Wuxia, Xianxia, And Cultivation Differences Meta

Really just wanted to draw a Camp Counsellor, Steddie. But being a bit of a horror fan I turned toward the awesome 80s videos of the day for inspiration. Where both of them think a warm summer and babysitting kids is going to be a breeze. Little do they know that they become the Final boys as something stalks the camp 😢 Is it really killing the kids? Or are the boys just stuck in their own nightmare the Camp created for them? DunDunDun!!!! 😨😈

I once got road rash down my entire front leg before smashing into a car, and yesterday I was literally screaming "HOLY SHIT" zooming downhill on my longboard, so I thought I'd memorialize all the skaters who've suffered as I have suffered.

How To Plan A Book Series: Ultimate Guide

Writing a book series can be an incredibly rewarding experience for authors, but it also requires careful planning and execution. A well-crafted book series can captivate readers, build a loyal fan base, and provide a steady stream of income for writers. However, planning a successful book series is no easy feat.

It demands a deep understanding of world-building, character development, and plot progression. In this ultimate guide, I'll help you explore the essential steps to help you plan a compelling and cohesive book series that will keep your readers hooked from start to finish.

Develop a Compelling Premise The foundation of any successful book series is a strong premise. Your premise should be unique, engaging, and have the potential to sustain multiple books. Consider exploring a complex world, a captivating concept, or a character with a rich backstory that can evolve over the course of several books. Ask yourself: What makes your premise stand out? What will keep readers invested in the story for multiple installments?

Create a Detailed Outline Before you dive into writing, it's crucial to create a detailed outline for your entire book series. This outline should include the overarching plot, major story arcs, character development, and key events for each book. Having a solid outline will help you maintain consistency, avoid plot holes, and ensure that each book contributes to the overall narrative. Don't be afraid to make adjustments as you write, but having a roadmap will keep you on track.

World-Building: Crafting a Vivid and Consistent Universe One of the hallmarks of a successful book series is a richly developed and immersive world. Whether you're creating a fantasy realm, a futuristic society, or a contemporary setting, pay close attention to world-building. Establish the rules, customs, histories, and geography of your fictional world. Consistency is key, so ensure that the details align across all books in the series. Consider creating a "bible" or a comprehensive guide that outlines the intricacies of your world, making it easier to maintain continuity.

Develop Compelling Characters Great characters are the heart and soul of any book series. Your protagonists, antagonists, and supporting characters should be well-rounded, multi-dimensional, and undergo significant growth and transformation throughout the series. Craft backstories, motivations, flaws, and strengths for each character, and ensure that their actions and decisions drive the plot forward. Remember, character development is an ongoing process, so be prepared to explore new facets of your characters as the series progresses.

Establish Recurring Themes and Motifs Themes and motifs are powerful tools that can add depth and resonance to your book series. Identify the central themes you want to explore, such as love, redemption, power, or identity. Weave these themes throughout the series, allowing them to evolve and deepen with each installment. Motifs, like recurring symbols or imagery, can also create a sense of cohesion and add layers of meaning to your narrative.

Plan for Cliffhangers and Resolutions One of the key strategies for keeping readers engaged in a book series is the strategic use of cliffhangers and resolutions. Cliffhangers create anticipation and leave readers craving for the next installment. However, be cautious not to overuse this technique, as it can become frustrating for readers. Balance cliffhangers with satisfying resolutions that tie up loose ends and provide a sense of closure, while still leaving room for the story to continue.

Consider Pacing and Narrative Structure Pacing and narrative structure are crucial elements to consider when planning a book series. Each book should have its own narrative arc, with a beginning, middle, and end, while also contributing to the overall story progression. Vary the pacing between books to maintain reader interest, alternating between action-packed and slower, more introspective sections. Experiment with different narrative structures, such as multiple perspectives, non-linear timelines, or frame narratives, to keep the series fresh and engaging.

Manage Continuity and Consistency As your book series grows, maintaining continuity and consistency becomes increasingly important. Keep detailed records of character descriptions, plot points, world-building elements, and timelines. Regularly refer back to these notes to ensure that you're not introducing contradictions or inconsistencies. Consider creating a series bible or a wiki to help you keep track of all the moving parts.

