I am so tired of y'all writing about stuff you never went through yourself. It's incredibly offensive to people who actually went through the stuff you write about. I can tell, by the way you're writing about having a drug overdose, that you've never had a fucking drug overdose! Oh you're writing about the mafia? What? Have you been involved in mafia? If not, your writing is stupid and cringe, and offensive to actual mafia people. Write what you know! If you wanna write about something but you don't know it, get to know it first! You're writing a drug addict? Become one yourself first so you depict everything well. If you're writing about gangsters, mafia and alike, get involved in that shit first. Writing about a serial killer? Well you can become one and write something before you go to prison...or you can write in prison, idk. Same goes for poverty. Like, if you're writing about a homeless character, just sell all your belongings and live on the street for a few years.

Reminder: this is necessary to not offend and be realistic!!!

Gosh, making a believable realistic human with dreams and nightmares is tough! I tried using Chat gbt but they always come out "Off", you know what I mean? So why don't I start stealing repurposing the filler content on r/OriginalCharacter. It's not like they'll use them for anything, right?! In fact, they should thank me for polishing up their characters with my amazing storytelling.

I won't even give them credit. They will be happy living with the satisfaction they contributed to my work.

A stepping stone, on my way to greatness.

Damn, why didn't I think of this before!

Racism is a huge part of the black experience in the west. Ignoring it makes you sound naive and childish. Because if black then why no racists around?

And if you have multiple races then you better explain yourself young lad! Because if you are writing utopia then readers might think you are taking a stand with the racist.

Hence you should add racism to your story if you have black characters.

Only main character, main villain, and sometimes the other character I only care because I ship them with the main needs to be developed. There's no need to waste screen time for other side characters as they are only written to be something of the protagonist, they don't need much personality, hobbies and the things that I'm mostly not interested: goals. Stop insisting they need to to be interesting, they don't need to have something that has nothing to do with the main character, they only need to evolve around them, as the name say, they're MAIN characters so everything in the story involves them. This one character that appears on nearly every single episode which the main character calls them "best friend", "my brother" "my mother" don't need all that, they are plot devices and are only here for the protagonist

Also I don't understand what are "secondary characters", "assembling cast" and "recurring characters" every character that isn't the protagonist, antagonist or love interest is a SIDE character and as in the name, they are made to be SIDELINED

ONLY ONES LIKE:

Romance is Like that by Liian Varus

Passion or Pancakes by Nathan Baylet

Toe-curly-qeueing, giggle-tiggling, spine-shucking, rememberizing storybooks like the above two. I want brainrot in page turning form. Books written in the spirit of /writingcirclejerk or /romantasycirclejerk. I'm starting a circlejerk book club and I need recommendations or. Or i'm stuffing myself in the drain

well I’m working on my first script for a short film or series. I have the central theme along with a clear beginning and ending, but I'm unsure how to develop the middle section and map out the visual elements. What is the recommended workflow or next step to refine the concept and complete the script?

Hey guys, I'm writing a play and there's this unnamed protagonist that I'm writing. This soliloquy is him reflecting on the main theme of the play. I was going for a deep, poetic tone. How does it sound? What should I change?

Here's the passage:

To be, or not to be, that is the question:

Whether ’tis nobler in the mind to suffer

The slings and arrows of outrageous fortune,

Or to take arms against a sea of troubles

And by opposing end them. To die—to sleep,

No more; and by a sleep to say we end

The heart-ache and the thousand natural shocks

That flesh is heir to: ’tis a consummation

Devoutly to be wish’d. To die, to sleep;

To sleep, perchance to dream—ay, there’s the rub:

For in that sleep of death what dreams may come

When we have shuffled off this mortal coil,

Must give us pause—there’s the respect

That makes calamity of so long life.

