So Guys, Ive Been Thinking About It For A While, And

“All that talk about the power of friendship,” the antagonist murmured, as they circled the protagonist. “And it never even occurred to you that perhaps your enemies might have friends too, did it? How arrogant a thing, you are…”

I did a Kobold Base! If you’ve ever wanted to create a Kobold for your adventure, now it’s the time: Link to Purchase: https://gum.co/KoboldBase Thank you for your support! <3

Are fedoras really that bad?

YES YES THEY ARE

How to Tell Your Friend That You Need a Break From Supporting Them

When I worked at a mental health crisis centre, I couldn’t believe how many people came to us, not because of their own problems, but because they were so lost in a friend’s pain that they couldn’t take it anymore. I saw a lot of people who were so worn down from helping someone else that they couldn’t sleep, eat, socialize or focus at work or school. They were consumed with guilt every time they put down their phones, went to sleep, or dared to enjoy themselves and have a good time. All because they had no idea how to set boundaries.  Helping your friends through a tough situation is a wonderful and noble thing to do, but it only works if you’re mentally in a place to do so. If you’re dealing with issues or mental illness of your own, you’re not always capable of being someone else’s shoulder to cry on 24/7. And that’s okay. Sometimes, you have to put yourself first. You can’t help someone else if you’re a mess yourself. You can’t save a drowning person with a sinking ship.  Telling a friend that you’re overwhelmed and you need a break is one of the hardest things you’ll ever have to do. Honesty is the best policy - don’t go radio silent on them, or avoid answering their messages. Be honest about how you’re feeling, and what you need from them. If you’re stuck on what to say and how to start the conversation, here are a few suggestions. Feel free to copy them exactly: It’s really hard for me to admit this, but I’ve been feeling like I’m on the verge of a breakdown lately. I love you and I care about you, but I need to take some time to take care of myself for a while.  I’m really concerned about you, but I honestly don’t know how to deal with this and I’m worried I’ll say the wrong thing. I really think that you should talk to a professional about this.  This is hard for me to admit, but I have a lot going on in my life right now, and it’s getting to be too much for me. Would it be okay if we talked about lighter stuff for the next little while?

You deserve more support than I can give you. I think you need to tell a close family member or professional about what’s going on. 

It seems like every time we talk about this, things are worse for you. I’m worried that my advice isn’t helping you at all, and I think you should talk to someone more qualified than me. 

I’m really worried for your safety, and it breaks my heart, but I can’t keep you safe all by myself. Would it be okay if we told someone else what was going on? 

I’m sorry, but I can’t answer my text messages 24 hours per day. I really want to make sure that you always have someone to turn to if I’m not available. Are there some other people you would trust with this? I can help you tell them, if you’re not comfortable doing it by yourself.  I hope these suggestions are helpful - best of luck to all of you, and make sure to put your own mental health first when you have to. 

Avoiding Info-Dumps and Boring Exposition

Exposition can be many things in a story: character backstory, definitions, history, etc., and it’s a necessary part of any narrative. Yes, it’s “telling” instead of “showing”, but there are times when you have to “tell” to aid with pacing, detail, and most important of all, reader comprehension.  

Your readers don’t know what’s in your head; they know what’s on the paper. 

So you have to give exposition (though some stories will be heavier than others) and you have to do it well or your readers won’t care enough to pay attention. Exposition is not something to just shove aside or box away with an “icky” label on it because it affects the quality of the story as a whole. If you write it well, it can enhance the story rather than detract from it– which should be the goal of any element of writing. 

Learning to write better exposition makes you a better writer in general, and part of writing better exposition means understanding the main problems and the solutions.

What is an “info-dump?”

Simply put, “large amounts of information that don’t directly matter to the moment of the scene”. They can be seen as reflections on backstory or facts about the characters or world, specifically in large quantities. 

Three commonly seen methods of info-dumping are the chapter-start block, the monologuing narrator, and the rambling narrator. (Note: the names are not official, just what I personally call them.)

The chapter-start block is when the writer starts each new scene or chapter by giving all the backstory and relevant information at the very beginning, then running off and writing the scene while hoping the reader can remember everything. That kind of writing is often the result of “I want to get to the interesting story so I’ll take care of the boring setup first”. Guess what, your readers agree. They don’t care about your exposition because you’re presenting it in a boring way, and now they may not be able to get into the actual story because they don’t understand it as well as they could. While starting a new chapter or scene with exposition isn’t necessarily bad, large qualities of information are.