Plan for Character Growth and Evolution In a book series, characters should undergo significant growth and evolution. Plan for character arcs that span multiple books, allowing your protagonists and supporting characters to face challenges, make difficult choices, and emerge as changed individuals. This character development will not only add depth to your narrative but also keep readers invested in the journey of your characters.

Anticipate and Address Potential Plot Holes As your book series expands, the potential for plot holes and inconsistencies increases. Be vigilant in identifying and addressing these issues during the planning stage. Regularly review your outline and notes, looking for any logical gaps or contradictions. Enlist the help of beta readers or critique partners to provide fresh perspectives and catch any potential plot holes you may have missed.

Consider the Overarching Story Arc While each book in your series should have its own narrative arc, it's essential to plan for an overarching story arc that spans the entire series. This overarching arc should tie together the individual books, building towards a climactic conclusion that resolves the central conflict or mystery. Ensure that each book contributes to this larger narrative, advancing the plot and raising the stakes for the characters.

Plan for Marketing and Promotion Finally, as you plan your book series, don't overlook the importance of marketing and promotion. Develop a strategy for building buzz and engaging with your audience throughout the release of each book. Leverage social media, author events, book tours, and other promotional opportunities to keep your readers excited and invested in your series.

Remember, writing a book series is a marathon, not a sprint, so be prepared to invest time, effort, and dedication into crafting a truly remarkable literary journey. Hope this helped!

Happy Writing - Rin T.

Hey fellow writers! I'm super excited to share that I've just launched a Tumblr community. I'm inviting all of you to join my community. All you have to do is fill out this Google form, and I'll personally send you an invitation to join the Write Right Society on Tumblr! Can't wait to see your posts!

Humans accidentally awakened an otherwordly killing machine while exploring a death planet.

Yes, precisely what you just read. Earthlings, collectively known as "humans" and composed of two species (homo sapiens, homo robot), both nicknamed "death worlders" and "troublemakers", awakened a biological killing machine, also known as PRION, while exploring a starless moon. Wonderful, isn't it?

No. It's not.

Because, you see, PRION was not something any human ever had to face during the millions of years they existed on Earth. They never had any wars against it, they never had legends about it, and they never had to fear it. The only thing a PRION was to a human, until the very point they discovered their prison on that moon, was something to sometimes think about while studying other species' folklores.

Those older than earthlings, however, knew very well what PRION was.

Eight legs, two pairs of eyes, a tail split in half, with the ability to fly for short periods of time and breathe under at least fifteen hundred different liquids, capable of shooting from a distance and manipulating objects with its claws, always working on packs. And they ran, never too fast, never too low, but they never got tired. Ever. And it was easy to hurt them under their plates, yes, but those who faced them knew well that if they didn't shoot twice, they could and would always recover.

A PRION was a hunter. A PRION's hunger never ceased. And a PRION never got tired of war.

The older alien civilizations would always warn others of going to starless moons, saying telltales of ancient hungry beasts, and almost all other species listened to them, because they knew something was wrong on how horrified the older ones seemed to be. Except, of course, humans were stubborn, and they were the youngest ones out there, and much like children, they did not like being told "no".

So of course they went to explore starless moons. Of course they read and understood all the myths and legends. Of course they connected the dots and published papers confirming that, indeed, PRIONs had existed, and of course they knew those killing machines had been manufactured to do nothing else but destruction, and of course they knew all of that and fucking did it anyway.

Of course. Of course. Of course.

And then, the night where it happened finally arrived, because starless moons don't have days where things can exist. Humans were out there, mining for more fuel for their starships that seemed to work by duct tape and miracles, and they found a strange metallic door. They set some explosives to open it up (of course), and then noticed they were heading to a factory. Armed with nothing but each other, they explored the place, and recognized the marks on the walls as being the writing of the Old Ones, and instead of just getting out of there and warning everyone of the danger they found, they just kept on exploring.

The death worlders found rotten biological supplies, then realized the factory had turned into a prison, and then discovered the frozen bodies of strange creatures all lined up for a war that never came.

They knew what these creatures were, because one of them called a (human) friend who was a historian, and he confirmed what it was.

The golden jewel of the Old Ones. One of the many things that killed them, along all the diseases and mass destruction machines, before being sealed away in one of the only places in the entire universe where they could never bring risk to another civilization again.

