Writeblr Intro

I don't think I ever did a proper Tumblr introduction, but with Twitter burning...

Hey, I'm Cara! (millennial, non-binary, they/them)

I write queer new adult/adult urban and science fantasy, combining my love of magically-inclined chaotic idiots and modern/futuristic tech.

Website • Ko-fi • Instagram • Newsletter

Here's some of the projects I'm working on, and I'd love to find other writers that enjoy fantasy with a blend of sci-fi/mystery/thriller, or more adventure-esque street sci-fi (like cyberpunk).

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ALL-IN-ONE (GUIDE): “THE SECOND BOOK” 

 a highly customizable, simplistic but fancy googledoc for writers - especially for preparing your work for NANOWRIMO. perfect for planning your novel, exploring your story premise, designing your characters and world while keeping it aesthetically-pleasing. to download / copy, go to file and click “make copy” to copy it to your gdrive. 

features: 

• overview page 
• clean design
• inspirations page (incl. space for aesthetics)
• setting page (incl. secrets, locations)
• character profiles and questions for character concept
• story premise page

please like / reblog if you’re using or interested in using it!

+ novel organizer template for gDocs here.

Some Things To Consider When Writing Weapons Training

Your character will hurt. Even if they don't get hit, it can be exhausting training, especially if they're just starting. It can be a weird set of muscles to use, and things like their shoulders will hurt if they do what a lot of people do and tense up while holding the weapon.

They will drop the weapon. There are a lot of reasons why people drop weapons--because the weapon is awkward to hold or the person isn't used to holding them, because it gets hit out of the person's hand, because their own hand gets hit, etc--but it happens.

People get hit by accident all the time--including the person holding the weapon. When I've done jō practice, I consider it a success if I don't hit myself with it while I'm practicing. And even when doing controlled sparring or paired katas, people still end up hitting each other, especially on places like the hand.

Practice weapons still hurt. Depending on what you're doing, they're usually made of either wood or rubber rather than metal, but just because they're not metal, it doesn't mean they don't hurt. Bruises are really standard, especially if you're practicing something like knife fighting where you're doing a lot of hand-to-hand blocking.

The goal of training is not to hurt your opponent. People who (intentionally or through carelessness) hurt their sparring partners are bad at training and will probably be kicked out of it or at least get a very strong talking to. Good training will also teach them how to train without getting hurt and strongly discourage doing things in a dangerous way.

What they wear will differ widely depending on the discipline. HEMA and fencing tend to have a fair amount of protective gear (helmet, etc.), as does kendo, while disciplines like aikidō, iaidō, and jūjutsu are more likely to have people wearing a gi or hakama. This will impact how they feel about hitting opponents--it's always riskier to hit someone in a place with no protective gear.

Some weapons' training is primarily defensive, and some is primarily offensive, and some is both. Some training (knife defense, gun defense) is primarily about disarming someone with one of those weapons, where the actual use of the weapon is just as a training tool. In those cases, the specifics of the attack are usually emphasized less than the specifics of the defense. HEMA and fencing are much more offense-focused, with the goal being more about landing a hit. In forms like that (or in a similar fictional form), you'll see the mentality that the best defense is a good offense, as opposed to the mentality that the best defense is a good defense (or the best defense is running away).

Knowing one form of weapons training is (often) helpful in learning another. Even while they differ a fair amount, different weapons styles can often use similar patterns in terms of strikes, blocks, and steps. Part of this is that there are only so many useful places to hit a person and only so many ways to step. There are other things that are fairly universal as well, like awareness of your blade and your opponent's blade, awareness of your body, and awareness of relative distance.

Subplot Romance

Over the years I've created some twitter threads on writing and history and I've decided it's a good time to start compiling and sharing them on this Tumblr. I'm going to tag them "writing".

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Here's what I've learned about writing subplot romance. (People who write genre romance probably already know this stuff. It's those of us who are mainly leavening romantic subplots into fantasy novels that need this info).

1. Romance = fundamentally character-driven. All internal conflict & internal growth. (Can these two trust each other? Will their character flaws drive them apart?) The more study you put into creating characters and building character arcs, the better your romantic writing.

A romance arc is not the SAME as a character arc, but it 100% NEEDS solid character work undergirding it.

2. Romance needs two ingredients: a compelling reason for the characters to be TOGETHER, & a compelling reason for them to be APART. This forms the conflict in the romance so do not skimp on either.

Eg, a common mistake in male-penned stories: female lead has no compelling reason to want male lead. "He's a good-looking warrior dedicated to winning her throne!" Yeah nah, she's literally surrounded by good-looking warriors dedicated to winning her throne, why's he different?

3. Romance needs chemistry = a believable spark of attraction. Something that blew my mind when I realised it: romantic chemistry =/= sexual chemistry. Sexual chemistry (purely physical attraction) is simply PART of romantic chemistry.

