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File: 1608525746156.jpg (Spoiler Image,146.19 KB, 569x425, stalinwriting.jpg)

 

Thread for those who like to read and write including fanfiction. Share drafts, look for beta-readers, ask for writing advice, give recommendations and do all that other cool jazz. Just remember to not bully anyone else no matter how shit their taste might be.
460 posts and 108 image replies omitted.

File: 1755375718164-0.pdf (38.19 KB, 197x255, untitled.pdf)

I finally finished my grace x alunya story. Thoughts?

>>46502
Glorification of suffering is cliche.
It feels of immaturity

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bumping with this lol

I'm starting to think all advice you hear online about writing is rubbish. The only way you can improve is by people criticising your own writing.

I need help finding a Fallout: New Vegas fanfiction I read many years ago, it was still ongoing then. It was retelling events of New Vegas from perspective of psychotically violent female courier who really hated NCR, so much she teamed up with Legion to destroy it. Does anyone know it, what its name is?

Feels bad when you shit out some actual good prose for the wish fulfillment fanfiction. I want to stop feeling the cringe. Help.

>>46717
Drink more.

>>46718
It's the only way, it seems.

>>46664
Ask ChatGPT or DeepSeek for feedback on your writing.

>>46740
>ask an app designed always to suck up to you for feedback
What a great idea!

>>46717
Fanfiction gets a bad rap, but it's got a long history of being among the most celebrated genre's in Western culture. Dante's Bible fanfiction single handedly shifted how Christians viewed hell and the afterlife. One of the central figures in the Divine Comedy was Virgil, who authored one of the classic works of fanfiction, the Aeneid. Wagner's Viking fanfiction became one of the most celebrated and influential operas in history. Lord of the Rings could be considered Tolkien's magnum opus, and it's barely concealed fanfiction for all the medieval history and literature that he was immersed in, with Gandalf being an expy for Odin, Boromir for Roland, and plenty more.

Fanfiction is a particular type of fiction, but it isn't an inferior sort.

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>>3558
I am writing this to try meet like-minded writers. I am a published writer with 5 short stories, and over a dozen poems, in print. I work in horror and weird fiction, mainly because I feel like it is closest to Romanticism and Marx's literary topoi of spectres, vampires, hauntology, and more. In the past, I was mainly a /lit/ poster, and don't use /leftypol/ as much as I'd like to, but I have always been some strain of Marxist or communist or anarchist or egoist. I studied Ezra Pound's epic poetry at a PhD level and wanted to reconcile his economic poetics with Marxist understandings of art and world history, but was heckled out of my degree by neoliberal-minded Butlerians and their fascist ilk.
Check out my currently catalogued writing credits and feel free to email me if you want to chat about writing or books:
https://www.isfdb.org/cgi-bin/ea.cgi?358638

2 chapters for a work in progress book I'm attempting to write. It's about a WW3 taking place in the American continents. I'm planning 4 parts, first part follows a trucker in the midwest.