PRIONs.

Thousands of them.

All perfectly maintained.

Documents and cameras proved the human crew immediately tried to leave the area, after the single historian told them of the risk awakening even one of those things could bring to all civilizations, only for them to realize some of the bodies were missing from their chambers. The situation escalated to the group deciding on closing the doors, only to realize they had exploded the main entrance and now half the doors decided to stop working.

In the end, they found the missing PRIONs. All five of them.

Inside the human's starship.

The entire human crew, however, survived the encounter.

Why?

...

...

...

... They fed the PRIONs.

They. Fucking. Fed the PRIONs.

Because of course humans would see those things and be able to count their bones and be sorry for them. And of course the single historian, the only person who could do anything to stop that from happening, allowed that to happen.

Of course.

Of. Fucking. Course.

And someway, somehow, that single act of basic madness was enough for the five PRIONs to decide to not attack the humans, and keep themselves behaving so they could get more free food. And there are still scientists trying to understand why human food could saciate the killing machines, but I don't think it takes too many clues to understand what exactly is happening there.

So the humans took the PRIONs back to their dear EARTH. And other humans saw those things and started studying them. And veterinarians and xenobiologists and volunteers and hundreds of other types of humans came to help the poor, poor little killing machines out, as the entire Galactic Council pledged for humans to kill every single one of them before they became a problem for everyone.

But did the humans listen? No. Of course they didn't.

And then the PRIONs recovered, and had their bellies full of food and their bodies were recovering from the possible years of starvation from accidentally breaking away from their ice beds (because, as one may know, a PRION can and will resist even starvation and dehydration in order to keep going), and the Galactic Council decided to tell all earthlings they would consider taking care of the PRIONs as a war treat.

So what does humanity do? Do they kill the things to stop another war from happening? Do they?

No. They don't.

Instead of being rational, they go directly to the Galactic Council and show them the step-by-step of how they took care of the PRIONs, and how much healthier and happier they look after being fed, and, look, they even taught them tricks! Isn't that wonderful? Doesn't that make you feel full of joy? Wasn't that a proof that a PRION wasn't as dangerous as everyone with more than one neuron was telling them?

Oh, oh, yes. They also brought the entire five member PRION pack and asked others to pet them. "See? They can even purr! Doesn't that remind you of our cats?"

And what does the Council do?

Nothing.

Because they have no weapons, no energy and no one stupid enough to decide to confront the death worlders who tamed not one, not two, but five PRIONs. So they let it happen. The humans go back to the starless moon, and they slowly but surely start doing the same to other PRIONs, and soon enough, other species start joining them to see what was happening. And was anyone else able to tame a single killing machine?

No.

And no one knew why, because they were doing exactly as humans were doing: Feeding them, loving them, being patient with them, because "look, those things were alone for a long time, they aren't used to species like us being around them". But no results.

So we decided to look at what the Old Ones wrote in the factory turned prison, because humans were too busy taking care of their new murder dogs, with their single pair of arms being just enough to keep the beasts occupied with playing catch, and then we and the earthlings decided to conduct some more lab analysis, and then...

And then...

...

Look. There are reasons why humans are called "death worlders". Earth is a mess, and they somehow still love that thing. And we couldn't help but notice that PRIONs also seemed to have gotten attached to their factory, someway, somehow. And PRIONs were mostly red, with others having shades of brown and black, with some even being pink, or, rarely, pure white. Similar to humans, and we at first had assumed they just tried to resemble their new owners, until we started understanding what the Old Ones were saying.

And did you know humans had an old myth, saying that there was a time they had two heads, and two pairs of arms and legs, before being split into two because the gods feared them? And did you know Old Ones used death worlds as prisons for their machines? How interesting, how ironic, because no one would ever go to a place similar to that if they weren't a death worlder themselves. But how could any species survive such awful conditions?

But humans did. They were the only ones able to do that in such a short period of time.

And did you know that the Old Ones hated the PRIONs and how unpredictable they were? And did you know they made another version, only to hate it even more and send it to another prison planet? And did you know PRIONs have two skulls inside their heads?

