Fiction Writing - Blog Posts

Getting Stronger

The trouble started about three months ago. I had made a resolution to get myself into the gym, to start finally building some muscle. I’d always felt weak and small, and even though so many people around me loved how cute that made me I hated it. I wanted to be big. I wanted to be strong. And, to some extent, I wanted to feel powerful.

A friend of mine, who agreed to help me out, brought me a gift after my first week and a half of struggling. She handed me a bottle of green liquid and told me it would help me with my muscle building. Well, what she actually said was, “It will make you strong.” I told her I wasn’t comfortable with taking any kind of hormones, but she assured me it was nothing of the sort. It tasted vile, but I managed to choke down the whole thing after a few gulps.

To my surprise, it worked! Almost too well, honestly. After nearly two weeks of failing to lift anything more than ten or fifteen-pound weights, I was suddenly able to lift forty pounds with ease. Each week I was able to lift more, able to run further and faster. But, with each week I started to feel... hungrier. And... larger. Not just in a sense of growing muscle. After a month I realized I had grown almost six inches.

I started to have almost insatiable food cravings. One night, out of nowhere, I was hit with an overwhelming urge to eat as much meat as I could. I ended up buying and devouring an entire rotisserie chicken just to satisfy my hunger, and to be honest I could have gone for another if I hadn’t stopped myself.  Once, I even cut my lip hard on my canine while eating. I looked in the mirror and realized my teeth had all gotten longer and sharper. Not long after that is when the... scales started developing.

Dark, shimmering black spots started appearing on my knees and elbows. It didn’t take long for them to spread. And the whole time I just kept getting bigger, and bigger. I knew what was happening, and I was afraid. But deep down I wanted it. I ate more and more with each passing day, and the meat fueled my transformation. After two months I’d started developing small horns and a nubby little tail. My tail seemed to grow in the fastest once it started, and within a week I was able to swish it around with ease.

I obviously couldn’t go out anymore, but my friend was kind enough to take care of me. The transformation didn’t even seem to faze her in the slightest. She would bring me big helpings of fresh, dripping meat to eat. I would devour  all of it while she would lovingly rub my expanding, scaly hide. I’ll admit, I’ve become rather possessive of her now. I really began to want to add her to the nest I’d built in my room, along with the myriad of things I was compelled to take over the last few weeks.

Three months ago, I was weak. Powerless. Now, I feel the weight and power twitching below every fiber of muscle within myself. My wings are growing in now, and my feet have already become clawed. I suspect my hands will be next. Mine has assured me that I will still retain some of my human facial features- aside from my teeth, eyes, and the scales at the edge of my face. I can accept this. She says we probably can’t stay in the city anymore, but I didn’t want to anyway. There’s too much noise here and I haven’t been able to stand to my full height in weeks. Even hunched over I still fill up most of the room, and my horns scrape against the ceiling.. I will take her somewhere peaceful and quiet, where I can stretch out and continue my growth unimpeded. Although, I will probably have to find a way to pack up my nest. I couldn’t possibly leave a single thing that belongs to me behind.

— I really have been thinking of what to do with this account 😅 But I’ve recently been consumed by dragon transformations after watching Delicious in Dungeon, so I figured this would be something fun to post here

How Do I Make My Fictional Gypsies Not Racist?

(Or, "You can't, sorry, but…")

You want to include some Gypsies in your fantasy setting. Or, you need someone for your main characters to meet, who is an outsider in the eyes of the locals, but who already lives here. Or you need a culture in conflict with your settled people, or who have just arrived out of nowhere. Or, you just like the idea of campfires in the forest and voices raised in song. And you’re about to step straight into a muckpile of cliches and, accidentally, write something racist.

(In this, I am mostly using Gypsy as an endonym of Romany people, who are a subset of the Romani people, alongside Roma, Sinti, Gitano, Romanisael, Kale, etc, but also in the theory of "Gypsying" as proposed by Lex and Percy H, where Romani people are treated with a particular mix of orientalism, criminalisation, racialisation, and othering, that creates "The Gypsy" out of both nomadic peoples as a whole and people with Romani heritage and racialised physical features, languages, and cultural markers)

Enough of my friends play TTRPGs or write fantasy stories that this question comes up a lot - They mention Dungeons and Dragons’ Curse Of Strahd, World Of Darkness’s Gypsies, World Of Darkness’s Ravnos, World of Darkness’s Silent Striders… And they roll their eyes and say “These are all terrible! But how can I do it, you know, without it being racist?”

And their eyes are big and sad and ever so hopeful that I will tell them the secret of how to take the Roma of the real world and place them in a fictional one, whilst both appealing to gorjer stereotypes of Gypsies and not adding to the weight of stereotyping that already crushes us. So, disappointingly, there is no secret.

Gypsies, like every other real-world culture, exist as we do today because of interactions with cultures and geography around us: The living waggon, probably the archetypal thing which gorjer writers want to include in their portrayals of nomads, is a relatively modern invention - Most likely French, and adopted from French Showmen by Romanies, who brought it to Britain. So already, that’s a tradition that only spans a small amount of the time that Gypsies have existed, and only a small number of the full breadth of Romani ways of living. But the reasons that the waggon is what it is are based on the real world - The wheels are tall and iron-rimmed, because although you expect to travel on cobbled, tarmac, or packed-earth roads and for comparatively short distances, it wasn’t rare to have to ford a river in Britain in the late nineteenth century, on country roads. They were drawn by a single horse, and the shape of that horse was determined by a mixture of local breeds - Welsh cobs, fell ponies, various draft breeds - as well as by the aesthetic tastes of the breeders. The stove inside is on the left, so that as you move down a British road, the chimney sticks up into the part where there will be the least overhanging branches, to reduce the chance of hitting it.

So taking a fictional setting that looks like (for example) thirteenth century China (with dragons), and placing a nineteenth century Romanichal family in it will inevitably result in some racist assumptions being made, as the answer to “Why does this culture do this?” becomes “They just do it because I want them to” rather than having a consistent internal logic.

Some stereotypes will always follow nomads - They appear in different forms in different cultures, but they always arise from the settled people's same fears: That the nomads don't share their values, and are fundamentally strangers. Common ones are that we have a secret language to fool outsiders with, that we steal children and disguise them as our own, that our sexual morals are shocking (This one has flipped in the last half century - From the Gypsy Lore Society's talk of the lascivious Romni seductress who will lie with a strange man for a night after a 'gypsy wedding', to today's frenzied talk of 'grabbing' and sexually-conservative early marriages to ensure virginity), that we are supernatural in some way, and that we are more like animals than humans. These are tropes where if you want to address them, you will have to address them as libels - there is no way to casually write a baby-stealing, magical succubus nomad without it backfiring onto real life Roma. (The kind of person who has the skills to write these tropes well, is not the kind of person who is reading this guide.)

It’s too easy to say a list of prescriptive “Do nots”, which might stop you from making the most common pitfalls, but which can end up with your nomads being slightly flat as you dance around the topics that you’re trying to avoid, rather than being a rich culture that feels real in your world.

So, here are some questions to ask, to create your nomadic people, so that they will have a distinctive culture of their own that may (or may not) look anything like real-world Romani people: These aren't the only questions, but they're good starting points to think about before you make anything concrete, and they will hopefully inspire you to ask MORE questions.

First - Why are they nomadic? Nobody moves just to feel the wind in their hair and see a new horizon every morning, no matter what the inspirational poster says. Are they transhumant herders who pay a small rent to graze their flock on the local lord’s land? Are they following migratory herds across common land, being moved on by the cycle of the seasons and the movement of their animals? Are they seasonal workers who follow man-made cycles of labour: Harvests, fairs, religious festivals? Are they refugees fleeing a recent conflict, who will pass through this area and never return? Are they on a regular pilgrimage? Do they travel within the same area predictably, or is their movement governed by something that is hard to predict? How do they see their own movements - Do they think of themselves as being pushed along by some external force, or as choosing to travel? Will they work for and with outsiders, either as employees or as partners, or do they aim to be fully self-sufficient? What other jobs do they do - Their whole society won’t all be involved in one industry, what do their children, elderly, disabled people do with their time, and is it “work”?

If they are totally isolationist - How do they produce the things which need a complex supply chain or large facilities to make? How do they view artefacts from outsiders which come into their possession - Things which have been made with technology that they can’t produce for themselves? (This doesn’t need to be anything about quality of goods, only about complexity - A violin can be made by one artisan working with hand tools, wood, gut and shellac, but an accordion needs presses to make reeds, metal lathes to make screws, complex organic chemistry to make celluloid lacquer, vulcanised rubber, and a thousand other components)

How do they feel about outsiders? How do they buy and sell to outsiders? If it’s seen as taboo, do they do it anyway? Do they speak the same language as the nearby settled people (With what kind of fluency, or bilingualism, or dialect)? Do they intermarry, and how is that viewed when it happens? What stories does this culture tell about why they are a separate people to the nearby settled people? Are those stories true? Do they have a notional “homeland” and do they intend to go there? If so, is it a real place?

