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YOU ARE THE REASON

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@sdaomine
Once again, everyone is a comedian in chat

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reading a really good and worthwhile book but damn the little to no romance is killing me đ
refseek.com
www.worldcat.org/
link.springer.com
http://bioline.org.br/
repec.org
science.gov
pdfdrive.com
Worldcat is my bestie and my one true love!! Not only does it tell you what library a book is at, but it also price compares different used book sites against each other for easy view! It's how I got Tarot For the Master for $10!!
Oh, and since I have your attention: z-library (books and textbooks) and sci-hub (gatekept scientific journal articles.) I just ripped a textbook for class off z-library and snatched a required reading from sci-hub. Life is good and education should be accessible at every stage and station of life.
information wants to be free
5 Reasons NOT to Use Multiple Point of View (and What to Do Instead)
I've been meaning to make this post for a long time. As a developmental editor, I see a LOT of manuscripts that use multiple point of view (where each scene or chapter is from the perspective of a different character), when they really should be using a classic single character POV. Over the years, I've come to the conclusion that writers see multiple POV as a solution to problems that really shouldn't be solved that way. Basically, they're using it for the wrong reasons. And when that happens, instead of making the story more awesome, multiple POV can actually weaken it.
Here are five of the most common reasons writers choose multiple POV (and why those reasons might be a problem). Donât worryâIâll also share what to do instead.
1. You Donât Know What Your Story Is About
Sometimes, when writers arenât 100% clear on their storyâs main conflict, theme, or plot, they reach for multiple POV. It feels like a fixâafter all, why focus on one perspective when you can try out a little of this and a little of that?
Hereâs the thing: multiple POV actually requires you to be more clear about your story, not less. Readers will naturally look for a thread that ties all the perspectives together, and if that thread isnât there, the story will feel scattered or aimless.
What to Do Instead: Take a step back. If youâre feeling unsure about what your story is really about, try some journaling or outlining. Ask yourself:
Whatâs the main conflict?
Whoâs the central character?
Why am I telling this story?
Often, writers discover they actually have one protagonist, and a limited third or first-person perspective would work better. If you still feel like multiple POV is the right call, go for it! Just be sure to periodically revisit your outline to make sure the story hasnât âgotten awayâ from you. (Multiple POV has a sneaky way of doing that.)
2. You Havenât Developed Your Characters
Multiple POV doesnât work unless each character is fully developed. Every POV character needs their own voice, journey, and reason for being in the story. If they canât stand on their own, readers will notice.
What to Do Instead: Before assigning a POV, ask yourself:
Is this character compelling enough to hold the readerâs attention?
Do they add something essential to the story that no one else can?
If the answer is no, it might be better to stick with a single POV. Sometimes less is more.
3. You Canât Decide on a POV Character
This one is common, especially in early drafts. Youâre still figuring out your story, and itâs hard to choose whose perspective should take center stage.
What to Do Instead: Experiment! Write key scenes from different charactersâ perspectives. Often, the strongest voice will make itself known as you go. And remember: just because you write a draft with multiple POV doesnât mean you canât narrow it down later.
4. You Need to Share Information Your POV Character Doesnât Have
Ah, the classic "But how do I show this thing the protagonist doesnât know?" dilemma. This is probably the most common reason I see writers reach for multiple POV. Itâs tempting to throw in a chapter or two from another characterâs perspective just to share that extra bit of information.
The problem? Those chapters often feel disconnected from the rest of the story. Every POV character needs to carry their weight, and dropping in a random narrator just for convenience can leave readers feeling unsatisfied.
What to Do Instead: There are other ways to get information across. Here are a few ideas:
Educated Guesses: Let your main character speculate. (âIris kept tapping her pencil on the desk. Was she nervous about the meeting earlier?â)
Show, Donât Tell: Use actions, dialogue, or other clues to reveal what another character might be thinking.
Bring in a New Element: Introduce a third character, a conflict, or even an object that reveals something important.
Overhearing or Spying: Yes, itâs a little clichĂŠ, but when used sparingly, it can work in a pinch.
5. Youâre Looking for an Easy Way Out
Letâs be honest: multiple POV can feel like a catch-all solution to tough storytelling problems. Need to fix pacing? Add another POV! Canât figure out how to make the ending work? Add another POV!
But hereâs the truth: multiple POV is actually harder than other POVs. Youâre not just developing one characterâyouâre developing several, and you have to tie all their perspectives into a cohesive whole.
What to Do Instead: Focus on nailing the story with a single POV first. Once youâre confident the core of the story is solid, you can decide if adding other perspectives will truly enhance it.
In Summary
Multiple POV is a powerful tool, but itâs not a shortcut. It requires careful planning and strong execution. If youâre considering it, ask yourself:
Does every POV character bring something unique to the story?
Am I clear on the main conflict and theme?
Could this story be told just as well (or better) with a single POV?
Sometimes, the simplest route is the best one.
Hope this helps!
/ / / / / / / / / / /
@theliteraryarchitect is a writing advice blog run by me, Bucket Siler, a writer and developmental editor. For more writing help, download my Free Resource Library for Fiction Writers, join my email list, or check out my book The Complete Guide to Self-Editing for Fiction Writers.
the five stages of grief: writer's edition
denial: "this draft is amazing. no need for edits. itâs practically perfect as is." youâre so confident that you close the document for the day, smiling like youâve just discovered the next great american novel (or swedish, or british, whatever). plot hole? who is she?
anger: "why did i ever think this was good? this is garbage. i am garbage. my characters are flat, my dialogue is cringe, and my prose sounds like a robot swallowed a thesaurus and threw up on the page." rage-quit the doc and go aggressively scroll pinterest for "writing inspiration" that you will never use.
bargaining: "if i fix this one scene, the whole thing will click into place. i just need to write one more subplot, maybe five more chapters, a quick rewrite of the entire ending, and then it'll be fine. totally manageable." queue up 17 youtube videos on "how to fix your plot" that you play in the background while staring at your ceiling.
depression: "i will never finish this book. itâs doomed. iâm doomed. why do i even write? who let me have ideas?!" lay dramatically on your bed, considering taking up knitting or rock collecting instead. cry a little over how your characters deserve a better writer.
acceptance: "this is the best i can do right now, and thatâs okay. iâll take a break, come back with fresh eyes, and remember why i love this stupid, broken story." suddenly, your MC whispers something brilliant, and you're like wait⌠maybe i'm a genius after all.
and the cycle begins again. writing is a joy.

