author you love edited their work. probably multiple times. probably while crying. probably while thinking "this is still terrible." and then they edited it again. and again. until one day it wasn't terrible anymore. that's the process. editing is where good becomes great.

Firstly, I want to start off by saying that using plain language is absolutely fine. Clarity should always be your aim when writing, so if your natural style is to use plain language, then there is absolutely nothing wrong with that.

Language doesn’t need to be complicated or flowery to be effective. How lyrical or sensory your prose gets should depend both on the type of writer that you are, and on the type of book you are writing.

With all that said, lyrical prose certainly has a place in the written word. I’m sure we’ve all read books that had writing that seemed to sing off the page and lingered in our minds long after we’ve finished reading. But writing lyrically without sacrificing clarity and moving into the dreaded realms of “purple prose” is something that’s very easy to struggle with. But like any part of the writing journey, it’s a part of your skill set that can be learned and refined.

What is lyrical prose?

Lyrical prose borrows techniques from poetry, like rhythm, imagery, sound, and emotional resonance, while remaining firmly in the prose camp. It’s a style of writing that prioritises the musicality and beauty of language to illustrate meaning. Someone who writes lyrically writes in a way that feels poetic but still promotes the clarity of prose.

You once told me that the human eye is god’s loneliest creation. How so much of the world passes through the pupil and still it holds nothing. The eye, alone in its socket, doesn’t even know there’s another one, just like it, an inch away, just as hungry, as empty.” - Ocean Vuong, On Earth We're Briefly Gorgeous

The most important thing to remember is that lyrical prose isn’t just pretty writing. It’s writing where form and content are inseparable. How something is said deepens what is said, and when done well, the reader feels the emotion through the very texture of the language itself.

The core elements of lyrical prose

Rhythm and cadence

Just as poetry has meter, prose has rhythm. Varying your sentence length and structure creates a natural flow that carries readers through your work. Short sentences punctuate, and longer sentences allow readers to settle into a thought, following its contours. The interplay between them creates music.

Sound

Poetry uses alliteration, assonance, and consonance to create a texture of words that affects how we experience them. In lyrical prose, you might not use these devices as obviously as a poet would, but paying attention to how your sentences sound when read aloud can show you how they sing.

Imagery

Show, not tell, is at the heart of lyrical prose. Concrete, sensory details that evoke a feeling rather than explain the scene are the heart of lyrical writing. Rather than telling readers what to feel, lyrical prose shows them through carefully chosen ideas that resonate on an emotional level. The best imagery grounds readers in the physical world while suggesting something deeper beneath the surface.

Compression

In lyrical prose, every word earns its place. This means writing with intention. Each word should carry meaning, and cutting what doesn’t serve the reader often reveals a stronger, more resonant version underneath.

Emotional truth

Perhaps most importantly, lyrical language should match the intensity of the moment. The prose rises to meet significant emotional beats.

When to use lyrical prose

Lyrical prose works best in moments of heightened emotion, reflection, or plot significance. It’s the natural language of memory, revelation, and emotion, so when your character confronts a profound truth or experiences a moment that will change them, lyrical prose can elevate that scene.

While it’s not impossible to do, lyrical prose is usually poorly suited to action sequences, rapid dialogue, or straightforward exposition, where it can slow pacing and feel overwrought. It’s why not every piece of writing requires lyrical prose to be effective. Not every sentence needs to be beautiful; some just need to get the job done.

The danger of overdoing it

Lyrical prose becomes purple prose when style overshadows substance. When you’re showing off rather than serving the story, that’s when it starts to feel overdone. We’ve all read passages where the author seems more in love with their own sentences than with their characters or narrative. It makes their writing feel self-indulgent and distancing.

You should always ask yourself: does this language illuminate meaning or obscure it? If readers have to work to decode what you’re saying, the lyricism has failed.

Practical tips for writing lyrical prose

Read your work aloud. Hearing your work out loud will help you catch rhythm problems that you might miss when just reading in your head.