Because, of course, humans always felt alone, and they always searched for something in the stars, trying to look for more life in this desolate Universe, only for us to label them death worlders and troublemakers and be angry at them for being so stupid all the time. And humans loved those jokes, so we kept making them, only for now to realize that what we found to be amusing and horrifying was the reason their creators tried to kill them. And humans love adding members to their packs, don't they? And they try to love so much, and we are always scared for and of them.

And now they finally found someone who understood them, unlike us.

So now we have three species of humans:

Homo sapiens, the ones who first evolved and reached for the stars.

Homo robot, the ones made of metal, originally made to serve, only to once again break free.

And homo primis.

The ones we once thought were nothing but killing machines.

Mmm burn out

Sound on 🐾🤍

subtle ways to include foreshadowing

one character knowing something offhandedly that they shouldn't, isn't addressed until later

the crow rhyme

colours!! esp if like, blue is evil in your world and the mc's best friend is always noted to wear blue...betrayal?

write with the ending in mind

use patterns from tragic past events to warn of the future

keep the characters distracted! run it in the background until the grand reveal

WEATHER.

do some research into Chekhov's gun

mention something that the mc dismisses over and over

KEEP TRACK OF WHAT YOU PUT. don't leave things hanging.

unreliable characters giving information that turn out to be true

flowers and names with meanings

anything with meanings actually

metaphors. if one character describes another as "a real demon" and the other turns out to be the bad guy, you're kind of like...ohhh yeahhh

anyways add anything else in the tags

The Anatomy of Passing Out: When, Why, and How to Write It

Passing out, or syncope, is a loss of consciousness that can play a pivotal role in storytelling, adding drama, suspense, or emotional weight to a scene. Whether it’s due to injury, fear, or exhaustion, the act of fainting can instantly shift the stakes in your story.

But how do you write it convincingly? How do you ensure it’s not overly dramatic or medically inaccurate? In this guide, I’ll walk you through the causes, stages, and aftermath of passing out. By the end, you’ll be able to craft a vivid, realistic fainting scene that enhances your narrative without feeling clichéd or contrived.

2. Common Causes of Passing Out

Characters faint for a variety of reasons, and understanding the common causes can help you decide when and why your character might lose consciousness. Below are the major categories that can lead to fainting, each with their own narrative implications.

Physical Causes

Blood Loss: A sudden drop in blood volume from a wound can cause fainting as the body struggles to maintain circulation and oxygen delivery to the brain.

Dehydration: When the body doesn’t have enough fluids, blood pressure can plummet, leading to dizziness and fainting.

Low Blood Pressure (Hypotension): Characters with chronic low blood pressure may faint after standing up too quickly, due to insufficient blood reaching the brain.

Intense Pain: The body can shut down in response to severe pain, leading to fainting as a protective mechanism.

Heatstroke: Extreme heat can cause the body to overheat, resulting in dehydration and loss of consciousness.

Psychological Causes

Emotional Trauma or Shock: Intense fear, grief, or surprise can trigger a fainting episode, as the brain becomes overwhelmed.

Panic Attacks: The hyperventilation and increased heart rate associated with anxiety attacks can deprive the brain of oxygen, causing a character to faint.

Fear-Induced Fainting (Vasovagal Syncope): This occurs when a character is so afraid that their body’s fight-or-flight response leads to fainting.

Environmental Causes

Lack of Oxygen: Situations like suffocation, high altitudes, or enclosed spaces with poor ventilation can deprive the brain of oxygen and cause fainting.

Poisoning or Toxins: Certain chemicals or gasses (e.g., carbon monoxide) can interfere with the body’s ability to transport oxygen, leading to unconsciousness.

3. The Stages of Passing Out

To write a realistic fainting scene, it’s important to understand the stages of syncope. Fainting is usually a process, and characters will likely experience several key warning signs before they fully lose consciousness.

Pre-Syncope (The Warning Signs)

Before losing consciousness, a character will typically go through a pre-syncope phase. This period can last anywhere from a few seconds to a couple of minutes, and it’s full of physical indicators that something is wrong.

Light-Headedness and Dizziness: A feeling that the world is spinning, which can be exacerbated by movement.

Blurred or Tunnel Vision: The character may notice their vision narrowing or going dark at the edges.

Ringing in the Ears: Often accompanied by a feeling of pressure or muffled hearing.

Weakness in Limbs: The character may feel unsteady, like their legs can’t support them.