The monologuing narrator is exactly what it sounds like: the narrator talks at the reader for an extended amount of time. This info-dump can be found at any point of a scene, but it still gives way too much information at once. It also sometimes presents its own problem of timing, because the narrators shouldn’t be “zoning out to think about things” in the middle of a scene unless that detail weighs very heavily on them. Narration shows train of thought and the monologuing narrator usually needs to chill. (There are times when monologues are acceptable, but writing one primarily to deliver background information is not acceptable use.)

Similar to the monologuing narrator in that character thought takes over the scene, the rambling narrator has an additional problem in that they often go off-topic or into detail that isn’t necessary for the moment. While the occasional “ramble” can be used to show character personality, a writer can’t expect readers to actually learn from that ramble. Large amounts of information aren’t easy to digest, especially when everything is presented at the same time. 

Avoiding the info dump.

Keep all information in context.

If your scene is about a character going for a job interview, don’t start mentioning their dead sister unless there’s an important connection that’s immediately relevant. Only reveal what makes sense to reveal within the events and flow of the scene. It’s true that the lines can get blurry when you’re working with a story that has interconnected elements, but early on you want to keep exposition in careful balance with the forward momentum of the narrative. Later on, once your readers are already hooked, you can ease up a little on the withholding and start exploring details– but keeping things contextual will still always be an important guideline to follow.

Use prompts for information.

Prompts are things like people, situations, in-story objects or moments that ‘remind’ the narrator of the piece of exposition. Part of avoiding never-ending, rambling, or irrelevant exposition involves using setting and plot to prompt information from the narrator’s mind, rather than just dump it all out at once. Prompts help shows connections and grant relevance by tying the information into the current scene and moment. 

Narrator perspective guides exposition.

The narrative point of view helps ground the reader’s new information by presenting it through the eyes of the person they are following. This does mean that your audience can get biased info, but that’s part of the nature of storytelling; it’s not a documentary. Similar to using prompts, narrator perspective helps guide exposition by presenting information that’s relevant to the narrator and their personal story. 

Use a “weaving” techniques to avoid giant blocks of text.

It’s best to weave your exposition between dialogue, thought, and action to write in a way that’s engaging and informative. Think of it like being in a class. If your professor spends the whole hour giving a lecture off slides, chances are you might be overwhelmed at times and tune out a bit. If they introduce an activity and give smaller lectures to explain the science behind the steps, then you are more likely to pay attention and not feel as overwhelmed. Writing works the same way. The best results are typically found when the activity (story events that are “shown”) are blended with lecture (backstory/exposition that is “told”).

Generally, you want to practice a balance of dialogue, action, and exposition. Some scenes may be heavier in one category than the other, and that’s okay, but a balance of those elements helps with overall pacing and keeps readers engaged and more likely to learn. 

Not everything needs explaining.

While there are certainly pieces of information that you have to “tell” for the story to make sense, there are times when “showing” can cut down on lengthy exposition and make for a more engaging narrative. Why have your narrator explain/“tell” about how they don’t get along with their mother when you can show the poor relationship through the way they interact? And don’t just keep it isolated to one scene, unless the story calls for it, because some parts of exposition stretch beyond individual moments and affect the entire story. It may be tempting to try and directly point everything out at once, but that’s a quick road to long-winded scenes of exposition that leave your characters and their plot behind.

Writing more interesting exposition.

For exposition to be interesting, it needs meaning, and meaning can be granted through context and the relevance to the current scene when the reader is not yet fully invested in your story. When presenting exposition, there are a few things that can be kept in mind:

Try and convey something about the character’s personality with the way they give information. We all have a personal take on things and so will a character, so let that personal perspective show via tone, word choice, fact detail, etc.

An interesting voice can carry a story decently far, especially when it comes to giving background information. It’s possible to have a character that sticks only to the facts, but without a bit of emotion behind that exposition, it can get dry really quickly. Your character needs to interact with their world, not be a robot that gives impartial explanations of everything. 

If you repeat information, which is needed for anything with heavy detail, present it in different ways or at least don’t copy the wording.

Build on detail over time, and make sure to apply that detail to the scene to allow for contextual learning. 

Tension tends to create reader interest. Giving exposition during tense moments can force a reader to learn on the spot– as long as it doesn’t distract from the scene. 

Pace yourself. Part of boring exposition is tied into how much is presented at once, and while info-dumps can be identified and avoided with relative ease, you still have to watch how much information is being presented in a scene or chapter. Even if you “weave” it correctly, there’s still a chance that it’s too much for a reader to reasonably digest.

Good luck with your work and if there are any questions, drop them in my ask box and I’ll see how I can help. Just please read my Rules and Considerations page to make sure I’m the best resource, and consider a Gift of Coffee to grant me an energy boost, if you’re feeling generous.