Romantic chemistry is a good deal broader. (Read/watch some good romances to see how chemistry is built by different storytellers. One fave of mine is the Romola Garai EMMA. Peerless friends-to-lovers chemistry. Watch the actors' body language; the way they gravitate to each other; the way their faces light up)

Chemistry tip A: if the driver behind sexual chemistry is lust, the driver behind romantic chemistry is trust. Protag needs/wants someone to trust. It's the way you play with trust/distrust that will create romantic tension.

eg: love interest holds protag's hand. With sexual chemistry, protag simply feels a jolt at the contact. With romantic chemistry, protag feels comforted and trustful - then betrayed when it turns out LI is tracking her pulse to see if she's lying to him (see: MISS SHARP 😇)

Chemistry tip B: if protag is falling for someone, that person should occupy their mind. LI should be mentioned/thought of each scene, even when absent. When present: LI consistently provokes unaccustomed emotion - either positive or negative, depending.

Chemistry tip C: make the characters their best/most lovable/most iconic selves when with each other. Quirkiness, smarts, hilarity. Make these the most fun character scenes in the book & the audience will ship them. Passionately.

4. Build romantic chemistry/attraction through escalating moments of trust and tension. If aiming for happily-ever-after(HEA)/for-now(HFN), then the overall arc is towards greater trust, but you need those moments of tension to give the big payoff scenes appropriate catharsis.

OTOH, if you're writing a tragic/backstabby romance, you need the trust/comfort moments in order to sell the big tragedy/betrayal.

5. Trust, comfort, & happiness are POWERFUL. This is what genre romance thrives upon. Even in dark/spiky stories, the most surprising thing in the story can be the moment when the LI DOESN'T betray the protag. That too can be wildly cathartic. Use it.

6. Just as character-driven skills help you with romance, so if you master romantic writing, you'll be better able to write ALL types of relationship - platonic, friendly, hostile.

OK that's all so far. Two book recs: ROMANCING THE BEAT by Gwen Hayes & THE HEROINE'S JOURNEY by Gail Carriger teach you the rules/expectations of genre romance so you'll know what the rules are for a happy romance subplot & how to break them for a tragic version.

Speaking as an editor who edits romance primarily, these are important points for authors of genre romance as well. I see way too many published novels that went through a professional editing process that only have characters who have sexual chemistry but not romantic chemistry.

Writing romance is hard. Writing believable romance is hard. People focus way too much on the the lust and not enough on the love.

Good post.

Two Truths and a Lie Tag!

I was tagged by @rickie-the-storyteller (their post is here)! Sorry this took me so long 😅 I'm very slow at responding to tag games.

Rules: Post two truths and a lie about one of your OCs and see if people can guess the lie!

I guess I'll do it for a character from my dragon WIP!

Tagging: @wingedcatastrophe, @elean0rarose, @wayoftheghost, @wastelandauthor, @callahanscorner, and anyone else who wants to do this!

And the lie is… She’s afraid of the dark! She actually lived in an underground settlement before the start of the story lol. Thank you all for playing!

The basics of swordfighting for writers

#1. Types of swords

• Cavalry swords, two-handed swords, and cutlasses - these swords are used commonly for hacking and slashing - so they are swung in arcs or from side to side, not thrust forward.
• Rapiers and small swords are one-handed weapons that are thin and light, but often quite long. They are used for thrusting and slicing, but as you can imagine they aren't much use in actual battle, but commonly used for sparring.
• The third type is a mixture of the two - but less commonly found.

#2. Terminology

• Fainting/Feinting - A false attack intended to create an opening for the real attack.
• Parrying - When a swordsman uses his blade to deflect his opponent’s blade when he is being attacked.
• Advance - A short forward movement
• Fuller - A groove down the side of the sword to release suction when stabbed into a person's body.
• Hilt - The base of the sword near your hands that isn't the blade
• Pivot - Turning 180 degrees while keeping a foot planted
• False edge - the "back" of the sword that isn't sharp and what you don't usually fight with.

#3. Common myths

A secret move that leads to victory - There is rarely such a "secret" move. Like chess, swordfighting is won through strategy and careful thinking, as well as physical prowess, not sEcRetT mOveS.

The Dramatic PauseTM - Nope, doesn't happen in real life. No one actually glares at each other in the middle of a swordfighting match when their priority should be, yknow, surviving.

#4. The Learning Curve of swordfighting

Unlike an ordinary learning curve where you slowly get better at something, in swordfighting, an untrained novice is much better than someone practising for a few months. This is because their actions are almost always wild and unpredictable. When a student receives training, their skill will actually decline over the next few months, because they will be trying to fight by the rules and are naturally not good at it. It takes at least two years to become a good swordsperson.

#5. The actual swordfighting itself

• Footwork - Forward and back, in a line, in a semi-circle, a pivot. The basic goal of footwork is to give you a balanced center from which you can lunge, advance, retreat, attack, and parry. It also helps maintain the appropriate distance from your opponent and percieve.
• Timing - How fast/slow is your opponent? How fast is your reaction time?
• Every fighter has a different style. Some may naturally be inclined to use a certain move over and over, and have weakpoints in say, their reaction time. It is important that your character has a proper swordfighting style.
• Predictability - How good are your characters/opponents at anticipating and learn each others fighting style? That determines the outcome of the fight!

Sources I used: https://kingdompen.org/writing-realistic-sword-fights/ // https://mythicscribes.com/miscellaneous/swordplay-for-fantasy-writers/ // https://lisashea.com/lisabase/writing/medieval/swords/glossary.html

✦Flower Sword✦

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