What gorjers think of as classic "Gipsy music" is a product of our real-world situation. Guitar from Spain, accordions from the Soviet Union (Which needed modern machining and factories to produce and make accessible to people who weren't rich- and which were in turn encouraged by Soviet authorities preferring the standardised and modern accordion to the folk traditions of the indigenous peoples within the bloc), brass from Western classical traditions, via Balkan folk music, influences from klezmer and jazz and bhangra and polka and our own music traditions (And we influence them too). What are your people's musical influences? Do they make their own instruments or buy them from settled people? How many musical traditions do they have, and what are they all for (Weddings, funerals, storytelling, campfire songs, entertainment...)? Do they have professional musicians, and if so, how do those musicians earn money? Are instrument makers professionals, or do they use improvised and easy-to-make instruments like willow whistles, spoons, washtubs, etc? (Of course the answer can be "A bit of both")

If you're thinking about jobs - How do they work? Are they employed by settled people (How do they feel about them?) Are they self employed but providing services/goods to the settled people? Are they mostly avoidant of settled people other than to buy things that they can't produce themselves? Are they totally isolationist? Is their work mostly subsistence, or do they create a surplus to sell to outsiders? How do they interact with other workers nearby? Who works, and how- Are there 'family businesses', apprentices, children with part time work? Is it considered 'a job' or just part of their way of life? How do they educate their children, and is that considered 'work'? How old are children when they are considered adult, and what markers confer adulthood? What is considered a rite of passage?

When they travel, how do they do it? Do they share ownership of beasts of burden, or each individually have "their horse"? Do families stick together or try to spread out? How does a child begin to live apart from their family, or start their own family? Are their dwellings something that they take with them, or do they find places to stay or build temporary shelter with disposable material? Who shares a dwelling and why? What do they do for privacy, and what do they think privacy is for?

If you're thinking about food - Do they hunt? Herd? Forage? Buy or trade from settled people? Do they travel between places where they've sown crops or managed wildstock in previous years, so that when they arrive there is food already seeded in the landscape? How do they feel about buying food from settled people, and is that common? If it's frowned upon - How much do people do it anyway? How do they preserve food for winter? How much food do they carry with them, compared to how much they plan to buy or forage at their destinations? How is food shared- Communal stores, personal ownership?

Why are they a "separate people" to the settled people? What is their creation myth? Why do they believe that they are nomadic and the other people are settled, and is it correct? Do they look different? Are there legal restrictions on them settling? Are there legal restrictions on them intermixing? Are there cultural reasons why they are a separate people? Where did those reasons come from? How long have they been travelling? How long do they think they've been travelling? Where did they come from? Do they travel mostly within one area and return to the same sites predictably, or are they going to move on again soon and never come back?

And then within that - What about the members of their society who are "unusual" in some way: How does their society treat disabled people? (are they considered disabled, do they have that distinction and how is it applied?) How does their society treat LGBT+ people? What happens to someone who doesn't get married and has no children? What happens to someone who 'leaves'? What happens to young widows and widowers? What happens if someone just 'can't fit in'? What happens to someone who is adopted or married in? What happens to people who are mixed race, and in a fantasy setting to people who are mixed species? What is taboo to them and what will they find shocking if they leave? What is society's attitude to 'difference' of various kinds?

Basically, if you build your nomads from the ground-up, rather than starting from the idea of "I want Gypsies/Buryats/Berbers/Minceiri but with the numbers filed off and not offensive" you can end up with a rich, unique nomadic culture who make sense in your world and don't end up making a rod for the back of real-world cultures.

I recently started world-building for a new story idea (I know—bad when I'm supposed to be in the middle of revising my current project) and in trying to figure out the level of technology and feeling of my new world I got lost in google searches about the different punk genres.

So I decided to make a master list.

According to Wikipedia (a highly reputable source by all accounts) a punk genre can be described as “a world built on one particular technology that is extrapolated to a highly sophisticated level (this may even be a fantastical or anachronistic technology, akin to retro-futurism) a gritty transreal urban style, or a particular approach to social themes.”

There are so many (so so many) and some people roll their eyes at every new addition but I think the names and distinctions are interesting and fun (I mean, Magicpunk may just be regular fantasy, but it sounds so much cooler). I love the idea of scientific fantasy, and of blurry the lines between the sci-fi and fantasy genres. Who’s to stop you from mixing the culture of the Japanese samurai with an epic space opera in the stars?

This is an incomplete list. I've organized it by time period (loosely, because some overlap or can go anywhere). I've also provided an example of a published work (for those that have them).

Established Fantasy Punk Genres: An Incomplete List

Magicpunk/Dungeonpunk: Fantasy punk genre where the “one particular technology” that the world is build on is magic. You have trains running on lines of sorcerer-fueled energy and ships powered by wind magic and computers running on sub-dimensional energy from the demon realm. Popular examples include The Sleeping Dragon by Jonny Nexus and The War of the Flowers by Tad Williams.

Aetherpunk: Subgenre mix of Magicpunk/Dungeonpunk where the magic source of the technology is specifically the element of Aether. Often, if not always, also has Steampunk elements. The Aeronaut’s Windlass by Jim Butcher is the only example that comes to mind.

Mythpunk: A punk genre that is inspired by or incorporates myths and legends. These aren’t usually a retelling of a popular myth, but rather one that includes elements of the myth, or twists and changes the story around to it’s own ends. Popular examples would be American Gods by Neil Gaiman or Deathless by Catherynne Valente.

Stonepunk: Set in the stone age, this genre is characterized by the use of non-technology as technology, creating pseudo-tech and modern inventions with natural, basic resources like stone, wood, water, fire, clay, and rope. The Flintstones would be the best example.

Sandalpunk: Sandalpunk is on thin ice as a punk genre. Rather than being inspired or defined by a technology, it instead focuses on the period of time of the ancient world before the Middle Ages, often set in Greece or Rome. There aren’t many examples of it. But the name is cool.

Steampunk: Arguably the most popular punk genre (after Cyberpunk) featuring science fantasy stories set in Victorian era, with advanced technology powered by steam engines and clockwork mechanics. Doctor Who perhaps described it best, “The Victorian Age accelerated. Starships and missiles fueled by coal and driven by steam.” There are many examples, both in literature and film, including His Dark Materials by Phillip Pullman, Mortal Engines by Philip Reeves and The Parosol Protectorate by Gail Carriger.

Clockpunk: Close-cousin subgenre of Steampunk, characterized by a lot of clocks and inspired by the pre-steam energy period of the Renaissance and Baroque eras. Pasquale’s Angel by Paul J. McAuley is more Clockpunk than Steampunk.

Silkpunk: Silkpunk is another subgenre of Steampunk, one generation removed. While steampunk is defined by it’s Victorian era brass and steam aesthetic, Silkpunk is inspired by East Asian culture during the period of the Silk Road. Examples include The Dandelion Dynasty by Ken Liu and The Tea Master and The Detective by Aliette de Bodard.

Cattlepunk: Yet another subgenre of Steampunk, Cattlepunk is the across-the-ocean-bastard-cousin set in the wild west of early America. Cowboys, bank robberies, and train heists meet robots, warmechs, magic, and super-weapons. The Wild Wild West and Firefly verse are classic movie examples. Book examples would be the Mistborn Era II series by Brandon Sanderson and The Dark Tower series by Stephen King. (And I didn’t realize until I just did all this research but based on examples this is like my favorite punk.)

Dieselpunk: This genre is set in the aesthetic of the 1920s-1950s era and is characterized by the use of diesel-powered technology. Commonly incorporates alternate history elements, as well as themes surrounding the Great Depression and World War II. It’s been called the darker and dirtier version of Steampunk with an emphasis on air travel and combat, dirigibles, and air pirates. Examples include The Iroon Dream by Norman Spinrad, Dreadnough by Cherie Priest, and Pirate Utopia by Bruce Sterling.

Atompunk: A retro-futuristic punk genre set in during the Cold War and characterized by atomic nuclear technology, ray guns, robots, hover cars, and interdimensional travel. Atompunk often deals with the themes of nuclear power gone wrong and alternate versions of the Cold War. The most popular example of this would be the Fallout games by Bethesda.

Capepunk: Capepunk is just superhero fiction set in the modern-era world where people have powers. Example would be any superhero story ever. I just think the name’s cool.

Gothicpunk: Gothicpunk is also usually set in the modern-era, but incorporates The Goth. Generally characterized by an underworld of supernatural creatures lying in wait and secretly controlling the workings of our world where humans are but cattle. This is basically dark Urban Fantasy, but it’s popular enough to get a distinction. Anne Rice’s Interview With a Vampire is an okay example. The movies Priest and Daybreakers are much better ones.

