meyra

“Hope you’re a harvest god,” Arepo said, and set up an altar and burnt two stalks of wheat. “It’d be nice, you know.” He looked down at the ash smeared on the stone, the rocks all laid askew, and coughed and scratched his head. “I know it’s not much,” he said, his straw hat in his hands. “But - I’ll do what I can. It’d be nice to think there’s a god looking after me.”

The next day he left a pair of figs, the day after that he spent ten minutes of his morning seated by the temple in prayer. On the third day, the god spoke up.

“You should go to a temple in the city,” the god said. Its voice was like the rustling of the wheat, like the squeaks of fieldmice running through the grass. “A real temple. A good one. Get some real gods to bless you. I’m no one much myself, but I might be able to put in a good word?” It plucked a leaf from a tree and sighed. “I mean, not to be rude. I like this temple. It’s cozy enough. The worship’s been nice. But you can’t honestly believe that any of this is going to bring you anything.”

“This is more than I was expecting when I built it,” Arepo said, laying down his scythe and lowering himself to the ground. “Tell me, what sort of god are you anyway?”

“I’m of the fallen leaves,” it said. “The worms that churn beneath the earth. The boundary of forest and of field. The first hint of frost before the first snow falls. The skin of an apple as it yields beneath your teeth. I’m a god of a dozen different nothings, scraps that lead to rot, momentary glimpses. A change in the air, and then it’s gone.”

The god heaved another sigh. “There’s no point in worship in that, not like War, or the Harvest, or the Storm. Save your prayers for the things beyond your control, good farmer. You’re so tiny in the world. So vulnerable. Best to pray to a greater thing than me.”

Arepo plucked a stalk of wheat and flattened it between his teeth. “I like this sort of worship fine,” he said. “So if you don’t mind, I think I’ll continue.”

“Do what you will,” said the god, and withdrew deeper into the stones. “But don’t say I never warned you otherwise.”

Arepo would say a prayer before the morning’s work, and he and the god contemplated the trees in silence. Days passed like that, and weeks, and then the Storm rolled in, black and bold and blustering. It flooded Arepo’s fields, shook the tiles from his roof, smote his olive tree and set it to cinder. The next day, Arepo and his sons walked among the wheat, salvaging what they could. The little temple had been strewn across the field, and so when the work was done for the day, Arepo gathered the stones and pieced them back together.

“Useless work,” the god whispered, but came creeping back inside the temple regardless. “There wasn’t a thing I could do to spare you this.”

“We’ll be fine,” Arepo said. “The storm’s blown over. We’ll rebuild. Don’t have much of an offering for today,” he said, and laid down some ruined wheat, “but I think I’ll shore up this thing’s foundations tomorrow, how about that?” 

The god rattled around in the temple and sighed.

A year passed, and then another. The temple had layered walls of stones, a roof of woven twigs. Arepo’s neighbors chuckled as they passed it. Some of their children left fruit and flowers. And then the Harvest failed, the gods withdrew their bounty. In Arepo’s field the wheat sprouted thin and brittle. People wailed and tore their robes, slaughtered lambs and spilled their blood, looked upon the ground with haunted eyes and went to bed hungry. Arepo came and sat by the temple, the flowers wilted now, the fruit shriveled nubs, Arepo’s ribs showing through his chest, his hands still shaking, and murmured out a prayer. 

“There is nothing here for you,” said the god, hudding in the dark. “There is nothing I can do. There is nothing to be done.” It shivered, and spat out its words. “What is this temple but another burden to you?”

“We -” Arepo said, and his voice wavered. “So it’s a lean year,” he said. “We’ve gone through this before, we’ll get through this again. So we’re hungry,” he said. “We’ve still got each other, don’t we? And a lot of people prayed to other gods, but it didn’t protect them from this. No,” he said, and shook his head, and laid down some shriveled weeds on the altar. “No, I think I like our arrangement fine.”

“There will come worse,” said the god, from the hollows of the stone. “And there will be nothing I can do to save you.”

The years passed. Arepo rested a wrinkled hand upon the temple of stone and some days spent an hour there, lost in contemplation with the god.

And one fateful day, from across the wine-dark seas, came War.

Arepo came stumbling to his temple now, his hand pressed against his gut, anointing the holy site with his blood. Behind him, his wheat fields burned, and the bones burned black in them. He came crawling on his knees to a temple of hewed stone, and the god rushed out to meet him.