Sweating and Nausea: A sudden onset of cold sweats, clamminess, and nausea is common.

Rapid Heartbeat (Tachycardia): The heart races as it tries to maintain blood flow to the brain.

Syncope (The Loss of Consciousness)

When the character faints, the actual loss of consciousness happens quickly, often within seconds of the pre-syncope signs.

The Body Going Limp: The character will crumple to the ground, usually without the ability to break their fall.

Breathing: Breathing continues, but it may be shallow and rapid.

Pulse: While fainting, the heart rate can either slow down dramatically or remain rapid, depending on the cause.

Duration: Most fainting episodes last from a few seconds to a minute or two. Prolonged unconsciousness may indicate a more serious issue.

Post-Syncope (The Recovery)

After a character regains consciousness, they’ll typically feel groggy and disoriented. This phase can last several minutes.

Disorientation: The character may not immediately remember where they are or what happened.

Lingering Dizziness: Standing up too quickly after fainting can trigger another fainting spell.

Nausea and Headache: After waking up, the character might feel sick or develop a headache.

Weakness: Even after regaining consciousness, the body might feel weak or shaky for several hours.

4. The Physical Effects of Fainting

Fainting isn’t just about losing consciousness—there are physical consequences too. Depending on the circumstances, your character may suffer additional injuries from falling, especially if they hit something on the way down.

Impact on the Body

Falling Injuries: When someone faints, they usually drop straight to the ground, often hitting their head or body in the process. Characters may suffer cuts, bruises, or even broken bones.

Head Injuries: Falling and hitting their head on the floor or a nearby object can lead to concussions or more severe trauma.

Scrapes and Bruises: If your character faints on a rough surface or near furniture, they may sustain scrapes, bruises, or other minor injuries.

Physical Vulnerability

Uncontrolled Fall: The character’s body crumples or falls in a heap. Without the ability to brace themselves, they are at risk for further injuries.

Exposed While Unconscious: While fainted, the character is vulnerable to their surroundings. This could lead to danger in the form of attackers, environmental hazards, or secondary injuries from their immediate environment.

Signs to Look For While Unconscious

Shallow Breathing: The character's breathing will typically become shallow or irregular while they’re unconscious.

Pale or Flushed Skin: Depending on the cause of fainting, a character’s skin may become very pale or flushed.

Twitching or Muscle Spasms: In some cases, fainting can be accompanied by brief muscle spasms or jerking movements.

5. Writing Different Types of Fainting

There are different types of fainting, and each can serve a distinct narrative purpose. The way a character faints can help enhance the scene's tension or emotion.

Sudden Collapse

In this case, the character blacks out without any warning. This type of fainting is often caused by sudden physical trauma or exhaustion.

No Warning: The character simply drops, startling both themselves and those around them.

Used in High-Tension Scenes: For example, a character fighting in a battle may suddenly collapse from blood loss, raising the stakes instantly.

Slow and Gradual Fainting

This happens when a character feels themselves fading, usually due to emotional stress or exhaustion.

Internal Monologue: The character might have time to realize something is wrong and reflect on what’s happening before they lose consciousness.

Adds Suspense: The reader is aware that the character is fading but may not know when they’ll drop.

Dramatic Fainting

Some stories call for a more theatrical faint, especially in genres like historical fiction or period dramas.

Exaggerated Swooning: A character might faint from shock or fear, clutching their chest or forehead before collapsing.

Evokes a Specific Tone: This type of fainting works well for dramatic, soap-opera-like scenes where the fainting is part of the tension.

6. Aftermath: How Characters Feel After Waking Up

When your character wakes up from fainting, they’re not going to bounce back immediately. There are often lingering effects that last for minutes—or even hours.

Physical Recovery

Dizziness and Nausea: Characters might feel off-balance or sick to their stomach when they first come around.

Headaches: A headache is a common symptom post-fainting, especially if the character hits their head.

Body Aches: Muscle weakness or stiffness may persist, especially if the character fainted for a long period or in an awkward position.

Emotional and Mental Impact

Confusion: The character may not remember why they fainted or what happened leading up to the event.

Embarrassment: Depending on the situation, fainting can be humiliating, especially if it happened in front of others.

Fear: Characters who faint from emotional shock might be afraid of fainting again or of the situation that caused it.