Part 1: the river

Chapter 1: The Last Haul to St. Louis
The October day was hot, a damp, oppressive heat that clung to the skin despite the overcast sky and the constant drizzle. Sam guided his rig toward the final checkpoint out of Indiana, the last barrier between him and the fractured lands of southern Illinois. Beyond that was St. Louis, and maybe a shot at something resembling safety. But deep down, he knew the truck wouldn't make it. Diesel was a ghost in this part of the country, and he was running on fumes and a prayer, hoping to trade some of his employer's cargo for fuel along the way. It was a breach of contract, a risk. But the contract didn't matter anymore. This was about escape.
The truck groaned, its momentum bleeding away as he rolled to a stop in the outpost blocking the bridge across the Wabash River. Covenant soldiers, clad in mismatched gear, waved him aggressively toward the inspection lane, two pick-up trucks blocking his way out. The papers from his OAM employers had been a charm from Indianapolis to here, but this was different. This was the border. The final gate.
With a hiss of air brakes, the rig settled into a burbling idle, the engine drinking the last dregs from the tanks. A soldier tapped on the driver's side window with the muzzle of his rifle. Tap. Tap. Tap. Like a clock counting down. Sam already had the manifest in hand, the One American Market logo stark against the paper. He gripped it tight, his knuckles white, and rolled down the window.
The soldier snatched the paperwork without a word and carried it under a nearby canopy, out of the rain. Two others remained, their fingers resting on the trigger guards of their rifles, eyes locked on him. Beyond them, the Covenant flag hung, obnoxiously large. Thirteen stripes, but where the stars should have been, a single Star of David was pierced by a cross.
Sam’s mind drifted, a dangerous habit. He was calculating the miles to the first potential fuel stop in Illinois when the crackle of a walkie-talkie snapped him back. The soldier under the canopy was speaking into his radio, his gaze flicking toward Sam. The conversation was a burst of static and jargon, but the tone was clear. Final.
The soldier pointed directly at Sam and barked an order to his comrades. In one fluid motion, the nearest soldier raised his rifle. "Out of the truck! Now!"
"Why, sir?" Sam asked, the words heavy with a resignation he didn't have to fake.
"Medical inspection. Standard procedure for anyone leaving Covenant territory."
Sam froze. He knew what that meant. The "societal hygiene" check. The medical screenings. And he, sporting a hood, knew exactly what kind of "dick haircut" that would earn him. No.
He slammed the shifter into first and stomped on the accelerator. The engine roared in protest, then in understanding, lurching forward with a suddenness that threw him back in his seat. The truck wasn't just a machine; it was a partner in this desperate flight. The front grille smashed into the pickups blocking the road, and he heard the sharp crack of his own novelty horns shearing off. Freedom lay ahead, a broken gate and a road into the unknown.
Sam could hear the sharp crack of rifle fire as bullets pinged and sparked off the trailer's thick metal skin. Adrenaline flooded his system, turning his leg to iron as he stomped the accelerator, demanding more speed from the already screaming engine. It was a straight shot up Route 64 into Illinois, and from there, to St. Louis. His only hopes now were that he could find fuel to trade for, and that the Covenant goons' pot shots hadn't ruptured something vital in his cargo.
As he cleared the bridge and hit the open highway, the gunfire faded. Slowly, the tension in his shoulders eased enough for him to notice the silence. No sirens. No pursuing engines. He let the rig's speed bleed off, the roar of the engine settling back into a labored grumble. The only obstacle left was the open, rain-slicked road and a gas gauge inching closer to empty, a quarter of a tank left. As he passed the bullet-riddled "Welcome to Illinois" sign, Sam let out a loud sigh that cracked into a primal scream. 'FUUUCK!' The word tore out of him, a pressure valve blowing on a boiler that had hit its limit. He slumped over the wheel, his heavy breaths fogging the glass, until the familiar, steady grumble of his rig on the open road finally drowned out the panic.
The truck continued to putter along. Sam had reduced its speed to a fuel-sipping crawl, the road stretching out in an endless gray ribbon before him. The plains of southern Illinois unfolded, dotted with the spatterings of abandoned homes, their windows dark and hollow. His map told him it was 20 miles to the next potential fuel stop; he had enough to make that easily. It was everything after that turned dicey.
He drove in quiet contemplation, shifting gears on autopilot, daring not to stop without a guaranteed fuel source. Starting the rig again would burn precious miles he couldn't afford to lose. Through the drizzle, he saw signs of stubborn life amidst the decay: active farms. But instead of the mighty combines that once combed vast fields, he saw small, scattered armies of people moving through the rows, picking the crops by hand.


A sign for a gas station in a place called Burnt Prairie offered a flicker of hope. Sam knew he’d exhausted a lifetime of luck at the Covenant checkpoint, he reached down and caressed the rabbit's foot hanging from his key chain, its fur now worn down to the leather from overuse.
The truck groaned in protest as he exited Highway 64 and rolled into town. What he found was a massacre without a perpetrator in sight. The station was a picked-clean skeleton, bodies hung from a lamppost as a warning, and the acrid smell of a tire fire stained the air. Sam didn't stop. He wrenched the wheel, his heart hammering, and fought the rig back toward the highway, cursing himself for pushing his luck. A sickening guilt settled in his gut—the irrational feeling that if he had just driven past, the town might still be alive. As if the universe created the horrifying scene in front of him due to his own hubris.
As the tires found the highway again, his mind fled back to Indianapolis, to the slick OAM agent in a pristine suit. The man had said "agricultural supplies." Sam hadn't believed it for a second, but a man staring down a Covenant "inspection" isn't in a position to question his lifeline. The deal was two percent of the cut in OAM company script and a full tank of diesel. The script was worthless to him. The diesel was everything. It was a ticket to Wisconsin, a ticket to the Canadians who were holding the line there. Sam wasn't much of a patriot these days. The idea of becoming Canadian didn't sound bad at all.
The slow crawl to St. Louis continued, the last stretch bringing more fortified farms and picked-clean gas stations. Nowhere to stop. Nowhere safe. His fuel gauge inched closer to the menacing E. To occupy his mind, Sam scanned the CB radio, twisting the dial through hisses of static, searching for any sign of life, any warning, any hope. All he could pick up was indistinguishable military chatter and the ghostly pleas of desperate souls, their voices swallowed by the static before he could even grasp their location.
Then, a different voice cut through, startlingly clear and close. "…east of Nashville, big rig on 64. Let him coast. He's almost home."
The words sent a chill down his spine. Home. They were talking about him. He was being tracked, herded.
A violent shudder ran through the truck, a deep, guttural cough from the engine. The needle on the gauge was pinned on empty. Another sputter, a loss of power that shoved him against his seatbelt. The rig was starving, gasping its last breaths. The open road was no longer a path to freedom, but a funnel leading him directly into a cage that had been waiting for him all along. He was fifty miles from St. Louis, a world away. In his mirror, he saw a beat-up police car pull alongside him, the passenger signaling with grim finality for him to turn off into the town of Nashville.