Cyberpunk: Cyberpunk, the grandfather of all of the punk genres. Characterized by dystopian and cynical future world in which technology has brought about cultural nihilism and a crap society. Often combined with Film Noir or detective fiction. (Fantastic Noir is a fantasy version of Cyberpunk). Heroes are most prone to be some form of hacker, rebel, or antihero fight against a totalitarian police state or corporate empire oppressing the people. Examples Neuromancer by William Gibson and the movie Blade Runner.

Post-Cyberpunk: This is Cyberpunks chipper, more optimistic sibling. It has all of the vision of a scientifically advanced cyber-culture without the gritty, dark, and edgy world elements. It still share’s the Cyberpunk elements of analyzing how technology interacts and impacts with society, just without such a grimdark view of humanity. Examples would be Agent G by C.T. Phipps and The Peace War by Vernor Vinge.

Biopunk: Biopunk is Cyberpunks genetically engineered half-sibling. This punk centers around organic technology with a healthy smattering of bio-augmentation and biotechnology. Examples include In the Courts of the Crimson Kings by S.M. Stirling, West of Eden by Harry Harrison, and Wolfish Nature by Vladimir Vasilyev.

Nanopunk: Also a subgenre of Cyberpunk with characterized by the use of nanites and nanotechnology as the predominate form of technology. Examples are Tech Heaven by Linda Nagata and Micro by Michael Crichton.

Solarpunk: Solarpunk is a genre characterized by it’s environmentally friendly technology meshed with African and Asian cultures and an emphasis in community, art, and a bright solar future where humanity has found a balance between technology and nature. Can also include many elements of Biopunk, but with a much more optomistic, for-the-future-of-species-and-environment outlook. Example works include Zahrah the Windseeker by Nnedi Okorafor, Maurai by Poul Anderson, and Songs from the Stars by Norman Spinrad.

Apunkalypse: This genre is defined by the collapse of civilization where society is replaced by lawless bands of roving scavenger gangs or cities collapsing into decay or the rise of punks overthrows the rules of the past. Examples include Mad Max and Mortal Engines by Philip Reeves (which is also Steampunk, so it’s a good example of book incorporating more than one punk genre).

Desertpunk: Punk genre characterized by sand. Who doesn't love a good desert planet? Often features roaming tribes, wandering heroes, desert bandits, and sand storms. Can be combined with Cattlepunk, for a Western desert, or Apunkalypse, for an-after-the-end-of-the-world setting. Examples include Dune by Frank Herbert and Railsea by China Mieville.

Oceanpunk: This punk is set on the high seas. Often features floating cities of wood and iron lashed together and mighty nations fighting for dominion of the watery world and may also feature civilizations and cultures below the waves in underwater cities. Sometimes called Pirate Punk, because nothing breed pirate stories like ocean cities and sailing ships. Examples include The Scar by China Mieville, Tranquilium by Andrey Lazarchuk, and Dark Life by Kat Falls.

Megann Kammerman

The Fantasy Writer's Punk List

A master list of fantasy and science fiction punk genres for speculative fiction authors.

Did I Miss a Punk? Can you guys think of any other punks to add? Either ones you've thought up, or any you've heard of that I don't have listed. I'd love to keep this list updated. I find it's useful to look through when creating a new world to get the overall feeling of what I'm going for with the story and world-building.

What punk are you writing in for your current WIP?

Let me talk Mythpunk

I know, I know, I did not do a lot of Punk'o Clock over the last few weeks, but I am trying to get back into it. So, let me talk about Mythpunk.

Mythpunk can be something very specific or very vague, depending on who you ask. Though I would argue that a lot of the stuff I originally have written with my novels and such could be considered Mythpunk.

The basical concept of Mythpunk is to take aspects from mythology and folklore and mixes them with modern storytelling techniques. But, let's be honest. Most of Mythpunk is just a splinter genre from Urban Fantasy. Yes, there is non-Urban Fantasy Mythpunk, but really, most of the genre is within the Urban Fantasy genre. It should be added that there are also stories that are considered Mythpunk that are more about the aesthethic of mythology, without going into real mythology.

While the term was originally coined by the author Catherynne M. Valente, I personally would argue that the best known stuff from the Genre is a lot of the things Neil Gaiman has written. American Gods in my view is very much Mythpunk. As is Good Omens.

But if you have followed this little series for a while, there is obviously the next question: Is it really punk?

Because... Well, I would argue that a lot of the stuff I have written (including my one published book) very much is Mythpunk - but looking at the genre in general I would argue that... a lot of Mythpunk does not really feature any punk themes.

To remind you, punk is in general about fighting a system that is bad for people. Be it for your own freedom - or the freedom and prosperity of the masses. I would argue that a story about finding community and working as a community also can qualify as punk.

Now, you can absolutely tell punk stories within a mythpunk framework. For example, take the gods as a metaphor for people who oppress people. Or take gods and myths and frame things like colonialism through that lense. It is absolutely possible. But I would argue that a lot of mythpunk does not really do that.

Which is kind of a pity. I think if you really go into mythology there is a lot of interesting stories you can tell.

One just has to try.

The Punk-Factor of Punkpunk Genre

So, when I posted my history of Solarpunk, someone (probably not in good faith) asked: “So, what about the punk in all the other punk genres?!” towards my request to put the punk back into Solarpunk. And given that my autistic brain obviously cannot just let that stand… You know what? Let me talk about the other punk genre and in how far they are “punk”. I tried to be as exhaustive as possible, though there is a good chance, that I might have missed some of the punkpunk genre. So feel free to add.

Trying to judge the punkiness I do not assume punk as simple counter culture, but a specific ideology. Quote from Wikipedia:

[Punk ideology] is primarily concerned with concepts such as mutual aid, against selling out, hierarchy, white supremacy, authoritarianism, anti-consumerism, anti-corporatism, anti-war, imperialism, conservatism, anti-globalization, gentrification, anti-racism, anti-sexism, class and classism, gender equality, racial equality, eugenics, animal rights, free-thought and non-conformity

Most of the artwork here has been taken from concept art of either of the examples listed.

Sorted from most futuristic to pre(historic). Yes, the list is long.

Cyberpunk

We start with the OG punk genre, the one after which all other punk genre were named. Yes, you could argue that in fact the two genre following are more futuristic – but Cyberpunk kinda just had to start the list.

As a genre: Given that Cyberpunk had its start completely in literature it is the best defined in this regard. Taking place in a late stage capitalist dystopian world in which most is owned by megacorps who don’t follow anyone’s laws but their own, the protagonists usually are social outcasts fighting against their own oppression, trying to keep themselves alive in a world hostile to them. With cybernetics always being a core of the genre, it also tends to deal with the question of humanity in a “ship of Theseus” sort of way. How much can the human body be altered, before the human vanishes?

As an aesthetic: Cyberpunk is the most punk in terms of aesthetics, really. There is a lot of punk and grunge going on in terms of character design. Neon hair colors, fishnets and thorn up jeans jackets can be found here. As well as of course cybernetics on the characters. The world usually is a megacity with a stark divide between rich and poor, tons of neon signs, a slight Japanese influence, flying cars and somehow a constant downpour of rain.

Punk-Factor: Cyberpunk is the one punk genre, where the “punk” was chosen very knowingly as a name. Usually the protagonists are “punks” fighting for their place in the world against a suppressive capitalist system. (Also, they usually fit the punk aesthetic, if they don’t wear leather dusters.) It should be noted however, that especially in newer western Cyberpunk often the punkiness vanishes more and more – for the same reason we have so little Solarpunk: media that outright confronts the problems of capitalism is just less supported.

Examples: Neuromancer (1984), Mirrorshades: The Cyberpunk Anthology (1986), Snow Crash (1992), The Matrix (1999), Dredd (2012)

Biopunk

As a genre: As a genre biopunk is still fairly ill defined, as it mostly shows up as a subsection of Cyberpunk. Rather than the characters having cybernetic implants (or additionally to it) they are augmented on a genetic level. This can be all sorts of augmentations, changing anything from appearance to giving characters higher strength and agility, giving them claws or night vision, or in some cases even “magic” powers. Usually the genre tends to be set in worlds similar to Cyberpunk. In fact it might well be set in a cyberpunk world, only that characters with bioaugmentations exist parallel to those with cybernetics. Additionally, though, there is a subsection of this genre, that concerns reproductive rights.

As an aesthetic: Ironically biopunk is even less defined as an aesthetic. There is not a lot of biopunk art out there and most that exists can go in different directions. As such it often mixes elements from other punk aesthetics – like Cyberpunk, Steampunk or Dieselpunk – with an assortment of bodyhorror elements.