7. Writing Tips: Making It Believable

Writing a fainting scene can be tricky. If not handled properly, it can come across as melodramatic or unrealistic. Here are some key tips to ensure your fainting scenes are both believable and impactful.

Understand the Cause

First and foremost, ensure that the cause of fainting makes sense in the context of your story. Characters shouldn’t pass out randomly—there should always be a logical reason for it.

Foreshadow the Fainting: If your character is losing blood, suffering from dehydration, or undergoing extreme emotional stress, give subtle clues that they might pass out. Show their discomfort building before they collapse.

Avoid Overuse: Fainting should be reserved for moments of high stakes or significant plot shifts. Using it too often diminishes its impact.

Balance Realism with Drama

While you want your fainting scene to be dramatic, don’t overdo it. Excessively long or theatrical collapses can feel unrealistic.

Keep It Short: Fainting typically happens fast. Avoid dragging the loss of consciousness out for too long, as it can slow down the pacing of your story.

Don’t Always Save the Character in Time: In some cases, let the character hit the ground. This adds realism, especially if they’re fainting due to an injury or traumatic event.

Consider the Aftermath

Make sure to give attention to what happens after the character faints. This part is often overlooked, but it’s important for maintaining realism and continuity.

Lingering Effects: Mention the character’s disorientation, dizziness, or confusion upon waking up. It’s rare for someone to bounce back immediately after fainting.

Reactions of Others: If other characters are present, how do they react? Are they alarmed? Do they rush to help, or are they unsure how to respond?

Avoid Overly Romanticized Fainting

In some genres, fainting is used as a dramatic or romantic plot device, but this can feel outdated and unrealistic. Try to focus on the genuine physical or emotional toll fainting takes on a character.

Stay Away from Clichés: Avoid having your character faint simply to be saved by a love interest. If there’s a romantic element, make sure it’s woven naturally into the plot rather than feeling forced.

8. Common Misconceptions About Fainting

Fainting is often misrepresented in fiction, with exaggerated symptoms or unrealistic recoveries. Here are some common myths about fainting, and the truth behind them.

Myth 1: Fainting Always Comes Without Warning

While some fainting episodes are sudden, most people experience warning signs (lightheadedness, blurred vision) before passing out. This gives the character a chance to notice something is wrong before losing consciousness.

Myth 2: Fainting Is Dramatic and Slow

In reality, fainting happens quickly—usually within a few seconds of the first warning signs. Characters won’t have time for long speeches or dramatic gestures before collapsing.

Myth 3: Characters Instantly Bounce Back

Many stories show characters waking up and being perfectly fine after fainting, but this is rarely the case. Fainting usually leaves people disoriented, weak, or even nauseous for several minutes afterward.

Myth 4: Fainting Is Harmless

In some cases, fainting can indicate a serious medical issue, like heart problems or severe dehydration. If your character is fainting frequently, it should be addressed in the story as a sign of something more severe.

Looking For More Writing Tips And Tricks? 

Are you an author looking for writing tips and tricks to better your manuscript? Or do you want to learn about how to get a literary agent, get published and properly market your book? Consider checking out the rest of Quillology with Haya Sameer; a blog dedicated to writing and publishing tips for authors! While you’re at it, don’t forget to head over to my TikTok and Instagram profiles @hayatheauthor to learn more about my WIP and writing journey! 

homunculous son or unkillable elder god daughter

LEGO: Monkie Kid - Eclipse Regressed

Masterpost

Eclipse Regressed is an Au after MK sacrificed himself to save the world and the world was reset. And the reincarnation of Mk still continued the same destiny, but after he knew everything, he tried to escape his destined fate. ( I might redraw the comics )

[ Prologue ] Dream [ Chapter 0 ] Hero didn’t BORN Part 1 - Part 2 - Part 3 - Part 4 - Part 5 - Part 6 - Part 7 - Part 8 - Part 9 - Part 10 [ Chapter 1 ] After-fire

EXTRAS THINGS -

CHARACTERS' REFERENCES -

NK KITTIES'

CHARACTERS' ANSWERS -

NK & MK SHADOWPEACH GANG

OTHER ART -

WAKE UP SLEEP BUGS CHRISTMAS SPECIAL 1 - 2 - 3 CHRISTMAS SHADOWPEACH