>>46772
chapter 2: Home
The steering wheel fought him, turning to dead weight as the engine died for the last time. Sam guided the coasting rig, a silent, eighty-thousand-pound tombstone, onto the exit ramp for Nashville. The beat-up police car followed close behind, a predator escorting a dying whale to the shallows.
The town unfolded like a lesson in grim perseverance. It wasn't the apocalyptic ruin of Burnt Prairie; it was something more disquieting—a place that had chosen to live, but at a cost. Lawns were overgrown, but the streets were clear of debris. Houses sat with boarded-up windows, but fresh smoke curled from a few chimneys. People stopped what they were doing hoeing in a community garden, mending a fence—to watch him pass. Their faces weren't friendly or hostile; they were blank, reserving judgment. They were the faces of people who had learned that new things, whether they were storms or strangers, rarely brought anything good.
The police car nudged him forward until his rig rolled to a final, definitive halt in the gravel lot of what looked like a repurposed auto-body shop. The sign was gone, but the bay doors were open, revealing shadows and the glint of other machinery.
The passenger from the police car, a man with a sun-beaten face and a deputy's vest over a flannel shirt, was at his window before the air brakes finished sighing. He didn't point his rifle, just rested a hand on its stock.
"Keys," the man said, his voice flat. "Sheriff Briggs would like a word. He's been looking forward to your arrival."
Sam removed his lucky rabbits foot before begrudgingly handed the keys over to the deputy, feeling like he was handing over a piece of himself. He could see two other men trying to jimmy the back open.
“It’s got a special lock on the back, you need a code to…”
Before Sam could finish, the metallic whoosh of the cargo door sliding open cut him off. His heart sank into his stomach. The only leverage he had was gone. The deputy nudged him away before he could protest further and started leading him toward the county police station. He could hear the whoops and cheers of the two men as they began scouting out the truck's contents.
Each step up the station's stairs felt like a step closer to death, or maybe something worse. The water tower overlooking the station felt suddenly imposing, NASHVILLE written in bold black letters and punctuated by a cute drawing of a bee or possibly a hornet.