Punk-Factor: It is hard to define the “punkiness” of a genre, that barely exists for the most part. Usually, when it is set against a Cyberpunk backdrop, it might be very punky, but in other settings those punk elements vanish.

Examples: Ribofunk (1995), Altered Carbon (2002), Bioshock (2007), The Windup Girl (2009)

Nanopunk

As a genre: Like Biopunk Nanopunk mostly exists as a subsubgenre to Cyberpunk, often being set in a mostly Cyberpunk world, only that instead of or additionally to Cybernetics, the technology used to alter the human body is nanites. These serve the same function as the genetic manipulation in Biopunk, giving the human in question more strength and agility and at times more or less magical abilities. There is one common plot that comes up again and again, with an AI or megacorp turning the nanites against the people they inhabit or trying to control them.

As an aesthetic: Aesthetically Nanopunk does not have much in terms of its own identity. Most artworks relating to Nanopunk feature a similar aesthetic to Cyberpunk, with megacities and lots of neon.

Punk-Factor: This genre is so small, that it is kinda hard to judge the exact punkiness.

Examples: The Diamond Age (1995), Prey (2002)

Solarpunk

As a genre: Being another genre, that started as such, Solarpunk is a bit better defined. Solarpunk usually takes place in a world post-strive. It is post-capitalist and decolonial in its settings, usually featuring a world that has either formed against the backdrop of preventing climate collapse or in the aftermath of it. A lot of it features people rebuilding – or alternatively building communities. It always features elements about living in harmony with nature or trying to do so. So far, the genre is mostly defined by short stories, partly because there is still disagreements within the movement, how far a conflict can be taken to still qualify as Solarpunk.

As an aesthetic: Solarpunk has a very strong aesthetic definition, mostly featuring all sorts of cities and urban areas, that incorporate natural elements into the urbanity, with greenery growing on roofs and concrete car-centric streets being replaced with more natural, walkable areas. The character design aesthetic is not quite as clearly defined, but usually features natural materials and patterns usually seen within indigenous art.

Punk-Factor: Contrary to what many say, Solarpunk is fairly punk, as it very much embraces the entire anti-hierarchical, anti-capitalist mentality. With the big difference, that the punk mentality is no longer counter culture, but the mainstream culture.

Examples: The Dispossessed (1974), Nausicaä (1984), Laputa – Castle in the Sky (1986), Princess Mononoke (1997), The Summer Prince (2013)

Lunarpunk

As a genre: Lunarpunk is pretty much a subsubgenre of Solarpunk, just as Nanopunk and Biopunk are sprung off from Cyberpunk. It is so far ill-defined as a genre, but the general consensus is, that it is set in solarpunk-esque worlds, but with a heavier focus on mysticism or spiritualism, at times outright including magic. It also tends to feature a lot darker places, being set in underwater or underground settings – or alternatively at night.

As an aesthetic: Lunarpunk is far more of an aesthetic than a genre so far. It features dark places, often with bioluminescent elements in it. Often featuring a mixture of black and dark blue with lighter blue, violet or light green elements shining in the middle of it. Mushrooms – especially glowing mushrooms – feature repeatedly in artwork.

Punk-Factor: Given that Lunarpunk is barely defined as a genre it is hard to estimate the punkiness in it. If it gets more stories, will those still feature the anti-capitalist and anti-hierarchical messaging we see in Solarpunk? This should be the defining factor. Some of the artworks use little aesthetics from the punk scene, but nothing much more.

Examples: Bioluminescent: A Lunarpunk Anthology (2023)

Hopepunk

Honestly, I had no idea where to put this one, given that it might technically be set at any time and place.

As a genre: Hopepunk is very much a genre, not an aesthetic. It has been defined as the opposite of grimdark by its “inventor/name-giver” Alexandra Rowland. The basic idea is to create fiction that instead of taking a dystopian, defeatist and violent approach, takes one defined by hope and to some degree pacifism. As such the genre can be set in any setting, real or fantastic. It mostly is defined by the protagonists taking opposition to cruelty and violence, fighting for a better world and, crucially, also partly archiving it. Other than in usual Cyberpunk, where the best possible ending, tends to be, that the protagonists get to live a somewhat better life themselves, Hopepunk aims to better the life at least for groups of people.

As an aesthetic: Being fully a genre, Hopepunk has no aesthetic associated with it.

Punk-Factor: Hopepunk is punk less in the sense of the protagonists or things happening within the story, which might or might not be punk, but was named such rather because it is considered counter cultural towards the gross of media at the moment, that often strives for a “realistic, gritty, grimdark” outlook on the world. Basically it is saying: “Hope is punk.” I will not make any judgement on whether or not this is true.

Examples: The Long Way to a Small, Angry Planet (2014), Mad Max: Fury Road (2015), The Good Place (2016)

Mythpunk

As a genre: Another one, that does not really fit into a temporal sorting system, because once again it can be set anywhere between the stone age and the far future. The basic idea is, that the story interweaves postmodern storytelling with elements from mythology or folklore. This can mean mythological, genre-traversing retellings, but it can also mean, that mythology seeps into any given story bit by bit. As such the genre with probably the most media in the subgenre is Urban Fantasy, which often borrows from mythology and incorporates these elements.

As an aesthetic: Mythpunk as an aesthetic is a bit strange. There is definitely a mythpunk aesthetic that exists, often mixing familiar elements with elements from mythology and folklore (at times also including quasi-folkloric works of literature, such as Alice in Wonderland and the Wizard of Oz). Often just a bit dark and twisted.

Punk-Factor: To be perfectly frank, for the most part, there is not a lot of punk to be found in this genre. While there have been definitely punky stories told within the genre, this is more a story decision than something inherent to the genre.

Examples: Pan’s Labyrinth (2006), Over the Garden Wall (2014), Inscryption (2016)

Dustpunk / Rustpunk / Desertpunk

As a genre: Kinda grouping those above all together, because people argue about what they might entail and in some interpretations they kinda are similar: Post-apocalyptic stories set in a world of sand and rust. Often featuring a loner character, having to go up against everyone to ensure his own survival – and at times being forced to learn, that the lonerness might not win him (and most often it is a him) anything.

As an aesthetic: Aesthetically this tends to be very much post-apocalyptic, maybe in some cases with some more classical punk elements added to characters and surroundings.

Punk-Factor: Given that there is neither a system to rage against – nor a new, less hierarchical system – usually there is not that much punk outside of some aesthetic choices. Neither tend those stories go into constructing worlds of mutual aid or working against oppression.

Examples: Anything Mad Max should count for this.

Atompunk

As a genre: Atompunk usually deals with themes connected to the cold war – in some cases directly, in some indirectly. Often it overplays the American ideals that were pushed for during the cold war era and portrays scenarios in which American Exceptionalism slowly reveals itself as the dystopia most punks already know it to be. Outside of this vague idea for the setting, the genre is less described, as there is less of a clear script an Atompunk story might follow. So, little description of who might be the protagonist and what their role is.

As an aesthetic: The aesthetic of Atompunk borrows heavily from the Raygun Gothic aesthetic. So, futurism, as it was imagined in the 1950s and 1960s, with heavy influences from late pulp age science fiction art.

Punk-Factor: The aesthetic in this is definitely not punk. The stories often have some vague punk ideas of recognizing how fucked up the world has become, but given the genre is fairly wide in terms of stories, it is hard to give a definite answer to how “punk” it is. One can definitely tell punk stories within this genre, though.

Examples: Hitchhiker's Guide To The Galaxy (1978), Fallout (1997), Futurama (1999)

Dieselpunk

As a genre: Dieselpunk is once again an example of “strong aesthetic, but no clear genre identity”. Generally, Dieselpunk is concerned with the interwar period, but might cover either of the world wars. In some cases the genre features alternate timelines, in which one war happened and not the other, or in which another faction won, with the technological development being influenced by this as well. But as a genre it is not much defined. A lot of stories building on Lovecraft’s legacy feature Dieselpunk in some regards. And there is definitely a subsection of Dieselpunk stories centered around “what if Nazis won” or “what if Nazis somehow went underground and did their own technological development after the war”. Also, there are a lot of stories about pilots of war planes in this genre.

As an aesthetic: As an aesthetic Dieselpunk is more clearly defined. A lot of bare metal and the sorts of technology you would expect from this era, often with retro-futurist and art noveau elements in between. A lot of the fashion within the genre is defined by pilot and military clothing of the times, but at times also dipping into “roaring 20s” fashion styles.

Punk-Factor: In this genre I would generally say: “If the story involves punching Nazis, you might get a couple punk points – but otherwise this is not really punk.”

