I'm going to try adapting some mother's song (from various countries) as lullabies for her child in my chapters. One of them is this one... what do you think?
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It needs to evaluate POV based on its characteristics.
In a first POV, information should be framed according to the subjective experience of the "I" character.
In an objective third POV, information should be framed according to the narrative of a cinematic scene.
By understanding the characteristics of the POV, it will be more objective in assessing the quality of the narrative.
I'm your long lost nephew
Eldoria? Hello??
W-what are you doing in that jar???
I just read a review of Warhammer 40000... the fiction is too dark. Probably a 10/10 level of darkness. It's not just grimdark, it's pure dystopia. There's no hope, no good, just destruction, darkness, and endless war. I don't understand why people like it.
I'm happy to see new members emerging and actively writing threads and providing answers. Also, some legendary members are back active. In comparison, I'm still a teenager in terms of account age on SHF.
One indicator of successful characterization is when readers can recognize who the speaking character is based on their unique voice.
It might seem easy if there are only 1-3 characters. But what if there are 7 characters speaking in a single chapter?
It's very possible for readers to get confused, even with the help of name tags.
Are you ready to rewatch some peak?
Let the melody of rain be a lullaby...
The first POV inherently acts as an unreliable narrator. The narrative camera uses the character's perspective directly to perceive their world. You cannot know the emotions and thoughts of other characters. Even if the "I" provides interpretations regarding other characters, that information should be subjective. The exception is if your narrator is a historical narrative.
I pity the writing school!
April 1st won't make me lie to myself about not writing. Do I write or not?
Seeing the feedback requests on Feedback Section tickled me, and I wanted to leave simple feedback.
But I'm sorry, but I have to hold back. I can't do that right now; I'm focused on my fiction.
Maybe another time. I don't want to touch someone else's kitchen while mine is still burning.
Narrating power systems and lore without feeling like an info dump is one of the most difficult challenges in writing fantasy fiction.
Can we narrate how power systems work?
Can we narrate lore as the foundation of the story?
No narrator's voice. No expository dialogue.
Only subtext interspersed in the organic interactions between characters.
When the universe seems...
To refuse us to write...
We have time but no ideas...
We have paper but no ink...
We have resources but no passion...
We have passion but no resources...
It's time when writers cry.
I believe a good mystery narrative should be fair in providing narrative clues through foreshadowing and scattering subtle hints; so both the protagonist and the reader have an equal opportunity to uncover the mystery.
Instead of inserting a new chapter to patch the plot hole, I pasted the transition chapter (x') into the old chapter and merged the old chapter (chapter y) with the old chapter above it (chapter z) into one combined chapter (chapter yz).
So, chapter x' = transition chapter (new); chapter yz = combined chapter y (old) + chapter z (old).
A description narrative is considered "decoration" or empty setting when its presence or absence doesn't affect the story and/ or simply adds to the word count. Therefore, every descriptive narrative should have a functional purpose and/ or add "value" to the story. -
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