Sam was escorted past the dusty lobby, past the wanted posters and faded notices that looked like they predated the war, to a door at the end of a short hall. It was labeled with a nice, clean bronze plate: SHERIFF BRIGGS.
The deputy rapped twice on the wood—a quick, familiar rhythm—then opened the door without waiting for a reply.
The office was a sanctuary of controlled chaos. A map of the county, dotted with colored pins and handwritten notes, dominated one wall. The air smelled of old coffee, gun oil, and a faint, clean hint of lemon polish. He polishes the nameplate, Sam realized. Of course he does. Behind a sturdy oak desk, a man was looking up from a ledger, his eyes settling on Sam with the calm, assessing weight of a man who rarely had to raise his voice to be obeyed.
When the deputy opened the door for Sam, a wispy cloud of smoke escaped into the hallway, carrying a sweet, earthy scent cut with the distinct, skunky undertone of homegrown weed. Standing in the doorway, Sam saw Briggs sitting in front of him. He was a tall, thin man in a baggy sheriff’s uniform, his skin hung loose on his frame like a bulldog's, the tell-tale sign of a man who had once carried far more weight, both on his body and in his world. Now he looked like a hungry bear that had woken from hibernation—all lean muscle, sharp edges, and a quiet, focused menace that filled the room. Briggs eyed Sam and gestured for him to sit down, never breaking eye contact as he fidgeted and puffed on the pipe, the bowl glowing with each draw as if it was an extension of his body. Sam made his way to the wooden office chair, and when he sat down, Briggs's height became more apparent as he towered over him.
Briggs took a deep drag from his pipe, eyeing Sam over the glowing ember in the bowl. He exhaled slowly, and a plume of smoke poured out from beneath his oversized mustache, cascading down in an airy waterfall that pooled on the desk between them, filling the space with the sweet, skunky scent of his authority.
“So,” Briggs said, his voice an unexpected blend of softness and gravel. “What brings you here, trucker?”
Sam took a deep breath, his throat becoming dry at inhaling Brigg’s smoke. “Just completing one last haul for the OAM, sir. They told me it was agricultural supplies for St. Louis. If you’ve got any diesel to spare, I’m sure my employer would understand if a few bags of fertilizer went missing along the way.”
Briggs didn’t laugh immediately. He finished tamping the tobacco and weed blend into his pipe, he took out a cheap gas station lighter, setting the bowl aflame, and drew a long, slow breath until the bowl glowed. “They told you it was agricultural supplies?” he finally said, the words wreathed in smoke. A low, humorless chuckle escaped him. “Yeah. I’m sure they did.”
He leaned forward, the chair groaning, and placed his elbows on the desk, the cloud around him parting. “My boys cracked open one of your ‘fertilizer’ cases. You’ve got enough rifles and ammo in that rig to supply a whole militia.” He held Sam’s gaze, his pale eyes unblinking. “It’s a real good thing you landed here, my friend. Anywhere else, and you’d already be dead for being this naïve.”
Adrenaline flowed through Sam, the walls feeling like they were closing in. Millions of scenarios flooded his mind, most of them ending with a rope. He knew the OAM had fed him bullshit, but smuggling guns? That was a hanging offense. It still might be. He was in a place with no leverage, a feeling he’d gotten far too familiar with. Absent-mindedly, he reached into his pocket and pulled out the lucky rabbit's foot, its worn fur a desperate talisman.
“I see, Sheriff. Like I said, I had no idea what I was hauling. I just took the job to get out of Dodge, you see? So I understand I’m up shit creek without a paddle here. You got me by the balls, and my pants are fully down.” He leaned forward, his arms on Briggs’s desk, his eyes locking with the pipe-smoking man’s. His other hand rubbed the rabbit's foot as if it were a magic lamp that could grant him the right words.
“I didn’t want the company script anyway. I was in this for the diesel. I’m more than happy to let you outbid the OAM for the cargo right now. You just help me fill my rig and…” Sam paused, searching for more sweet, sweet words. “I’ll be out of your hair. You’ll be richer, and we can all feel better about ourselves.”
He let out a deep exhale to punctuate his speech, then sucked in another breath. “I’d rather give guns to people like you than to whoever the OAM was sending them to. To be honest, I knew ‘agricultural goods’ was bullshit. Thought maybe drugs, medicine… didn’t know it was guns. If I’d known, I wouldn’t have said yes.” Sam intensified his stare. “But I know the fine folks here in Washington County will put them to the best use. I’d rather leave them here. I feel like you folks won’t use them to commit some of the crimes I saw on my way up here.”
A smile as wide as the Grand Canyon cracked across Briggs’s lips. He took a few quick puffs of his pipe, jiggled his head, and chuckled in amusement. “You make a compelling case, boy.” He started laughing louder, a real belly laugh. “Fuck, you should be a lawyer!” Briggs blurted out, slapping his knee. “I could hang you, son. Or I could just tell you to start walking. We both know there’s no law anymore, except might makes right.” He stopped to tamp his pipe and feed a little more onto the eternal flame he kept going. He took a large puff. “And right now,” Briggs said in an exhale of smoke that filled the room, “I’m the one with the might.” The smoke suffocated the atmosphere in the same way Briggs did.
“I’m not an unreasonable man…” Briggs stopped, looking Sam over, his face puzzled as if he’d forgotten something. “You know, I’m sorry, I never caught your name.”
“Sam, sir,” Sam replied, as respectfully as he could muster.
“Right, right. Thank you, Sam. As I was saying, I’m not an unreasonable man. I ain’t gonna hang you, so you can calm down if you were thinking that. I won’t exile you or even try to hurt you.” Sam tensed at the casual ‘try to hurt you, knowing pain was a likely option, if not the desired outcome.
Briggs took another drag. “Sam… it’s all hands-on deck, and I’m trying to keep my ship here afloat. I see you like a lost sailor I just pulled aboard. I’ll give you safe passage, but you will need to scrub the decks, if you catch my drift.” He emptied his pipe, tapping it into a glass ashtray on his desk. Clink. Clink. Clink. Chunks of ash fell like dirty snow.
Sam relaxed his body and leaned into his chair, consciously trying to keep an upright composure. “Understood,” Sam let the word leak weakly from his lips. He let it hang in the air as Briggs began packing another bowl of his special blend. Before Briggs could set a spark to the fresh bowl, Sam asked, boldness cutting through his fear, “Since I’ll be working with you… you mind if I get a puff of that?”
Briggs's eyebrows shot up in amusement, followed by that disarming smile. He handed Sam the cheap, clear plastic lighter and the maple wood pipe. Sam took a long, deep drag. He wasn't much of a smoker and had never handled pipe tobacco before. The harsh blend hit his lungs like a rake, sending him into a sudden, sputtering cough that completely stripped away the aura of cool control he'd been hoping to project. Briggs watched, thoroughly amused and seemingly happy to share the moment, like an older brother watching a sibling make a foolish but ultimately harmless mistake under his protection.
Briggs leaned over and gestured for his pipe back. Sam handed it over, still fighting a cough.
“You know, when you smoke a pipe… a real pipe, not some glass shit with a cartoon character on it… you don't just inhale it. You puff it. You savor it.” As if to demonstrate, Briggs fell back into the familiar ritual: the slow, meaningful drags, the deliberate pauses to fidget with the stem or tamp down the embers. “It’s like trying to keep a fire alive. That little rush of smoke… it’s the only air in the room keeping it going. Keeping you going.”
Sam nodded and continued listening as if his life depended on it, he knew it might. Briggs continued “What I need from you right now…” Briggs paused, took a short puff. His eyes showing he was searching “Sam!.. Sam it was… What I need from you Sam is to get some rest. We can negotiate our terms tomorrow. It wouldn’t be fair for me to put you over a barrel in this state, now would it?