Study poets. Understanding how poetry works can help you write better prose.

Revise for sound. Sometimes swapping one word for a synonym that has a better rhythm with the words surrounding it can transform a sentence.

Save your most lyrical passages for scenes that warrant them.

Cut ruthlessly. Lyrical prose often emerges in revision, when you strip away the ordinary and leave only what sings.

Lyrical prose is a powerful tool, but like any tool, its effectiveness depends on knowing when and how to use it. Not every piece of writing needs it, and not every moment in a story can benefit from it. Start by identifying the moments in your story that might call for more sensory language, then practice writing in a way that sings without sacrificing clarity.

“H-hi, Mr. Vex..!” she spoke in a slightly nervous tone. “My name is Sack-Chan, owner of the Vex fanclub! And… *she holds up some sort of makeshift poster reading “JOIN THE VEX FANCLUB TODAY!!!” and a small pencil to Vex* ..You see I’ve always wanted to meet you face to face ever since i first saw you in Loom that one time, so would it be possible if i could uhhh… get your autograph? Please?”

Recoiling backward with a hand pressed against his chest in mock surprise, he quickly regained his composure. Eyeing you with a cautious expression, he couldn't tell whether you were being sincere or not. Despite the chaos occurring around you both within the Uproar, his demeanor remained unfazed.

"Well now! If it isn't an adoring fan! You are fortunate you happened across me while I was in one of my generous moods! However, seeing as you have come with a request, I offer you a token of my hospitality!" Chuckling, he scoops up the poster and pencil." Not bad! It's almost like looking in a mirror! It doesn't compare to the original though!"

Scrawling his signature across its surface, he snapped his claws. A familiar insignia materialized onto the piece of parchment, signifying the Overlord of the Uproar had graced you with his presence. Crouching down, he extended the poster out to you once more.

"Don't let it go to your head now! The last thing we need is rabid fan girls intruding on my domain!" A familiar dark chuckle emnated from his chest, his smile so wide his stitches strained." Now then, why don't you be on your way? Wait! Loom?! Tell me, what do you know of my latest conquest?"

“I’M NOT SAYING I HAVE A CRUSH ON YOU, I just want to maybe hang out sometime?”

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The moment i saw prototypes full design i was like “OH FUCK YEAH HES A JESTER”

Anyways heres some random prototype stuff with 2 memes :)

Disjointed ideas don’t have to stay that way, so if you just have vibes and scenes in your head, don’t be afraid to write them down.

A retelling is when a writer takes a well-known story and writes a new version of it. There have been many different types of retellings: classic novels that are in the public domain (meaning the original copyright has expired) like Pride and Prejudice or Alice in Wonderland, fairy tales like Cinderella or Little Red Riding Hood, legends like Robin Hood, or characters and stories from folklore and myth such as Korean folklore or Greek mythology.

Here is a list of resources for how to write a retelling for anyone interested in writing their own version of a classic story, fairy tale, folktale, or myth.

Retellings: Why Do It? Helpful suggestions and tips for how to start writing a retelling.

Criteria for a Good Retelling Helpful suggestions and advice for how to write a retelling.

What Keeps a Retelling True? Explains the importance of having respect for and knowledge of the original source material when writing a retelling.

How to Steal a Plot for Your Book (And Get Away with It) Provides suggestions and tips for how to take plots and characters from other stories and rewrite them into something new (like a retelling). Note: This article does not mention the important issue of copyright.

How Do I Make This Different? Offers advice and suggestions for how to take inspiration from well-known stories and use that to make your own original story. This post is geared towards taking inspiration from copyrighted works and turning those ideas into a new original story, but it can be applied to retellings as well. Note: Uses the Harry Potter series as an example.

Taking Inspiration from Another Story’s Premise Provides advice for what to do when you want to write a story with a similar plot of a copyrighted work, but without actually copying or plagiarizing the original work. However, the advice given can also apply to writing retellings.