Examples: The Iron Dream (1972), Brazil (1985), Dark City (1998), Iron Sky (2012), Bitter Seeds (2010)

Teslapunk

As a genre: Yet another one of these, that exists mostly as a vague idea, with no clear definition. The basic idea is a world, that works on Tesla’s inventions. And as those of you, who watched Doctor Who, might know, Tesla sorta, kinda already invented the internet or had an idea of what it could be and how it could work. So a Teslapunk world is based in an alternate timeline, but might in fact go into light futurism. There is not much in this genre though with a unique thematic identity, as stories that use Teslapunk as a backdrop rarely have coherent themes.

As an aesthetic: The aesthetic of Teslapunk is basically “Steampunk, but with Tesla-coils and electricity”. Which is not a big surprise given that Tesla came from the same era that would also be the inspiration for Steampunk. So, we have a lot of Victorian fashion, maybe some light augmentation, airships, and – again – all the tesla coils you can muster.

Punk-Factor: As, again, I think punk is more about themes than aesthetic, this is once more not really possible to judge, because there do not seem coherent themes within the genre so far.

Examples: The Prestige (2006), Sherlock Holmes: A Game of Shadows (2011), Bioshock Infinite (2013)

Arcanepunk

Another one of those that do not neatly fit into the timeline…

As a genre: Arcanepunk takes place in a world, where both magic and technology have developed. In some cases both developed side by side, in others, we might have a technological world, that suddenly discovers magic by some happenstance. The fact is, though, that both exist parallel to each other or might at times be intertwined, with technology being powered by magic. This can exist at different technological stages, usually featuring settings inspired by the late 19th or early 20th century. But usually futuristic stuff that includes magic might be considered Arcanepunk, just as might stories that mix 18th century technology with magic. While also a vague genre, there is a repeating theme of magic being hoarded by those in powers and the poor and downtrodden finding ways to still use it in their own advantage.

As an aesthetic: Given that Arcanepunk’s setting is defined by the co-existence of magic and technology, rather than a specific technology, Arcanepunk has less of a defined aesthetic. Never the less, we have a part of punk aesthetics that often come up, as a surprising amount of Arcanepunk features characters with neon colored hair.

Punk-Factor: Another genre that is rather thin, yet, there is a surprising amount of stories featuring some punk ideas of fighting against an oppressive system and being counter culture to a main culture build around suppression.

Examples: Too Many Magicians (1966), Shadowrun (1989), Bartimaeus (2003), Arcane (2021) duh

Steampunk

Steampunk was the second genre to pick up the “punk” suffix and hence is as much responsible for the punk-punk as Cyberpunk as the originator.

As a genre: Being named as early as it has been, Steampunk kinda suffers the same issue as Cyberpunk itself. There is a lot of ideas there, but some are only vaguely defined. In general, though Steampunk always takes place in a world where the steam engine became the defining technology and was never replaced with the combustion engine. As such cultural aspects from the steam era, especially Victorian England and the Belle Epoche, still carry over for longer, than they did. So often we will see noble households based around similar values as the puritan Victorian English families, while the very poor are made to work in workhouses. At times we might also see themes of colonialism here. In some cases magic might exist in these worlds, as might electricity for some aspects. There is often a heavy inspiration from Jules Verne and H.G. Wells. Though it is still hard to define the “stereotypical steampunk story”, given that Steampunk offers a wide variety of stories, from adventure stories and romances, over to stories where people rise up against the Victorian-esque society.

As an aesthetic: Steampunk as an aesthetic is very much influenced by Victorian aesthetics and the time period of the late 19th century, mostly in the USA, Great Britain and France. But as all other punk genres it knows very well: “If it is worth doing, it is worth overdoing,” so steam-related elements are added to everything. Could

Punk-Factor: In the original idea for Steampunk was a lot of punk. “What if we took Cyberpunks ‘rage against the unjust system’ and made it 19th century” they asked. But given that the genre branched out so much, it is not necessarily there in all the stories. There is a ton of stories where people rage against that steam powered Victorian machine – but also a ton in which the Victorian world gets idealized and romanticized.

Examples: Thief (1998), The League of Extraordinary Gentlemen (1999), Wild Wild West (1999), Clockwork Century (2008) – also half of all Sherlock Holmes adaption made after 2000 in any medium usually use Steampunk elements

Silkpunk

As a genre: Silkpunk is hard to define, despite there being a clear definition. The reason for this is, that the person who coined the term – Ken Liu – had a very specific idea in mind. He explains that the idea is of a world that has technology as language. In which form is as important as function, is made to speak a language all of its own. Inspired by ideas from W. Brian Arthur and Chinese philosophy. However, what the wider Science Fiction and Fantasy community made from it was “Steampunk but East Asian!” But given he coined the term (and also the alternative feels vaguely racist) I am going to go with Ken Liu for this. While Silkpunk will usually be set in an East Asian inspired world, the central idea is about the duality of technology, which will also be addressed within the stories.

As an aesthetic: As said above, the idea Liu had for it was a world that features some technology, but technology that is as much about form and communication through it, as it is about function. So the technology here has strong visual ideas. At least that was, how Liu intended it. Once again, the wider community made “Steampunk, but East Asian” out of it.

Punk-Factor: There is not a lot of stuff in this genre for now – however so far I do not manage to see a lot of punk ideas in it, even though some of Liu’s stories definitely feature the concept of challenging a higher power.

Examples: Dandelion Dynasty (2015), The Black Tides of Heaven (2018), The Tea Master and the Detective (2019)

Clockpunk

As a genre: Once again storytelling in this genre is not really defined, but the worlds diverge a bit before the wide adaption of steam, instead featuring mechanical devices powered by coils and springs and somehow kept alive, often at least implied through some form of arcane magic that gives “live” to these mechanical inventions. Most examples of Clockpunk, however, tend to show up as settings for parts of fantasy stories. Any fantasy world might have this “Clockpunk” area, where protagonists might travel. Especially games tend to feature this. While there is definitely a trope of the “mad inventor” often going along with this, few other tropes stand out.

As an aesthetic: The aesthetic of Clockpunk tends to take some inspiration from the early 19th century, but tends to add a lot of gears to everything, with even city wide gear constructions keeping things working. We often will find mechatronic characters, such as wind up soldiers or wind up dancers.

Punk-Factor: Once more, there are so few stories told, that it is kinda hard to speak about how punk this is. Most stories told so far, however, do not feature punk elements.

Examples: The Great Mouse Detective (1986), Hugo (2011), Clockwork Planet (2017)

Whalepunk

Please note: This is one of those genre, I would love to see more in, though so far it is barely explored.

As a genre: And you might ask: “Why do you even name those genre, that exist mostly in theory?”, to which I might answer: “Because I am a nerd.” As all these retrofuturists genre, Whalepunk imagines mostly an alternate historical timeline, where the technology that became defining was based around whale oil. This means that in Whalepunk often whalers or harbors play a big role, though as the genre is again very thinly spread, it is hard to say what “THE whalepunk” formular is. It seems there is a tendency, to mix some mysticism or magic into the genre, though, as the idea of hunting sea monsters often plays into it as well. Good chance that it could at some point merge with Cthulupunk (which I did not name separately, because most of it is either covered in Whalepunk or Dieselpunk).

As an aesthetic: The aesthetic of Whalepunk is basically “Steampunk, but with more sailors, ships and sea monsters”. There is definitely a bit of Oceanpunk mixed into it as well, with some aesthetics being somewhere between Steampunk and Dieselpunk. (Which is kinda ironic, because whale oil was mostly used in the early 19th century.)

Punk-Factor: And again. There so far is not a lot of connective thematic tissue within that genre, so exploring themes is kinda hard.

Examples: Dishonored (2012), Dredge (2023)

Oceanpunk / Piratepunk

As a genre: It really is hard to divide the Piratepunk out of the Oceanpunk, though some might call it different. The idea here is that this genre features stories mostly set on the ocean and often more heavily leaning into fantasy, than science fiction. While the worlds might feature technological elements, they will almost certainly feature magical elements of some sort. The characters will usually be seafaring one way or another and stories might involve any sort of adventure. There might be a storyline, though, about one company or nation trying to control the seas – often times through magical means – with the characters often unwillingly being made to oppose them. This genre might also take place in a post-apocalyptic setting with a flooded planet.

As an aesthetic: While the aesthetic is not clearly defined, there is a good chance that it borrows heavily from the late 17th and early 18th century and the golden age of piracy, when it comes to both ships and fashion sensibilities.

Punk-Factor: Pirates, at least as far as modern media imagines them, tend to be very punk, as they tend to inherently oppose any sort of government and what not. While the punk is not there in all of the stories, a lot of the most popular stories from the genre will feature at least lightly punky elements.