“I’ll have one of my guys set you up in the Thompson’s old place. They up and left for California about a year ago,” Briggs said, waving his pipe toward the deputy, who seemed to materialize behind Sam to escort him to his new, temporary home.
As Sam got up to leave, Briggs blurted out, “You know, anyone ever tell you that you look racially ambiguous?”
Sam froze, his hand on the doorknob. What the fuck did he mean by that?
Briggs continued, a grin spreading beneath his mustache. “You know, like that Vin Diesel guy? You’re also looking for diesel!” He laughed, a low, rumbling sound, utterly bemused by his own observation.
“Uhh… yup. Thank you,” Sam said meekly.
“Alright, alright, sorry to be offensive if I was,” Briggs said, not sounding the least bit sorry. He waved his pipe in a shooing motion. “Get some rest, trucker. We got a long day tomorrow.”
The dismissal was clear. Sam followed the deputy out, the sheriff’s strange joke hanging in the air behind him, another layer of surreal unease in a day that had been full of nothing else.
Sam walked out of the county police station, the deputy falling in step behind him. "It's about a mile and a half to the Thompson place. I'll take you there," the deputy said. "Radioed the guys to get it cleaned up a bit for you. Stocked it with some fresh clothes and provisions."
Sam nodded, and they began their journey to his new, temporary house. He thought it was funny he'd finally acquired a home, and all it had taken was the end of the world.
As they trudged through the twilight, Sam took in Nashville. Most businesses and houses were boarded up. A playground sat overgrown and silent. He began to understand why Briggs was going through all the trouble to keep him. The few citizens he saw moving in the shadows of their porches or tending small garden plots were almost all over forty, many looking well into their seventies.
When they reached the Thompson place, the deputy handed Sam the keys. He stopped him before he could enter.
"Look," the deputy said, his voice low. "Briggs ain't a bad guy. I was like you. Just trying to escape to somewhere. Well… this is somewhere. And it's better than most. We can't stop you if you try to leave. Obviously, you ain't getting your truck back, but nothing's stopping you from walking out of here." He gestured vaguely back toward the silent town. "I don't know if you saw, but this place can use all the help it can get. So I hope you stay. The house is on a well, got running water. No hot water, but you can still take a shower, cook some food. There's a wood stove in there. We'll swing by in the morning to get you for the job… if you're still here."
The deputy gave a final, noncommittal shrug and started back the way he came, leaving Sam alone on the porch, keys in hand, staring at the door to his future.
Sam unlocked the door and stepped into what felt like his new life. The dining room table held a small pile of clothes. Sitting on top, crisp and folded, was a deputies uniform.
He sifted through the rest of the provisions—just dry goods, but his stomach grumbled at the promise of a real meal. The weariness in his bones was deep, but the primal urge to eat gave him the energy to rinse some rice and beans. A real cowboy meal, he thought to himself, the irony bitter and amusing.
The last artifact he found was a small cherry maple wood pipe and a baggie of Briggs's special blend. A note was tucked underneath, written in a firm hand:
For practice.
Sam lit the stove, packed the pipe with trembling hands, and watched his pot begin to simmer. He took a slow, deliberate puff, wincing at the harsh heat in his throat, and tried to remember how to breathe. The scent of cooking food and sweet, skunky smoke began to fill the Thompson house, the first signs of life it had known in a year.