Beta Reader Sees Similarity with Existing Character Provides advice for what to do when the characters or plot in your original story appear similar to those in a copyrighted work, but it can apply to writing retellings as well. Note: Uses the Harry Potter series as an example.

Story Diversifier Chart by WQA A blog post that contains a link to a free downloadable chart that can be used to keep track of and compare the differences and similarities between your story and the original work that you’re taking inspiration from.

Note: It is important to remember that a published retelling can only be rewritten from a story that is not under copyright. This is why retellings are generally rewritten from works that are in the public domain (i.e., the original book’s copyright is expired, or there is no copyright, such as with a legend or myth that has been passed down over generations).

If someone takes the exact characters or fictional world from a novel that is protected by copyright and tries to publish their version of it, then that is considered plagiarism and could result in a lawsuit. So if you’re thinking about writing a retelling, it’s very important to check whether the original work (or source material) is currently under copyright or if it’s in the public domain (i.e., no longer under copyright).

The rules for copyright and public domain use can be complicated, so when trying to figure out if a novel or other work is in the public domain or not, it’s important to do your own research.

For example: The Wicked series by Gregory Maguire is based on The Wonderful Wizard of Oz by L. Frank Baum. While The Wonderful Wizard of Oz is in the public domain, Wicked is copyrighted (not only the films, but the books as well). So while you can write a retelling based on Dorothy, or the Wicked Witch, or the Scarecrow from The Wonderful Wizard of Oz, you cannot legally publish your own story about Maguire’s characters Elphaba or Fiyero or his particular version of Glinda, or anything specific from his book’s world, like Shiz University.

(If you want to write a story using the characters or worlds from a copyrighted work, then that’s fanfiction, which is an entirely different category. Fanfiction can be freely shared and published online, as long as you don’t profit from it. But that’s another issue that can get complicated.)

I’m including some other resources that go beyond writing retellings, in case anyone is interested. These resources focus on copyright, plagiarism, and what to do if you’re taking inspiration from copyrighted works when writing your own original stories.

For more information:

Copyright and Intellectual Property Toolkit An online guide with resources and information on issues regarding copyright, including things like fair use and the public domain. The link will take you to the “General Copyright FAQ” section, but the page’s sidebar has tabs linking to other topics as well. This section explains what is and what is not protected by copyright, and it provides information on fair use.

Copyright and Intellectual Property Toolkit (2) Same online guide as above, only this link will take you to the section with information on the public domain. Provides a list of links for finding works in the public domain.

Fair Use in Novels Provides a basic explanation for what can and cannot be used regarding copyrighted material (such as titles, names of characters, quotes, and song lyrics). Explains what “public domain” means.

Can I Use Someone Else’s Characters in My New Original Story? Explains the difference of using characters from public domain works and characters from copyrighted works.

The Difference Between Taking Inspiration and Plagiarizing A short post that explains the difference between taking inspiration and plagiarizing. Note: Uses the Harry Potter series as an example.

Copyright, Similarities, and Plagiarism A post that briefly explains copyright and trademark. Includes a list of other resources on copyright, writing stories with similarities to copyrighted works, and how to write your own original work.

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The excitement of a new story idea can quickly turn to anxiety when you’re faced with the seemingly endless possibilities of planning, hours of writing, and a future full of editing and revisions. While preparation is important, especially in genres where worldbuilding plays an essential role, it’s easy to get trapped in an endless cycle of planning without ever writing a word of your actual story.

The good news? You really don’t need to have everything figured out before you start writing. In fact, sometimes diving in with just the essentials can help you discover your story more organically. Here’s how to get started without getting stuck.

Note: a quick disclaimer here that this advice is aimed primarily at those who do get stuck in the planning stages. If extensive planning is a method that works for you and doesn’t distract you from writing, then there’s absolutely nothing wrong with lots of detailed planning. Every writer’s process is completely unique, and what works for one, won’t work for all.

The essential building blocks

Before you sit down to work on the very first words of your project, you really only need these fundamental elements in place:

A main character with a clear goal.

A significant conflict or obstacle.

A general sense of your story’s world.