“I could not save them,” said the god, its voice a low wail. “I am sorry. I am sorry. I am so so sorry.” The leaves fell burning from the trees, a soft slow rain of ash. “I have done nothing! All these years, and I have done nothing for you!”

“Shush,” Arepo said, tasting his own blood, his vision blurring. He propped himself up against the temple, forehead pressed against the stone in prayer. “Tell me,” he mumbled. “Tell me again. What sort of god are you?”

“I -” said the god, and reached out, cradling Arepo’s head, and closed its eyes and spoke.

“I’m of the fallen leaves,” it said, and conjured up the image of them. “The worms that churn beneath the earth. The boundary of forest and of field. The first hint of frost before the first snow falls. The skin of an apple as it yields beneath your teeth.” Arepo’s lips parted in a smile.

“I am the god of a dozen different nothings,” it said. “The petals in bloom that lead to rot, the momentary glimpses. A change in the air -” Its voice broke, and it wept. “Before it’s gone.”

“Beautiful,” Arepo said, his blood staining the stones, seeping into the earth. “All of them. They were all so beautiful.”

“Oh, poor god,” she said, “With no-one to bury your last priest.” Then she paused, because she was from far away. “Or is this how the dead are honored here?” The god roused from its contemplation.

“His name was Arepo,” it said, “He was a sower.”

Sora startled, a little, because she had never before heard the voice of a god. “How can I honor him?” She asked.

“Bury him,” the god said, “Beneath my altar.”

“All right,” Sora said, and went to fetch her shovel.

“Wait,” the god said when she got back and began collecting the bones from among the broken twigs and fallen leaves. She laid them out on a roll of undyed wool, the only cloth she had. “Wait,” the god said, “I cannot do anything for you. I am not a god of anything useful.”

Sora sat back on her heels and looked at the altar to listen to the god.

“When the Storm came and destroyed his wheat, I could not save it,” the god said, “When the Harvest failed and he was hungry, I could not feed him. When War came,” the god’s voice faltered. “When War came, I could not protect him. He came bleeding from the battle to die in my arms.” Sora looked down again at the bones.

“I think you are the god of something very useful,” she said.

“What?” the god asked.

The god sat in his peaceful home, staring out at the distant road, to pedestrians, workhorses, and carriages, raining leaves that swirled around bustling feet. How long had it been? The world had progressed without him, for he knew there was no help to be given. The world must be a cruel place, that even the useful gods have abandoned, if farms can flood, harvests can run barren, and homes can burn, he thought.

He had come to understand that humans are senseless creatures, who would pray to a god that cannot grant wishes or bless upon them good fortune. Who would maintain a temple and bring offerings with nothing in return. Who would share their company and meditate with such a fruitless deity. Who would bury a stranger without the hope for profit. What bizarre, futile kindness they had wasted on him. What wonderful, foolish, virtuous, hopeless creatures, humans were.

So he painted the sunset with yellow leaves, enticed the worms to dance in their soil, flourished the boundary between forest and field with blossoms and berries, christened the air with a biting cold before winter came, ripened the apples with crisp, red freckles to break under sinking teeth, and a dozen other nothings, in memory of the man who once praised the god’s work on his dying breath.

“Hello, God of Every Humble Beauty in the World,” called a familiar voice.

The squinting corners of the god’s eyes wept down onto curled lips. “Arepo,” he whispered, for his voice was hoarse from its hundred-year mutism.

“I am the god of devotion, of small kindnesses, of unbreakable bonds. I am the god of selfless, unconditional love, of everlasting friendships, and trust,” Arepo avowed, soothing the other with every word.

“That’s wonderful, Arepo,” he responded between tears, “I’m so happy for you—such a powerful figure will certainly need a grand temple. Will you leave to the city to gather more worshippers? You’ll be adored by all.”

“No,” Arepo smiled.

“Farther than that, to the capitol, then? Thank you for visiting here before your departure.”

“No, I will not go there, either,” Arepo shook his head and chuckled.

“Farther still? What ambitious goals, you must have. There is no doubt in my mind that you will succeed, though,” the elder god continued.

“Actually,” interrupted Arepo, “I’d like to stay here, if you’ll have me.”

The other god was struck speechless. “…. Why would you want to live here?”