What is an author whose style was highly influential to you or made you understand the nature of writing in a way you didn't before?

I think Cormac McCarthy has influenced my style more than any other writer, specifically his use of terse declaratives like "No one spoke." or "The Kid didn't move." He doesn't tell you what the characters are feeling or thinking, he evokes it with one simple sentence that distills all the emotional tension of the moment into just a few words that carry tremendous weight. I like that kind of style, it feels very visceral and real to me.

>>46798
>"The Kid didn't move." He doesn't tell you what the characters are feeling or thinking, he evokes it with one simple sentence that distills all the emotional tension of the moment into just a few words that carry tremendous weight. I like that kind of style, it feels very visceral and real to me.
That's pretty much screenwriting style. I haven't read one of his books all the way through but I read a page or two when my friend was reading the road and it read just like a screenplay. First person, minimal scene description. I wonder if he's ever said that's where he picked up his style.

>>46799

Cormac McCarthy's earlier stuff was very Faulkner-esque and then began to develop his own style in later work, in Blood Meridian he is often seamlessly juxtaposing the very terse brutalist descriptions of events and actions with these very vivid descriptions of the natural world around them.

>>46799
>First person,
I meant present tense, holy shit, my bad.

But that's a really interesting seemingly minor, but important difference. All screenplays are written in present tense, and books are usually written in past tense.

>>46804
And it's really such an interesting stylistic difference to write in present tense. It's so much more immediate. Even though my background in writing is in screenwriting and the present tense, I am using past tense, as is tradition, for my novel. But I still think I have picked up my screenwriting background of minimal scene description. I hate verbose scene description. In screenplays, they call anything that is not a description of a physical action or change an "unfilmable," it means who gives a fuck that you're telling me what this incident reminded the character of in their memory.

But of course that is the nature of screenplays and novels are a completely different matter, but I like to try to keep my descriptions tight.

Thoughts on this little project? I made two chapters so far. I'm not really being that serious here or trying very hard it is more as pressure release when I'm working on my book, something where I don't have to try so hard basically. So the prose is really shit or at best it is uneven in its quality.

https://profoundlystrawberry4e3c1c7b0a-fcumv.wordpress.com/butterfly-project/

>>46772
Before I start critiquing, I think your writing is pretty good, I think your world sounds like it could be interesting, but I don't think you really got to anything to interesting in chapter 1, and the writing wasn't compelling enough on it's own either. I could go through line by line on a lot of stuff. But in summary of my take on Chapter 1:
> I felt you were taking too long to describe things we could easily understand without the long unoriginal description.
Right off the bat, the first sentence I felt was really uninspiring.
>The October day was hot, a damp, oppressive heat that clung to the skin despite the overcast sky and the constant drizzle.
It just seems like you're describing muggy whether in the most direct way possible. There is nothing in this sentence that gives a hint at your style, world, characterization. If you think about it the first sentence is the most important in the book.
Then on the opposite end, I get you're trying to do a slow reveal about what this post-societal breakdown American world is, but I've already read a lot of stories like that, and you're not giving and hints of anything that are particularly fascinating yet. I guess this line was the most but I have no idea what it means:
>Thirteen stripes, but where the stars should have been, a single Star of David was pierced by a cross.

Also you use some language kinda over and over again.
>The engine roared in protest,
>The truck groaned in protest
That's like absolutely too much but even this:
> the roar of the engine settling back into a labored grumble.
Then you just flat out tell us "I'm trying to personify the truck"
>The truck wasn't just a machine; it was a partner in this desperate flight.
I think you would do better changing these lines instead into something that tells us Sam's opinion/feeling about the truck and the engine. It's his partner, it's him that has this personified relationship with the truck. If instead you describe it through his feelings and thoughts of this truck as a person, it would accomplish your first goal, and help characterize the MC at the same time.

>>46772
>Sam froze. He knew what that meant. The "societal hygiene" check. The medical screenings. And he, sporting a hood, knew exactly what kind of "dick haircut" that would earn him. No.
I just realized what you meant. Like they're going to circumcise him if he's uncircumcised? If that's what you meant I think you need to elaborate more on that point lol. It seriously flew right past me because it's not something I would typically read in a novel.
>And he, sporting a hood
You're being way too euphemistic lol.

>>46830
>>46829
But that's my general point. Spend more time with the interesting stuff instead of the filler. If this is a world of forces circumcisions by Jewish Nazis or whatever, give us more of that.

>"people" are publishing ai slopfics for dead fandoms
Why? Seriously, why? What is the fucking reason? You're not going to become internet famous. You're not going to land a publishing deal out of this. Your audience is a dozen autists. Why are you fucking doing this?