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been writing fantasy for three weeks, now my brain wonât work whenever i try to write my ya novella requirement (only contemporary era, no spec fic elements whatsoever, which is sad tbh)
REVERSE TROPE WRITING PROMPTS
Too many beds
Accidentally kidnapping a mafia boss
Really nice guy who hates only you
Academic rivals except itâs two teachers who compete to have the best class
Divorce of convenience
Too much communication
True hateâs kiss (only kissing your enemy can break a curse)
Dating your enemyâs sibling
Lovers to enemies
Hate at first sight
Love triangle where the two love interests get together instead
Fake amnesia
Soulmates who are fated to kill each other
Strangers to enemies
Instead of fake dating, everyone is convinced that you arenât actually dating
Too hot to cuddle
Love interest CEO is a himbo/bimbo who runs their company into the ground
Nursing home au
matchablossom sneak peek
Iâm tired of people acting like Zhongli is a serious and chill guy who would never cause problems on purpose as if he isnât one of the biggest menaces out of the Seven. He used to throw mountains at Venti for annoying him. He, the god of history, starts fights among historians for shits and giggles. He tried to gaslight the Traveler into thinking he was totally not at the Chasm guys really Aether/Lumine you must be seeing things maybe you should go see Baizhu. When Qiqi wanted âCocogoatâ milk he was like âOh yeah sure totally letâs go look for itâ knowing damn well it was a wild goose chase. He made the Traveler sing to a flower and then was like âOh would you look at thatâ when a Whooperflower jumped out to maul them. I love him. Heâs like a cat pushing things off the counter to see how people react. I would pay to see him interact directly with Neuvillette because I know for a fact heâd get on that manâs nerves and argue about water tasting just to feel something. Furina used freedom from godhood to take a nap and Zhongli used it to give psychic damage to anyone who talks to him longer than 5 minutes. Iconic.
SO TRUE BESTIE like thereâs literally a part where Paimon calls Zhongli a parasite and comments he has to live off other peopleâs credit because he canât just make money for himself or get free shit for being an Archon anymore and he just looks at her and goes âI mean itâs just the Fatuiâs money you donât have to say it like thatâ LIKE EJRNRJRJRJFJR HE KNOWS WHAT HEâS DOING HEâS VERY AWARE HEâS JUST BEING A LITTLE SHIT BECAUSE HE CAN GET AWAY WITH IT
Itâs even funnier when you consider itâs basically a middle finger to Pantalone because his entire thing is trying to take over the economy to spite Zhongli only for Zhongli to turn around and start mooching off him without consequence bro is a MENACE and I just know when Pantalone saw Childeâs financial reports he was frothing at the mouth about it
*inserts incoherent screeching noises* love me some casually inserted sexy times even though they're fade-to-blacks