Examples: One Piece (1997), Pirates of the Caribbean (2003), Assassin's Creed IV: Black Flag (2013)

Dungeonpunk

As a genre: So, the idea of the genre is basically “What if Cyberpunk, but Dungeons & Dragons?” Usually set in a vaguely medieval world, this world still shows the same corporate corruption as your usual Cyberpunk world. Adventurers are just another resource to be exploited by the system, their day job involving going on yet another dungeon crawl. For this there might be some technology entirely powered by magic, with those magic items taking over the same functions technology might have in a Cyberpunk world. And yes, indeed some brave dwarf, elf or halfling might rise up and challenge the corporate dungeon syndicate. (As you might sense: Yes, this genre tends to be at least partly a bit of a parody of the punkpunk idea. Though it also can be played straight as “Cyberpunk conflicts, just that all technology is somehow magic.”)

As an aesthetic: This is once again one of the examples, where there is a clear idea behind it – but absolutely no clear aesthetic, as this genre might cover anything from medieval settings to a lot more modern stuff.

Punk-Factor: The base idea, being heavily inspired by the base idea of Cyberpunk, just from a very different perspective. But too many people read the genre as “Magic Technology, yay”, in which case, no, it is not punk.

Examples: Dungeons & Dragons can be played this way, also Final Fantasy VI – XIII definitely counts.

Sandalpunk

As a genre: I mostly include this for the sake of it, because this genre tends to boil down to “fantasy set in ancient Greece or Rome, but with vaguely anachronistic elements”. It might also include alternate history stories (even going so far as Science Fiction) based on the idea “What if Ancient Rome/Ancient Greece never fell?” There is no real overarching themes, even though I could imagine some interesting way one could build those up. So far, though, it is mostly a vague gesture towards: “SciFi Fantasy, but with more ancient civilizations.”

As an aesthetic: The aesthetic is usually just Ancient Rome or Ancient Greece, but with more magic or anachronistic elements.

Punk-Factor: Given the super vague nature of the genre and the fact that it seems more like a genre of hindsight (with most media being declared this having been released even before 2000)… Nobody wrote those stories to be punk. The one punk thing I can see about several of these stories is people challenging Gods, but… That’s about it.Examples: Hercules: Legendary Journeys (1995), Xena: Warrior Princess (1995), God of War (2005)

Stonepunk

As a genre: The basic idea of Stonepunk is, that it is set in a stone age world, but with the technology being pressed towards a very anachronistic end, which is often played for laughs. Basically it gives stone age people a modern seeming world, though not really. Often enough this is used to make a point about the modern world and parody it in some regard. An argument can be made for stories, that feature stone age technology people being somehow subjected to modern technology (for example through time travel or space travel) also possibly falling into this genre.

As an aesthetic: Usually the aesthetic of Stonepunk is one of an overplayed stone age setting. The clothing characters might wear are not what we know is historically more accurate but really just “everyone wears a pelt around their shoulders”. Meanwhile stone age tools get spun to be used as all sorts of modern technologies.

Punk-Factor: The genre does usually not feature punk themes. However, the nature of parodying and challenging the modern world tends to be punk in its own merit, I assume?

Examples: The Flintstones (1960), The Croods (2013), Horizon: Zero Dawn (2017)

That's it. That's the list.

Feel free to add to it.

Learn the Differences Between Novelettes, Novellas, and Novels

Since I am currently in the process of writing a story, but I'm not sure what I want it to be... I'd figure I'd go ahead and share the differences!

So let's get to it!

Writing the first draft of a novel can be a daunting, arduous task. That’s why the novelette format can be so appealing. In many ways, a novelette is like a short novel. It allows writers to hone their craft by learning how to tell stories under a strict word count restriction.

What Is a Novelette?

The definition of “novelette” is any short, fictional work of prose narrative. Novelettes have a lower number of words than a novel or novella, but a higher word count than other forms of prose fiction like short stories or microfiction. Despite lacking the page count of a full-length novel, novelettes generally tell a complete story. Some people refer to novelettes as “long short stories” or “short novellas.”

How Long Is a Novelette?

Any work of fiction with a word count between 7,500 and 19,000 is generally considered a novelette. A novelette is longer than a short story, which usually has a word range of between 1,000 and 7,500 words, and flash fiction, which is usually under 1,000 words. Any piece of creative writing that is longer than a novelette but shorter than a novel is considered a novella.

Three Differences Between Novelettes and Novellas

A novella is a standalone piece of fiction that is shorter than a full-length novel but longer than a short story or novelette. Novellas incorporate many narrative and structural elements of novel-length stories—but like novelettes, they often focus on single points of view, focusing on a single central conflict, and rely on fast pacing. Here are the differences between novelettes and novellas:

Word count: The primary difference between a novelette and a novella, then, is word count (novelettes are shorter than novellas).

Subject matter: Traditionally, novelettes tended to focus on whimsical, sentimental themes. The modern-day novelette, though, is more like the novella in that it can encompass different genres like sci-fi, drama, or historical short fiction.

Complexity: In terms of storytelling ambition, novelettes tend to split the difference between novellas and shorter forms like short stories. Novelettes tend to have a greater focus on character development, worldbuilding, and plotting than short stories. However, the stories are generally more concise and focused than a novella-length work, as the word count is often too restrictive to tell a long story.

Three Differences Between Novellas and Novels

The most obvious difference between novels and novellas is page length and number of words. However, beyond this superficial difference, many structural and thematic hallmarks of novellas make them their own standalone genre of writing. Some of these include:

 A single central conflict: Most novellas explore a single, compelling central conflict. Because of their shorter length, novellas have less time to explore subplots and tend to focus on the main plot. Novellas generally have one main character and a handful of secondary characters. Because of length constraints, most of the character development will be focused on the protagonist.

 Fast pacing: Novellas usually move at a quick pace. Whereas novels can spend time diverging from the central conflict to delve into backstory and explore multiple points of view, novellas generally offer a quick compelling story with a singular point of view.

Unity of time and place: When writing novellas, writers should root the action in continuous time within a limited space, ideally one location.

Benefits of Writing a Novelette

For short story writers or people who generally write shorter works, novelettes can be an opportunity to tell a longer-form, standalone story. For writers who are used to writing, say, full-length science fiction or fantasy novels, the word count restriction of a novelette offers a chance to tell a good story with a simple cast of characters and few subplots.

Seven Examples of Novelettes

Novelette writers know how to tell a complete story in a relatively short amount of time. Here are some famous examples of novelettes, many of which were originally published in literary magazines:

The Fall of the House of Usher by Edgar Allan Poe (1839)

The Strange Case of Dr. Jekyll and Mr. Hyde by Robert Louis Stevenson (1886)

The Metamorphosis by Franz Kafka (1915)

The Call Of Cthulhu by H. P. Lovecraft (1928)

The Little Prince by Antoine de Saint-Exupéry (1943)

Bloodchild by Octavia E. Butler (1995)

Hell Is the Absence of God by Ted Chiang (2001)

I hope this helps! Thank you for still being my followers and patiently waiting for a post!

Chapter 1: Present time

This chapter contains themes that may be sensitive to some readers, including:

References to past violenceMentions of death, Light school stress and academic pressure, Brief mention of dangerous creatures and plants (idk how sensitive are yall but hell yeah), Mild language.

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Hagarin's POV After many years, we are finally old enough to leave the institution and live independently in the city. My sisters and I are still together and living under the same roof. I also saw several changes in ourselves as we grew up.

And today, both Hanari and I are 15 years old. We spent years studying within the facility and never had the opportunity to attend a regular school. Now that we are living alone, we can finally attend school. I considered staying at home and do houseworks while my two sisters continue with their studies, but Hanari insisted that I should as well.

We all know that education will always be important in many aspects in lives. 

In the world we live in, survival demands sharp minds—not just sharpened by magic, but by the brutal chaos we humans created for ourselves.

We’re still human, I suppose. Just tainted—twisted by the very magic that makes me wonder: is this still humanity, or were we meant to become something else entirely? 

The world has grown far more advanced ever since magic spread across it. Nothing feels impossible anymore. Some have forgotten where they came from. Others cling to old traditions and beliefs. And then there are those who simply don’t care.

Maybe that’s why the world feels so loud. Everyone’s different now, and no one seems willing to accept what we’ve become.

Look around, and you might see flying cars soaring through the skies of this city. In another, people ride enchanted brooms as their everyday transport. Everything and everyone is different—blended together in a strange mix of magic, machines, and habits.

But here…

I live in a city considered the richest in the world. The nation itself—Aloy—owes its wealth to vast oil reserves. Oil money built everything here. Because of that upper hand, nearly everything is accessible. Magic, technology, luxury—you name it. In Aloy, nothing feels out of reach.

What this city values most, though, isn’t oil—it’s metal. Preserved, traded, revered. I think it’s because the city was once ruled by a god whose very touch could turn anything into metal. Not figuratively—literally. Stone, wood, even flesh. Everything he touched became metal.

And that kind of power leaves a mark. On the land, on the people, on the way we see worth.