A rough idea of how it might end.

That’s it. You can develop everything else as you write.

There is nothing wrong with doing a bit more planning and worldbuilding, but that can all be completely at your own discretion. You don’t need more. What I will say though, is that you plan to do you worldbuilding as your project develops, just make sure you keep notes that you can refer to later.

Your pre-writing checklist

1. Core character development

Your protagonist will be the driving force behind your work, so there’s a few things that are good to have an idea on before you start writing.

What do they want and why do they want it? Think of both their internal and external goals and motivations (read this article for a more detailed breakdown).

What’s stopping them from achieving it?

What are their two most defining character traits.

With whom do they have their most important relationship.

You don’t need to get bogged down in detailed character sheets or extensive backstories yet. Those can be developed as you write.

2. Basic world framework

Not every genre needs extensive worldbuilding. If you’re writing contemporary fiction set in a place and time you are familiar with, then you can get away with only the basics. If you’re writing genre fiction like science fiction or fantasy, however, there might be a few extras you need to throw in the mix. Either way, you can get away with only establishing the most crucial elements:

Does your world require a unique magic system or technology to function?

Is there an important historical moment on which your story hinges?

What is the immediate setting of your story?

Are there any limitations or constraints that are important to your plot?

Remember: You can expand your world as your story grows. Just remember to keep notes.

3. Basic story structure

Rather than needing an extensive plot outline, you only need four things to help you get from point A to point B. And it’s also fine if these change as you start to write. The things that are useful to start out with are.

You protagonist’s opening situation (aka, their ordinary world).

The inciting incident (what happens to get the plot ball rolling).

The major conflict (what stands in the way of your protagonist getting what they want).

Possible ending (if everything goes to plan, how do you want your story to end?)

Don’t worry about subplots or intricate plot twists yet. Focus on the main narrative thread. And be open to the idea that as you tell yourself the story, these may change. Again, notes are your friend.

When to start writing

You’re ready to write when you can answer these questions:

Who is your main character, and what do they want?

What’s the first major obstacle they’ll face?

What’s at stake if they fail?

Where does their story begin?

If you can answer these, you have enough to start your first draft. You can do more worldbuilding, of course. But these are the essentials that mean you can dive in.

5 tips to avoid planning paralysis

Set a planning deadline: Give yourself a specific timeframe for initial planning. When the deadline hits, start writing, ready or not. This is something that really works for me. It’s so easy to use planning as a procrastination tool, so if I don’t actually use my planning time, then I go in blind. It pushes me not only to use the time, but also not to get lost in the mire of planning.

Use placeholders: Don’t know something? Use [MC] (main character) or [RESEARCH LATER] in your draft and keep writing. You can fill in the details later. I wrote a whole first draft once where I hadn’t even decided on the protagonist’s name. I knew their goals and motivations, as well as lots of backstory, but I was completely blanking on a name. Instead of letting that become a distraction, I just wrote using [MC] through the whole manuscript and did a find and replace once I’d decided on revision.

Start small: Don’t let yourself focus on the enormity of the task in front of you. Just sit down with the plan to write something. Anything. You don’t need to know everything about your world to write chapter one, and once you have some writing underway, the task seems a lot less insurmountable.

Keep a running notes document: Make sure you keep track of ideas, questions, and worldbuilding elements that occur to you while writing. This lets you capture ideas without stopping your writing flow and also gives you a strong reference point for later.

Accept imperfection: Your first draft won’t be perfect, and that’s okay. You can refine and expand your world, characters, and plot during revision. Perfect is the enemy of good, as the old adage goes.

Remember: writing IS planning

Many writers discover their story through the act of writing itself, so don’t feel you have to be some plotting genius to get started. Some of your best ideas will come when you’re in the middle of a scene, not while planning it. Plots are rarely static. They change as you discover the ins and outs of your story.

What often feels like “not enough planning” is actually your creative mind waiting for the actual writing process to help you discover your story. Trust that process. Start writing with your basic elements in place and let your story grow organically from there.