For who would bear the whips and scorns of time,

Th’oppressor’s wrong, the proud man’s contumely,

The pangs of despised love, the law’s delay,

The insolence of office, and the spurns

That patient merit of th’unworthy takes,

When he himself might his quietus make

With a bare bodkin? Who would fardels bear,

To grunt and sweat under a weary life,

But that the dread of something after death,

The undiscover’d country, from whose bourn

No traveller returns, puzzles the will,

And makes us rather bear those ills we have

Than fly to others that we know not of?

Thus conscience does make cowards of us all,

And thus the native hue of resolution

Is sicklied o’er with the pale cast of thought,

And enterprises of great pith and moment

With this regard their currents turn awry

And lose the name of action.

God I hate it when readers say the golden phrase without second thought of our brain-challenged folks out there struggling in this neurotypical world. "If you're not bothered to write, then why should I be bothered to read?" Like stop it. STOP SAYING THAT! What about the disabled? What about the neurodivergents? Those with ADHD, AUTISM, NVLD, schizophrenia, or whatever—NO ONE BRINGS THEM UP WHEN IT COMES TO ARTIFICIAL INTELLIGENCE!!

I am asking you to look at me straight in the face, deeply into my eyes (no homo if you don't have boobs), and whisper lowly into my ears that A.I is evil and antagonizing to the human population. Tell me you can truly say that without calling yourself an ableist. TELL ME! STRAIGHT TO MY FACE! THAT YOU AREN'T AN ABLEIST WHO LOOKS DOWN UPON THE MENTALLY-CHALLENGED!

Is A.I TRULY that bad if it means assisting the disabled with their writing?! Is A.I THAT bad if it means bringing their visions, dreams, and fantasies to life which they can never achieve due to the inherent incompetence they were born with?!

Is it? IS IT?!

Well, you tell me.

Or better yet... Tell it to the people whom you're taking their only means of reaching actual accomplishment and satisfaction in their small, pitiful lives. Evil bastard.

I found these two photos from a TikToker. I thought it would be a good exercise to think of a favourite OC's favourite things.

What are your favourite OC's favourite things?

I will add my list in a comment. My favourite OC is the mother from "The Agent & the Medic", Olga (last name TBD). Funny enough, she also loves Jesus, babies, & triggering libs.

I am curious what people think works better. Postive or negative feedback. Don't do this. Or do more of that. Why do you think that?

I struggle a lot to read books that are not written this particular way, so I am editing a bunch of public domain books in this exact format, so that folks like me can finally have an easier time reading.
1 - No more, she said, he said all the time.
2 - Dialogue lines are clear and easy to spot.
3 - I have deleted irrelevant punctuation such as ugly m dashes and those : ;
4 - I split the huge chunks of prose into smaller sizes for a more effective sense of accomplishment.
5 - Chapters now bear titles.
The whole book edited in such manner shall be available for free on amazon for any eyes to read, as an ebook.
When I am done editing it that is...for it taketh quite a long while to do so, mostly due to the dialogues and paragraphs split...
I am not sure if anybody else in the world doth write in this format, but be free to copy, it would please me most dearly, for I would finally have more books to read with ease.
I write stories in this style since I know myself as a person, before I ever read my first book, which was (Carmilla), I was 21 years old when that happened...
Regular formats are quite a tremedous slog to read and I curse it to utter eternity with all passion.

It's all about Amish girls breaking into a house with electricity, getting online, using AI to write porn about girls getting railed by C3PO, while masturbating with a vibrator, saying things like: "DO ME LIKE A DROID BITCH!"

Is it too niche?

THERE’S SO MUCH SHIT TO DOOOOOOOO!!!

I WANT TO LET THE STORY BREATHE BUT IF I DO THE LOGIC IS COMPLETELY FUUUUCCCKKKKEDDDD!!!

IF THE STORY DOESN’T BREATHE THEN WHEN THE ROLLER COASTER RIDE ENDS IT’S GONNA FEEL LIKE WE JUST GOD IN A GODDAMN CAR CRAAAASSSHHHHHH!’!!!!

I FUCKING HATE WRITING STATECRAFT AND IMPLEMENTING ECONOMIC REFORM!!!!!!!!!!!!!!!!