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A good writer, like a good reader, has a mindâs ear. We mostly read prose in silence, but many readers have a keen inner ear that hears it. Dull, choppy, droning, jerky, feeble: these common criticisms of narrative are all faults in the sound of it. Lively, well-paced, flowing, strong, beautiful: these are all qualities of the sound of prose, and we rejoice in them as we read. Narrative writers need to train their mindâs ear to listen to their own prose, to hear as they write.
- Ursula K. Le Guin, Steering the Craft: A 21st Century Guide to Sailing the Sea of Story
The von Hagen Twins and their Chocolate Drinks (Family AU, Pt. 1)
The twins go missing in the middle of the night. Vyn finds dark liquid splattered across the kitchen floor, and he almost gets a heart attack.
wc: 2,547 | tags: family au, marriage, kids
sometimes, i wake up in a cold sweat asking myself,
WHO WAS THIS TOT CHARACTER WRITTEN BY? Â Â â Â like my tot characters guide post, this is just for fun
artem was written by a woman in her thirties who has life figured out. stable job, great apartment, solid group of friends, the perfect collection of cardigans, owns two cats named sun and moon. has everything she could ever want in life, all she needs is the perfect man who has mastered the art of cooking her favorite food.
luke was written by a sweet old lady reminiscing on her first love. she keeps a picture of him in a locket hidden beneath her pillow. a childhood friend she eventually had to part ways with. and though she eventually had to marry someone else, she still thinks of him every now and again, hoping heâs okay.
marius was written by himself, because no one else had the time, energy, nor patience do it themselves. he doesnât mind though because he could at least make himself the main character. though he has been going through several re-edits by the general public. itâs okay because heâs reedited by himself anyways.
vyn was written by taylor swift. red era taylor? reputation era? lover? folklore/evermore? an amalgamation of all of them? juryâs still out on this one. either that or a collaborative effort from a man on very thin ice and jane austen.Â
rosa / mc was written by a hungover college student on the train ride home from a frat party, swearing that theyâd never drink again and actually start getting their life together.Â
sometimes, i wake up in a cold sweat asking myself,
WHO WAS THIS TOT CHARACTER WRITTEN BY? Â Â â Â like my tot characters guide post, this is just for fun
artem was written by a woman in her thirties who has life figured out. stable job, great apartment, solid group of friends, the perfect collection of cardigans, owns two cats named sun and moon. has everything she could ever want in life, all she needs is the perfect man who has mastered the art of cooking her favorite food.
luke was written by a sweet old lady reminiscing on her first love. she keeps a picture of him in a locket hidden beneath her pillow. a childhood friend she eventually had to part ways with. and though she eventually had to marry someone else, she still thinks of him every now and again, hoping heâs okay.
marius was written by himself, because no one else had the time, energy, nor patience do it themselves. he doesnât mind though because he could at least make himself the main character. though he has been going through several re-edits by the general public. itâs okay because heâs reedited by himself anyways.
vyn was written by taylor swift. red era taylor? reputation era? lover? folklore/evermore? an amalgamation of all of them? juryâs still out on this one. either that or a collaborative effort from a man on very thin ice and jane austen.Â
rosa / mc was written by a hungover college student on the train ride home from a frat party, swearing that theyâd never drink again and actually start getting their life together.Â
the sillies all year round...

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to the boy who deserves all the stars. đ
i've finally found the words i wanted to say to you.
the sweetest thing iâve ever read this year.
The writer's blessing:
May you write 1,500 words with ease.May your characters be lively and not cardboard.May you need little editing. May your muse visit you as soon as you sit. May the Internet not distract you much. May your phone lie dormant while you write.