File: 1764184455344.gif (2.97 KB, 50x50, 250.gif)

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are your favourite writers agents of the CIA?

>>46837
>why are people creating content they want to see

Any anons have experience with transcription software or speech-to-text writing? I fucked up my hand and can't type at length anymore so I'm looking for alternatives.

>>46993
>Hemingway
>CIA
This is the kind of shit that gives "conspiracy" theories a bad name. It lumps in actual glowies like Orwell or Service with those that are legit and in so doing discredits the entire idea for people.

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>The Tragedy of the muppets
>On December 7th 2005 Kermit the Frog was found dead in his office by Scooter at 10:17 AM, he had a bullet would in the side of head.
>Police ruled the death a Suicide but many conspiracy theories pushed by Link Hogthrob claim that the FBI assassinated him due to his criticism of the Iraq war and his connections to 9/11.
>The muppets held a giant funeral for him on January of 2006.
>In Kermit’s Will he left his producer position to his nephew Robin the Frog, this was controversial because many thought he wasn’t ready or experienced enough.
>eventually only a week after the funeral Rowlf the Dog, Sam the Eagle, Sweetums, and Pepe the Prawn announced to the rest of the muppets in the middle of the studio that they were quitting because they felt that it would be disrespectful to Kermit to continue without him.
>This caused a giant argument because the rest of the muppets believed that continuing was what Kermit would have wanted, it go so heated that Gonzo bludgeoned Pepe the Prawn over the head with a Cinder-block which Killed him instantly, this caused everyone else to run out of the studio, Gonzo was later arrested and sentenced to life in prison.
>In March the first episode of the Muppet Show aired without Kermit and it was met with controversy and bad reviews because Robin made several rookie mistakes.
>In April Link Hogthrob was kicked out of the Muppets for pushing conspiracy theories about Kermit’s death and Rizzo the Rat died of an Overdose, later Dr. Honeydew was arrested for Racketeering.
>On May 12 what became known as the “Muppet Studio Massacre” took place in which Miss Piggy who was jealous that she wasn’t chosen to become the producer walked into the meeting room of the Muppet Studio with a Mossberg 500 and opened fire shooting Robin the Frog, Skooter, Fozzie Bear, Dr. Teeth, and Bean Bunny until she was disarmed by Animal. Fozzie was the only survivor to have been directly shot but he revived permanent damage. Beauregard, Zoot and Lew Zealand were the only muppets in the room other than Animal not to be shot but the latter two were injured.
>Miss Piggy was immediately arrested later and sentenced to death by lethal injection for the murder of four people, the muppets were also shut down by their parent company the day after the shooting.
>The rest of the muppets have had mostly difficult lives afterwards
<Fozzy Bear’s comedian career has been even less successful now that’s he is paralyzed
<The Electric Mayhem has not been as successful since the death of Dr. Teeth and they broke up in 2017
<Dr. Honeydew was released in 2024 but no companies were willing to fund his research due to his history of Racketeering and a best selling book written by Beaker exposing his abuse.
<The Swedish chef had mild success until he was cancelled in 2020 for racism against Swedish people
<Rolf the Dog died of old age in 2025
<Link Hogthrob started a podcast
<Sam the Eagle became a college professor but underwent scrutiny in 2026 after he was mentioned of 534 times in the Epstein files and even flew on his plane.
I need to touch grass

Why is it that in omegaverse works whenever there is a alpha/beta relationship the beta is almost the exact same as an omega? They are always weak or sickly and always get pregnant at some point. I've only read one where the beta wasn't just a shittier omega and that was it. Beta/omega relationships are even rarer, I've only seen one story with this type. It was decent though.

>>47480
Please don't mention omegaverse anywhere outside ao3. This shit is too cringe and I have a real bodily response when I read anything about it.

I have fleshed out and worldbuilded a huge universe but have barely any idea how to write anything in the setting, suggestions?

>>47688
Actual political (actually war so its not boring but idk) struggle? Too many ancient evil and outsider gods or whatever that just sidestep the 'needing an antagonist' part too much.

Or you can go smaller, of course, but the fun of having a setting is using all of it.

>>47690
i think the hardest part for me is coming up with characters and making them not feel generic

>>47692
Get every idea you have in a doc. A story like that using a whole setting have hundreds of characters, so you can use everything if you want.

Your protagonist, if you really want to have success, should be relatable tho. In my opinion the ones with the most lasting fans are the 'literally me' ones. aka a 20's or 16-20s schizoid with relatable issues.