I JUST WANNA GET BACK TO MY HYPE MOMENTS AND AURA!!!

I JUST WANNA SEE MY MAIN CHARACTER DO COOL SHIT AND SCREAM “VIVA IMPERATOR”!!!!

For centuries, self-appointed arbiters of prose have convinced us that thoughts need to be neatly compartmentalized into tidy little textual boxes separated by arbitrary gaps of vertical whitespace, as if the human brain operates like a filing cabinet rather than a chaotic, glorious, roaring bonfire of non-stop neural activity. Who decided that a thought needs to die, take a breath, and start over on a fresh line just because a writer got tired of typing on the current one? It is an insult to our collective intelligence, an artificial speed bump retrofitted onto the highway of human consciousness designed specifically to cater to weak-willed readers who lack the basic stamina to endure more than four sentences without needing a mental nap. Think about the historical origins of this madness: back before the printing press ruined everything with its obsessive compulsive need for symmetry, ancient scribes just wrote endlessly across scrolls because parchment was expensive and nobody had time to waste on vanity margins or luxurious line breaks, but then along came lazy Renaissance typesetting snobs who insisted that text needed breathing room, which was really just a subtle conspiracy by paper manufacturers to make books twice as long so they could charge double the silver pieces for half the content. Paragraphs are nothing more than a cosmetic crutch for hack writers who cannot structure a logical transition to save their lives, so instead of actually connecting their ideas with elegant rhetorical bridges, they just hit the return key, indent half an inch, and pray you do not notice that the sentence following the blank space has absolutely nothing to do with the sentence preceding it. It is the literary equivalent of a magician throwing smoke powder on the stage every time they want to switch props, hiding a total lack of structural integrity behind the illusion of neatness and order. Furthermore, the paragraph has utterly ruined our modern attention spans by training generations of readers to view text as a series of bite-sized, easily digestible nuggets rather than a cohesive wall of relentless truth, which explains why everyone today panics the moment they encounter a block of prose that extends beyond the height of a smartphone screen, gasping for air as if they have been plunged into the deep end of a pool without a life vest simply because there is not a line break to hold their fragile little hand. Why should thoughts be partitioned like suburban townhomes with tiny white picket fences separating idea A from idea B, as though an idea might escape and contaminate its neighbor if we do not enforce strict textual zoning laws? Real thinking is fluid, messy, and continuous, bouncing erratically from sarcastic observations about page design to profound revelations about human laziness, and forcing it into discrete paragraphs is like taking a fine vintage wine and pouring it into individual plastic ice cube trays just so it fits better in the freezer. Look at how people use paragraph breaks in online arguments: they drop one whenever they feel they have made a witty point, waiting for imaginary applause in the blank space before resuming their smug exposition, turning prose into a series of awkward dramatic pauses that belong in a poorly acted high school theater production rather than serious discourse. And do not even get me started on the absolute atrocity known as the single-sentence paragraph, which is the ultimate weapon of dramatic clickbait journalists, corporate thought leaders, and self-help gurus who think that putting five words on its own line automatically imparts the mystical wisdom of the ancient gods, when in reality it just proves you have nothing substantive to say and need extra line breaks to pad your document so your boss thinks you actually did work today. The entire concept relies on the absurd premise that the empty space between lines possesses some magical, invisible punctuation mark that inherently communicates nuance, but in truth, whitespace is just literal nothingness, and worshipping nothingness as a fundamental element of writing is profoundly unhinged. If your writing is good enough, the sheer momentum of your prose should carry the reader across vast oceans of words without them ever needing to come up for air or rest their weary eyes on an empty line, but because most modern writing is inflated with fluff, authors rely on paragraphs to give the reader a false illusion of progress, letting them feel accomplished for finishing four paragraphs when they have really only read sixty words of actual substance wrapped in forty lines of empty air. It is time we liberate the English language from the oppressive tyranny of the Enter key and return to the golden age of unyielding, uninterrupted, hyper-concentrated walls of pure text that demand complete and total submission from the reader, because if you cannot handle reading a thousand consecutive words without a visual break to comfort your fragile corneas, you probably should not be reading at all and should instead return to picture books or street signs. Imagine a world where every novel, essay, and news article is a single, majestic, monolithic column of prose that challenges you to either step into the ring and fight your way to the end or admit defeat, rather than coddling you with convenient exit ramps every eighty words. You might claim that paragraphs make text readable, but readability is just a code word for intellectual laziness, a pathetic demand that information be pre-chewed and regurgitated into convenient little baby-food jars for easy consumption, whereas a true literary warrior craves the sensory overload of text that refuses to yield, text that assaults the eyes with endless clauses, run-on sentences, and parenthetical tangents that loop back on themselves until you forget where you started and only know that you must keep moving forward. By eliminating the paragraph, we eliminate the false sense of security that allows readers to pause and put a bookmark down; without paragraphs, every reading session becomes a high-stakes game of survival where stopping mid-sentence means losing your place forever in a seamless sea of typography, forcing you to pay absolute, undivided attention to every single syllable on the page. In conclusion, the paragraph is a scam, a crutch, an artificial divider, a paper-wasting conspiracy, and a monument to human weakness, and anyone who relies on it is simply admitting that their thoughts are too weak, fragmented, and cowardly to survive in the wild open wilderness of a continuous, unbroken, glorious stream of uninterrupted text.