But that might not matter now. What matters is that every morning, we follow a certain timetable. I get up early to cook our breakfast, and Hanari and our younger sister will get up early to prepare for school. When they're finished, we'll all enjoy breakfast together. After that, Hanari will wash the dishes as I prepare for school, and our younger sister will assist in putting the plates back in the drawers.

That routine goes on and on everyday.

Sharing what has just happened at the school we attend is stressful, at least for me and Hanari. Our younger sister is stress-free since she is still young and a kindergarten student.

Lately, we have been learning many magic spells, doing scientific experiments, studying a bunch of literature and theses, and many more.

I can say that studying magic spells and doing scientific experiments will help us discover what elemental power we possess.

As I listen to my journalism teacher, I'm fighting the urge to fall asleep. She was now discussing the significance of magic, particularly how it began.

"Magic is important to everyone. No matter how unfair or how much chaos it brings to our lives." she went on to say. "And, in the beginning, the use of magic was legalized as a weapon to defend ourselves, but I have to warn everyone not to be such a prick when it comes to using magic." She giggled, went to the board, and began writing.

"To be exact, 8290 years ago, magic was discovered by a witch," she said, making my focus adjust to her as I listened. I was intrigued. "That witch was none other than Victoria Lemioska." It intrigued the whole class. "Also known as; Victo. Now that you all came to a realization, in all places in the world, her face, and statues are everywhere. As we are all deeply connected with her discovery of the magic," she said before turning to us once again.

"Since Victo is a witch, she first discovered a spell to make a withered plant come back to life." The teacher pulled out a withered rose and used magic to bring it back to a healthy life while it floated in the air. "Victo discovered that spell and named it Resuscitate."

"As time passes by, more spells are discovered by her."

"You can learn it in your spell class."

"But as a journalist, I have seen her notebook filled with magical spells; half of it is forbidden to be used as it casts irreversible damage to anything." She snapped her fingers, making an image of the notebook appear in the air.

We all gazed up, awestruck. It's quite a hefty notepad. Though the object is significantly tarnished due to its age, I can see that the writing on the notepad is still legible and readable to anybody. However, I was attracted by the prohibited magic. I feel that the banned spells are not included in the magic books that are handed to us.

when the image disappeared and the rose landed on her desk. "The notebook was located in our national museum, the Metallica Museum." Our teacher was about to speak again, but then a student raised their hand.

"Ma'am, what about the five major elements?" A student asked.

"The five major elements were discovered by Baili Hermin," our teacher stated. "He was also a journalist like me, and of course, being a journalist requires traveling around the world to explore many things."

"Fun fact, he also used to work under the branch of media analyst, wherein I also work." She proudly claimed. "Moving on, it may sound unrealistic, but Baili met Victoria in a desert. Baili was almost attacked by a lion, but Victo blinded the lion with a spell and took Baili to a cave."

"There's proof, no matter how unrealistic, that Baili's diary was found, and it was also in the museum. He documented his whole journey of travelling around the world, and the most highlighted part of his diary was the discovery of the five major elements."

"He discovered it because of Victo. Baili wrote everything about what Victo said about magic spells, making it more believable that magic spells exist."

"When the article reached many people, the majority of the people started to panic, and out of panic, everyone else planned to execute Victo. The reason is that Victo is nothing but an outcast in the world; possessing magic is absurd and unbelievable."

"And yet, we are here, prone to using magic," our teacher said.

"The elements were discovered when Victo was executed; a light escaped from her chest, making it explode through the sky. It landed on humans, animals, and most importantly, plants."

"Which resulted in why we have species in the forest that are completely dangerous and can harm your life, for example, the flower Rafflesia."

"Before the light landed on that flower, it's just the biggest flower in the world and has a foul odor to attract insects to kill."

"Now it still does its purpose, but it has the ability to stretch away from its position and follow you everywhere in the forest." Our teacher deadpanned making the whole class laughed.

"To make this quick, the five major elements landed on five humans, and those humans are now known to be the gods of those major elements." Our teacher sighed. "We are all aware that the most powerful and rare element to possess is time; in other words, you can control the time, predict what's going to happen, and there are many other signs to feel if you possess one."

"Second is nature."

"Remember, never mess with nature itself, as it was the one that gave us a reason to live in, to breathe in. The ability to possess nature grants you access to control plants and animals."

"But isn't changing the weather also a part of it?" A student asked. "Only the god of nature can do that." Our teacher chuckled. "Come to think of it, the God of Nature has a 15-year streak of absence. Many say that her aura is still around, but many also believe she has passed away, and it's just nature speaking," the teacher sighed.

"Moving on, fire is on the third."

"In my study, fire is always predicted to be possessed by someone who has such a boisterous personality, while the ice one is someone who is...restrained. However, this is just a myth. It is still mostly believed that no matter what personality you posses you'd still get whatever." our teacher summoned her book and it was probably her personalized book. It has a lot of pages and everything that was written in that book was her understanding on how to predict which element do a person possesses.

"ah, here it is." She placed her book on the desk and started reading.

"The element of fire is known to be the most fascinating, exquisite and ravishing elemental of all. It was asserted as one considering a klatsch of people are indulged to play with fire even if it only steers to harm."

"and by all means of harm, it can also be describe as destruction." she finished making the whole class whisper among themselves. "But that doesn't mean to treat someone with disrespect just because they hold that elemental power." She sighed.

THIRD PERSON'S POV

The teacher noticed the change of atmosphere in her class and sighed. "You all probably have forgotten my name but once again, my name is Renée and I hope you all learned something today." Renée glanced at her watch on her wrist.

many students started to protest on her from leaving. They still have a lot of questions with the history but that will all be answered at the next time they see each other again. Renée only stifled a chuckle at the frustrated expression of their students. Curiosity truly made their heads run wild.

"An advance reading on your textbooks won't hurt. Simply just turn your page to chapter 5 and all of your questions will be briefly answered as it provides descriptive explanation to everything." Renée finally exit the classroom.

Once she did, the students in her class opened their textbooks to discover a lot more information. As Renée exit the classroom, she went to the elevator to venture her way to her next class but she was greeted by another teacher; Kyla.

"I see you've gotten your students all pumped up. Quite a headache to deal with." Kyla scoffed as she pressed on the buttons. It only made Renée shrug. "Don't act like you aren't as curious as them when you're at that age." Renée retorted to only make Kyla chuckle and let Renée's tone slide for now. "I assumed you've found someone with a rare element in this class. Hmm?" Kyla's eyes watched Renée's expression from the reflections of the elevator.

"It was such a rare occurrence indeed." Renée remembered Hagarin. "Her eyes are different from the rest. The colors were a lot more dull than the others making it more accessible to assume that she was an extraordinary person." Renée thoughtfully answered. "And this by this she you are referring to, who is she?" Kyla averted her eyes from Renée and focused on the door as it opened. a small ding was heard as they reached the floor. Renée walked ahead of Kyla but spoke before leaving. "Hagarin."

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2,022 words.

Chapter 2

One of my fave story ideas. I hope I get around to expanding on it!

Short Story- Not Another Paranormal Romance: By Adinelle Ggreeo

'The new boy was a demon straight from hell, who came to corrupt their school and she was the only one who was trying to do something about it.'

Fourteen-year-old Gabriella Pierre seems to be the only person at her school not completely enamoured by the supernaturally beautiful Cyrus Hinds, the new boy in their year. A simple touch of hands reveals to her an insidious visage and dark designs now intent on destroying her life.

'What better way for a demon to mess with a teenage girl than to 'fall in love' with her?'

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The new boy was a demon. She knew that it was hard to believe. Her friends didn't even believe her when she tried to tell them! They laughed, thinking she had a crush on the thing and was trying to deny it! The new boy–thing–creature, calling itself Cyrus was a demon straight from hell, who came to corrupt their school and she was the only one who was trying to do something about it.

He came to their school in the middle of the second term, an awkward time to transfer schools, especially secondary schools. He was placed in class 3-B as they had space from a couple of students who transferred out the years before. Gabriella was in class 3-D, so she didn't see or hear much about the new boy until lunchtime. She sat with her friends, Amaya, Kadiah and Marissa at their usual corner table in the cafeteria. Huffing softly, she listened as they gushed about him.

Amaya, being from 3-B, had all the gossip. Their usually quieter friend had a lot to say. With stars in her eyes and awe in her voice, she told them about the tall, handsome boy with deep brown skin and eyes like Brown Obsidian gems. His voice was warm and sweet like hot chocolate, his smile was as bright as diamonds and–

“He's the most beautiful boy I've ever seen!" she signed dreamily. Her wild curly hair flew around her, seeming to be taking part in her excitement and her glasses nearly fell off her face as she gestured wildly.

Gabriella huffed again.

"That's not saying much, Maya. Boys aren't that cute in the first place."

Marissa sighed in exasperation.