Y'know, you could just make up accents in dnd. Tried to give ur character an Australian accent and failed? Well, there is no Australia in this fantasy universe, but there is conceivably a settlement of people who all speak in an accent which sounds, to our ears, like really bad Australian.

What I’m saying is just use the worst fuckong voices for all ur characters and if u get called out on then just say it’s how people talk in fricking green-mushrooms or wherever ur character comes from. Make your party suffer.

RhiShadows had a stream and in it, she was looking through the ruins of a town for treasures. A spectator cried out, “The town is dead, treasure ahead!” and it sounded like a sea shanty.

So, I did what anyone would do, and made a tune to match. Enjoy

Been in a funk lately. :/ So I’m experimenting with different techniques to try and get myself out of it.

Day 1 - Ring

I can’t draw for Inktober, and it is unlikely I will be able to do a REAL NaNoWriMo, but I still want to try challenging myself. SO! I will take the Inktober prompts and write little blurps to do some on-the-fly world building for a random idea I had a while back. A Giant-Monster themed WWE/UFC fighting league. Enter the KFL, Kaiju Fighting League. Let’s see how this goes. Wish me luck.

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Prompt: Ring

Title: In The Ring

“Ladies, gentlemen, and everything in between!” The announcer cried. He stood in the center of the massive battle pit. The impressive, gilded microphone he clutched glittered in the spotlights aimed at him. “Welcome to the opening night for the Kaiju Fighting League’s 30th anniversary!”

The crowd roared. People, beasts, monsters and things without names all stomped in the grandstands to chants and cheers. Their voices rattled the cage surrounding the pit. The announcer let them roar for a bit before continuing.

“Years ago, when humanity fought the calamity, it was through teamwork with strangers that led us to victory! And when the calamity was destroyed, we did what we do best.” He put his hand to his ear to wait for the audience.

They rewarded him with a unanimous cheer, “WE FIGHT!” Followed by more roaring applause.

The announcer pumped his fist in the air, “Hell yeah! That’s why our founder, Thrash Flexman, the Ragin’ Stallion himself, founded the KFL and brought the strongest warriors together to enjoy that most traditional of past times. The Brawl!”

At his call, the monitors high above him blared to life. Dancing across the screens were images of the highlights from the last year. The names of champions rolled by alongside their best fights. King Carnage, the colossal apeman with a crown crafted from fighter planes, knocking his opponent so hard it sends him flying through the protective ring. Kill-ogram, the titanic metal beast, charging against the blows of his opponent to send a strike that causes the poor warrior to crumple into a heap. Cassidy Quake, a monstrous catfishman with whip-like whiskers, grabs his opponent and cheers to the crowd before leaping into a flying suplex. 

More heroes flash on the screen and the crowd whoops to each cherished memory. The screen then darkens and shows several silhouettes.

“But no one can reign champion forever! It’s time for new blood to step up to the challenge!” The announcer calls out. “You hear that?”

The gates leading to one side of the arena open up and the newcomers wander out. They march, beasts, dragons, monsters all, out to one side of the ring. Out front, a rather lithe monster leaps onto the cage and cries out, “Bring out my meal!”

The announcer barely manages to keep his feet as the 20 ft tall raptor claws against the cage, rattling the whole battle pit. The crowd is eating it up and start to chant for the kings.

The announcer steadies himself. “Ha, I can tell you’re hungry for the Crown. But it won’t be that easy.”

The lights go out and the music clicks on to play a rocking theme. Spotlights flash to the opposite gate which rattles open. With prestige, pride, and confidence, the Kings enter. Top of their brackets, they march to the cage. Fans wave banners, swing merch, and throw bananas. They stay focused on their new opponents, except for King Carnage, who attempts to catch the bananas. 

Cassidy Quake makes it to the cage first, he signals to the announcer, who runs over with the mic. Cassidy takes the mic gently between his fingers and swishes his wild whiskers before speaking.

“I don’t care who you are, or where you came from.” He points to the raptor still clinging to the cage and wearing a manic grin, “If you want this crown, we meet in the ring as warriors!” He dropped the mic, the announcer did his best to catch it. His fellow Kings respond with a resounding battle cry that makes the whole arena shudder. The crowd goes absolutely wild. Bananas are flying everywhere.

The announcer gets back to the center of the pit.

“Alright KFL Fanantics! That wraps up the pomp and circumstance. Now comes the fun part! Are. You. Ready?”

The crowd explodes in applause and cheers.

“Then let’s get started, KFL 30, LET’S ROCK!”

Music flares to life as newcomers and Kings alike head back through their gates and the games prepare to get started.

Day 3 of arting. This character has taken me to researching the "Surgeon Barbers" of old. The sharpest razor in town for the cleanest cuts.