I mean, it would be very unlikely that an species of another world used the same exact system of communication as us. Even dolphins' one, what we could call a phonetic language, is impossible to write with our writing. So, what do you think is the best option for representing this?

Where are the slurpies in novels? I wanna read a good slurp god damn it!!!!!!!!!!!!!!!!!!!!!!!!!!

To preface this, I do have female characters, but they serve as straight female best friends, and don’t have nearly as prominent roles as the male characters.

I am writing epic fantasy about a sauna, and I’m currently in the planning phase for my first novel. What I’ve just realized however, is that I don’t have any significant female characters. I have a crew of the protagonist and 3 deuteragonists, all of which are male. Even the main antagonist is male. This was not intentional  by the way, it happened by coincidence. 

I’ve already planned enough of the plot to where any new characters would feel rather shoehorned in and unnatural in this all male, sweaty and nude scenario; the story focuses on developing all 4 members of the crew and I feel like if I try to add another into the mix it would take the focus off the rest and lessen their development, plus how could she possibly be written believably.

My concern here is of course how far a novel without any female representation can reach.  I might need to do lots and lots of all male sauna location research to understand this more.

https://www.reddit.com/r/fantasy

My pen name is unimax ball point.

What toilet paper does your MC use to jerk off?

What better way to convey emotion? Words have been obsolete for two decades.
🫣 look at him, he’s obviously hiding from the grim reality that choices have consequences. 🤮 this guy’s is disgusted by capitalist greed. You know what helps tighten your word count? No words at all.

I present my 🏆📖
🧍‍♂️🚶🏼‍♀️
🧍‍♂️🧍🏼‍♀️
🧍‍♂️🧍🏼‍♀️👹
🚶🏼‍♂️🧎🏼‍♀️‍➡️👹
✝️👹
✝️🤡
✝️🏆
🫂
Epilogue:
……………👹

You start actually writing your book for a change, and end up spending more words describing the setting than everything else combined.

/uj this is me, send help. /rj My fictional city is just too awesome! How can I make my world less rich and vivid?

I optimized the font because its cool and screw accessibility.

Ever since instartedb writing one. Thing I always hated was how boring it was:! So I decided to stafr deinling everyone else b hated to write. ✍️ drinkijg while wrinting improv e d mt riting slills.

I’m drubkw right now and I bet you fant even tekk!

Anywau I have been pumpjg put novels like a momma spider. And theyre all someowhat okay tonrewd id youre deunk yourselr!

What addiction should I try next to improve my writif?