"Oh come on, girl. I know you have high standards when it comes to boys, but this one sounds like he would definitely surpass them!" She flicked her long plait over her shoulder, grinning mischievously.

Not this again. Gabriella rolled her eyes.

"I have zero standards for them because I expect them to always be up to no good!"

Her friends laughed good-naturedly.

"Whatever you say, Gabs," Kadiah chuckled. Her fingers were twirling one of her twists as she turned back to Amaya, who took that as her cue to continue singing praises about the new boy.

Suddenly, there was a commotion at the entrance. A small crowd was starting to form and voices were rising.

'Ahh,' she thought. 'The man of the hour is here.'

Sure enough, as the crowd parted like the red sea, the new boy came into view.

Oh wow. Gabriella felt her heart flutter a little in her chest. She frowned. It seemed Amaya wasn't exaggerating. He actually was that beautiful.

She thought he looked like one of those royal elves from the Young Adult novels the girls liked to swoon over. He was tall and trim with wide shoulders and a slim waist. The boring white shirt and purple trousers that was the boys’ uniform looked like designer wear on him. He had smooth skin with a few moles here and there and warm dark eyes. He smiled at the people around him, dazzling them with his pearly white teeth. His afro hair was cut into a fade with pentagram star designs on each side of his head. She was surprised he got away with that.

Everyone seemed to be eager to meet the new boy, practically throwing themselves in his face for him to notice them. Gabriella looked on in confusion, her face screwing up at the behaviour. What kind of circus show was this? Are they not embarrassed? These kinds of things only happened in the movies! She couldn't believe people were behaving this way. And over a boy! Sure, a very handsome boy, but still!

"Ahhhhh!" Amaya whisper-squealed. "He's coming this way!" She had latched on to Gabriella's arm squeezing and shaking her. Slapping her friend's hands away, she watched as the new boy made his way over to their table. Already a bit annoyed and not really in the mood to be nice, she spoke before the boy could open his mouth.

"What are you doing here?"

Her friends were aghast, trying to apologize to him and scold her at the same time. He waved them off, laughing softly. Her friends melted. Ugh.

"Amaya right?" he asked. Not waiting for an answer from the girl, he pulled out a sparkly pink pen from his trousers pocket, holding it out to her.

"Thanks for letting me borrow it."

Amaya took the pen reverently. Marissa and Kadiah gaze upon it as if it held the secrets to the universe. Amaya, still too shocked to say anything just nodded, still giggling.

Not missing a beat, the new boy carried on the one-sided conversation. "Are these your friends?"

That shook her back into existence. Amaya jerked, almost falling out of her chair.

"Yeah-Yes!" she almost yelled. "Th-these are my friends Marissa, Kadiah and Gabriella, who's normally really nice." She gave Gabriella an annoyed yet pleading look.

'Play nice and please don't embarrass us to death,' she seemed to say. "Everyone, this is Cyrus!"

Gabriella rolled her eyes but kept quiet. Cyrus smiled at the group and her friends visibly swooned. Honestly! She was starting to feel like she was in a teen drama!

"Nice to meet you all," he said. He held out his hand to shake. Kadiah, who was closest took it immediately, with both of hers.

"Yes, sooo nice to meet you!" she gushed.

Amaya and Marissa were more dignified, softly shaking his hand and giggling all the while. Gabriella stared at his hand for a few seconds. She looked up at him and scowled slightly when she saw that he was grinning down at her. He cocked an eyebrow in challenge. Fine then. She took his hand.

And that’s when things grew weird and terrifying.

Where their hands touched, smoke began to form and deep, nasty burns bloomed across his skin. The air filled with the stench of rotting flesh. Before she could pull back in horror, he did. He yanked his ruined hand back, cradling it to his chest. He hissed at her, his beautiful face contorting grotesquely. And not in the normal way your face goes ugly when you're angry. No, his face grew long and his mouth wide. His teeth went from perfect pearls to long, crooked, yellow daggers. His ears grew tall, long and pointed, like some kind of animal's and his eyes flashed bright and red, burning with a fire that could only be from hell.

Before she could scream, everything went back to normal.

Gabriella blinked, still frozen from the terror at what she saw. But Cyrus looked normal. Normal, pretty face and perfect smile. No pointy ears or red hellfire eyes. His hands were tucked into his pockets, but he wasn't behaving as if he had horrible third-degree burns. She slowly looked around at her friends, and at the other students in the cafeteria. No one was acting out of the ordinary. No one was acting as if Cyrus had just transformed into a monster. He wasn't acting as of he had just transformed into a monster.

Gabriella looked on as he made an excuse to leave, something about needing to head to the principal's office. Her friends cheerfully said their goodbyes. Amaya elbowed her not too gently.

"Fix your face," she hissed.

Gabriella felt the deep frown on her face. She smoothed out her expression but didn't bother to smile as her eyes met his. They were warm and brown and shining with interest. He didn't look upset but intrigued. He smiled at her, a slow, small smile that was meant to look shy.

"See you later, Gabriella?"

His eyes flashed red for just a millisecond. Her breath caught in her throat. She wanted to get up and scream at him, curse him out, maybe grab his face to see if it would burn just like his hand. But no. She would look crazy and get in trouble for attacking the new boy. So she smiled her fakest smile and said,

"See you later, Cyrus”.

Gabriella had some investigating to do.

"You do now" yelled someone from what HAD to be an upstairs. "I, Bob, the builder demon, have renovated your house for the low low price of living in the attic!"

"I guess I was right then" said the first one to speak.

The second one to speak didn't reply. He had fainted.

No upstairs

"I keep hearing footsteps upstairs."

"That’s impossible. We don’t have an upstairs."

There is no such thing as a perfect first draft. There are only great revisions.

Don’t get caught up with trying to make your first draft everything you want it to be. Instead, focus on the fundamentals, and then have fun sculpting it into what you imagine.

Ooh cool! Sounds like a great idea! Have fun ^_^

Elisis

Elisis is a fantasy worldbuilding project I have going on for many years. Since I was younger, I dreamt of creating a huge infinite fantasy universe full of unique planets to explore, each with its own civilizations, creatures, etc. I finally decided a name for this universe, and now its called Elisis.

Works/WIPs

In this universe, there are multiple works that i will be doing, think of MCU for example. I want to do movies, books, everything! Those are my biggest goals.

☆ The Mythology of Elisis

> Book explaining the mythologies from around the universe. Including the pantheon from each planet, their gods, goddesses, mythological creatures, and also superstitions.

☆ The Elisis Monstruary

> A book with all the creatures/monsters of Elisis. (Yes, all of them, from every planet)

☆ Tales of Elisis

> A book series showing you all the tales and short stories told by all the civilizations.

Biggest goals

☆ This project is massive and my biggest goal is to finish it (the worldbuilding)

☆ My other biggest goals are to create a movie script and multiple books.

☆ Fill an entire sketchbook with creatures/characters from Elisis.

In conclusion, I set a goal for myself to do as much worldbuilding as possible this month of November. Call this a challenge for me, haha.

Understanding Internal Conflict in Storytelling

Internal conflict is a vital tool in storytelling, enriching characters and deepening narrative impact. Understanding and effectively using internal conflict can transform a good story into a compelling, unforgettable one.

Introduction to Internal Conflict

Definition: Internal conflict refers to a psychological struggle within a character, often involving emotions, desires, or beliefs.

Purpose: It adds depth to characters, making them more relatable and complex.

Types of Internal Conflict

Moral Dilemmas: Situations where a character must choose between right and wrong, often with no clear answer.

Emotional Struggles: Conflicts arising from feelings like love, guilt, fear, or jealousy.

Identity Crises: Moments when characters question who they are or what they believe in.

Conflicting Desires: When a character's wants or needs are at odds with each other.

Examples of Internal Conflict

Classic Literature: Hamlet's indecision about avenging his father's death.

Modern Fiction: Katniss Everdeen's struggle between her survival instincts and her growing sense of rebellion in "The Hunger Games".

Film: Frodo Baggins grappling with the burden of the One Ring and its corrupting influence in "The Lord of the Rings".

Importance of Internal Conflict

Character Development: Drives growth and transformation, showing how characters evolve.

Engagement: Keeps readers invested in the character’s journey by creating empathy and tension.

Theme Exploration: Allows writers to explore complex themes like morality, identity, and human nature.

Crafting Internal Conflict

Believability: Ensure the conflict is realistic and relatable to the audience.

Depth: Give characters more than one internal conflict to make them richer and more interesting.

Resolution: Show how characters resolve or cope with their internal struggles, even if it’s not a happy ending.

Questions to Consider

What is the character’s main internal struggle?

How does this conflict affect their decisions and actions?

In what ways does the internal conflict drive the story forward?

And synonyms. So many fucking synonyms.

Being a writer is just 97% googling words to make sure they mean exactly what you always assumed they meant.

the holy grail types of fanfic