Write.

But I don't know where to start.

Write.

But I'm worried.

WRITE.

What if nobody likes it?

W R I T E

What if it's not very good?

Write. Write. WRITE. WRITE.

W

R

I

T

E

Write

Write. Write. Write. Write. Write. Write.

Write.

Write

Write

Write

Write

Write

Write

Write

Write

W R I T E

Write write write

Write

a good time;

Has exactly the tropes you like and the characterization you want to read;

Gratification: yes you did finish a thing and yes you did do good;

just a very fun time all around.

Cons of re-reading your own fic:

This was senior year of college.  Most of us had already been accepted into grad school of some sort. We felt powerful, we felt talented, and most of all, we felt artistic.

It was the advanced fiction workshop, and we did an entire round of workshops with everyone’s best stories, their most advanced work, their most polished pieces. It was very technical and, most of all, very artistic.

IE: They were boring pieces of pretentious crap.

Now the teacher was either a genius OR was tired of our shit, and decided to give us a challenge.  Flash fiction, he said. Write something as quickly as possible.  Make it stupid.  Make it not mean a thing, just be a quick little blast of words. 

And, of course, we all got stupid.  Little one and two pages of prose without the barriers that it must be good. Little flashes of characters, little bits of scenarios.

And they were electric.  All of them. So interesting, so vivid, not held back by the need to write important things or artistic things. 

One sticks in my mind even today.  The guys original piece was a thinky, thoughtful piece relating the breaking up of threesomes to volcanoes and uncontrolled eruptions that was just annoying to read. But his flash fiction was this three page bit about a homeless man who stole a truck full of coca cola and had to bribe people to drink the soda so he could return the cans to recycling so he could afford one night with the prostitute he loved.

It was funny, it was heartfelt, and it was so, so, so well written.

And just that one little bit of advice, the write something short and stupid, changed a ton of people’s writing styles for the better.

1. Spellscribe: Weaves magic into ink, creating enchanted scrolls and spellbooks.

2. Dreamweaver: Shapes dreams, ensuring a peaceful slumber for all.

3. Star Cartographer: Maps constellations and celestial paths.

4. Potion Alchemist: Brews elixirs, love potions, and invisibility brews.

5. Whispering Wind Courier: Carries messages on ethereal zephyrs.

6. Crystal Harmonist: Plays melodies on gemstone xylophones.

7. Arcane Librarian: Guards forbidden tomes and ancient grimoires.

8. Stormcaller: Commands lightning and tempests.

9. Shadow Weaver: Manipulates shadows for stealth or illusion.

10. Fey Ambassador: Bridges the gap between humans and fae.

11. Time Tinkerer: Repairs temporal rifts and broken clocks.

12. Soul Gardener: Tends to souls in the afterlife.

13. Dragon Whisperer: Communicates with fire-breathing beasts.

14. Labyrinth Architect: Designs mazes with shifting walls.

15. Aetheronaut: Pilots airships through the skies.

16. Cauldron Chef: Cooks magical stews and enchanted pastries.

17. Goblin Negotiator: Haggles with mischievous goblins over stolen treasures.

18. Wisp Shepherd: Herds glowing wisps across moonlit meadows.

19. Constellation Painter: Dips brushes in stardust to create cosmic art.

20. Swordsmith of Destiny: Forges blades with prophetic properties.

21. Oracle of Riddles: Answers questions through cryptic puzzles.

22. Moss Whisperer: Encourages moss-covered stones to share their secrets.

23. Harvest Moon Dancer: Leads celestial dances during lunar eclipses.

24. Chimera Veterinarian: Cares for mythical hybrid creatures.

25. Lore Bard: Sings epic sagas of forgotten heroes.

26. Stardust Prospector: Mines cosmic minerals from fallen meteors.

27. Mistwalker: Guides lost souls through foggy moors.

28. Enchanted Cobbler: Crafts shoes that grant extraordinary abilities.

29. Celestial Clockmaker: Constructs timepieces powered by starlight.

30. Gargoyle Sculptor: Carves stone guardians with hidden sentience.

31. Wandmaker: Whittles wands from ancient tree branches.

32. Mermaid Translator: Deciphers underwater songs and sea whispers.

So it looks like NaNoWriMo are happy to have AI as part of their community. Miss me with that bullshit. Generative artificial intelligence is an active threat to creativity and the livelihoods of hundreds of thousands of people in creative fields.