>>47688
>>47692
Characters are a really personal thing, you kind of have to just read more and make up what you think would be cool and useful for the story. I generally think the characters don't stand apart from the plot and themes, they all are one and you can't separate them.

Read more books though and you will learn how to write.

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>>47688
You've done a typical mistake.
Focus on the character and story first and then the worldbuilding.
A good story can still be good despite bad worldbuilding
a bad story can never be good no matter how good the worldbuilding is.

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I noticed something recently when thinking about Fiction in general. I think frustrating your audience and leaving them with a sense of yearning is a big part of creating good and memorable fiction. You don't actually want to satisfy them. You want to interest them and make them feel emotions, but ultimately leave them unsatisfied and asking a lot of questions and arguing with each other over details.

When I was a kid, the most memorable works of fiction seemed to often abide by principles like

>Show, don't tell.

>Focus on moving the plot forwards and developing the arcs of the central characters, rather than doing perfectly realistic, consistent, accurate worldbuilding.
>Don't be afraid to leave some details unexplained so the audience can fill in the blanks with their own imagination

Abiding by these principles

As a young adult when I first tried and failed to write my own stuff, I failed to abide by these principles because I craved to make things that were "realistic" and "materialist" and "consistent" and had "good worldbuilding."

I wanted Fiction to describe the real world, like nonfiction, while still being entertaining. While some things can definitely pull that off, it is way less popular.

I failed to understand that leaving some questions unanswered and failing to satisfy the audience fully is actually what allows something to become memorable and highly discussed long after it should have faded into the background.

Also a work of fiction becomes legendary and memorable for generations after it is made, precisely because it targets the fresh, unassuming, curious, developing brain of a child, rather than cynical, bored, developed brain of an adult.

Thoughts?

>>47773
>I think frustrating your audience and leaving them with a sense of yearning is a big part of creating good and memorable fiction.

Awful, dogshit take.

>>47773
Nah it's just the consequences of having a popular story in the first place, you end up with a minority tight knit community that goes on lore dive and prediction, and it's really good second monitor content so it gets views.
It's the feedback loop of being already popular - > content gets made - > become even more popular.
Unless your target audience is fnaf discord users then I get it

>>47774
You know I thought in a very slow thread about writing that I would at least get a longer and more interesting answer if someone disagreed, but I guess it's just the same 1-sentence putdowns that you get on the main board. Maybe this place is dying for a good reason.

>>47775
But why does a lot of popular stuff leave things open to audience imagination? Is it possible audiences want that, rather than something where every single potential avenue for their imagination to fill in the blanks is instead occupied by canonical hyper-specific worldbuilding? I really think I'm onto something here. Audiences are increasingly into worldbuilding and fan fiction because they like filling in those blanks, so when the creator does that for them and there's no mystery left, it's kind of stale.

>>47775
i think you hit the nail on the head that its the result of having an established story. Harry Potter, lotr, etc… for example where you have a established fandom obsessed at looking at all the different aaspects of the story.
otherwise its like writing a story where it begins with a bank robbery. but it never gets solved. why should anyone care in the first place? it doesnt add 'mystery' or anticipation or whartever. if anything its more likely to piss off the reader that they invested time and nothing essentially happened.

>>47782
>Audiences are increasingly into worldbuilding and fan fiction because they like filling in those blanks
You're right in this being a draw for a lot of people, but i see it more as an out-of-text thing and one that doesn't even require the story deliberately leaving things vague. Take for example the Worm webnovel, whose text includes super-detailed worldbuilding, that is near-exhaustive when taken together with its "sequel". Many writers in the setting, especially in the spacebattles community, have a complicated relationship with Ward and some themes of the original work, which is why they often intentionally play loose with canon.

Ultimately you can only make the far weaker statement, that a community into worldbuilding and fanfiction may elevate an otherwise lackluster story.

>>47784
I think this type of fandom is just bad for writing, ultimatly, worldbuilding doesn't matter much, a story may have a well made interesting setting, if the writing doesn't follow, then it's worthless in terms of art, even if it might sell well among a certain community.
It's also weird to see it being heralded as some major criticism, you'll even see people direct it towards children's books like Harry Potter, when nonsensical worlds parodying our own has been a staple of children's litterature for a while, just see Roahl Dahl's books.
I'll say that letting plot unresolved if often fairly bad, you don't need to explore every background character's life, if anything, an encyclopedic explaination of everything just hurts the immersion of the reader.

>>47783
no anon is clearly saying that you leave some things that are open to interpretation, not that you never wrap up the main plot. like the suitcase in pulp fiction. nobody sees what's inside of it. it's fun to speculate whether it's supernatural or not. but the plot isn't left dangling.


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