Part 1

Again, just suggestions that shouldn’t have to compromise your author voice, as I sit here doing my own edits for a WIP.

1. Crutch words

Specifically when you have your narrator taking an action instead of just… writing that action. Examples:

Character wonders/imagines/thinks/realizes

Character sees/smells/feels

Now not all of these need to be cut. There’s a difference between:

Elias stops. He realizes they’re going in the wrong direction.

And

Elias takes far too long to realize that it’s not horribly dark wherever they are

Crutch words are words that don’t add anything to the sentence and the sentence can carry on with the exact same meaning even if you delete it. Thus:

Elias stops. They’re going in the wrong direction.

I need a word in the second example, whether it’s realizes, understands, or notices, unless I rework the entire sentence. The “realization” is implied by the hard cut to the next sentence in the first example.

2. Creating your own “author voice”

Unless the tone of the scene demands otherwise, my writing style is very conversational. I have a lot of sentence fragments to reflect my characters’ scatterbrained thoughts. I let them be sarcastic and sassy within the narration. I leave in instances of “just” (another crutch word) when I think it helps the sentence. Example:

…but it’s just another cave to Elias.

Deleting the “just” wouldn’t hit as hard or read as dismissive and resigned.

I may be writing in 3rd person limited, but I still let the personalities of my characters flavor everything from the syntax to metaphor choices. It’s up to you how you want to write your “voice”.

I’ll let dialogue cut off narration, like:

Not that he wouldn’t. However, “You can’t expect me to believe that.”

Sure it’s ~grammatically incorrect~ but you get more leeway in fiction. This isn’t an essay written in MLA or APA format. It’s okay to break a few rules, they’re more like guidelines anyway.

3. Metaphor, allegory, and simile

There is a time and a place to abandon this and shoot straight because oftentimes you might not realize you’re using these at all. It’s the difference between:

Blinding sunlight reflects off the window sill

And

Sunlight bounces like high-beams off the window sill

It’s up to you and what best fits the scene.

Sometimes there’s more power in not being poetic, just bluntly explicit. Situations like describing a character’s battle wounds (whatever kind of battle they might be from, whether it be war or abuse) don’t need flowery prose and if your manuscript is metaphor-heavy, suddenly dropping them in a serious situation will help with the mood and tonal shift, even if your readers can’t quite pick up on why immediately.

Whatever the case is, pick a metaphor that fits the narrator. If my narrator is comparing a shade of red to something, pick a comparison that makes sense.

Red like the clouds at sunset might make sense for a character that would appreciate sunsets. It’s romantic but not sensual, it’s warm and comforting.

Red like lipstick stains on a wine glass hints at a very different image and tone.

Metaphor can also either water down the impact of something, or make it so much worse so pay attention to what you want your reader to feel when they read it. Are you trying to shield them from the horror or dig it in deep?

4. Paragraph formatting

Nothing sticks out on a page quite like a line of narrative all by itself. Abusing this tactic will lessen its effect so save single sentence paragraphs for lines you want to hammer your audiences with. Lines like romantic revelations, or shocking twists, or characters giving up, giving in. Or just a badass line that deserves a whole paragraph to itself.

I do it all the time just like this.

Your writing style might not feature a bunch of chunky paragraphs to emphasize smaller lines of text (or if you’re writing a fic on A03, the size of the screen makes many paragraphs one line), but if yours does, slapping a zinger between two beefy paragraphs helps with immersion.

5. Polysyndeton and Asyndeton

Not gibberish! These, like single-sentence paragraphs, mix up the usual flow of the narrative that are lists of concepts with or without conjunctions.

Asyndeton: We came. We saw. We conquered. It was cold, grey, lifeless.

Polysyndeton: And the birds are out and the sun is shining and it might rain later but right now I am going to enjoy the blue sky and the puffy white clouds like cotton balls. They stand and they clap and they sing.

Both are for emphasis. Asyndeton tends to be "colder" and more blunt, because the sentence is blunt. Polysyntedon tends to be more exciting, overwhelming.

We came and we saw and we conquered.

The original is rather grim. This version is almost uplifting, like it's celebrating as opposed to taunting, depending on how you look at it.

—

All of these are highly situational, but if you’re stuck, maybe try some out and see what happens.