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gabeorelse.bsky.social
Gabe C
@gabeorelse.bsky.social
33 followers 39 following 44 posts
He/They, writer in theory. Rep: Mara Hollander
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gabeorelse.bsky.social
This one is very interesting to me because it's actually one of my big weaknesses! if i'm not paying attention to what I'm writing, i tend to skimp on description, internality, etc. part of this is because i'm an underwriter, part of this is because for a while i really believed 'Less Is More' 1/
cfranciswrites.bsky.social Charlotte Francis @cfranciswrites.bsky.social · Aug 15
Hello #SummerOfStory!

Day 15: Less is More

Disclaimer: This is a prompt game to discuss common writing tips & techniques, not an attempt to tell people how to write.

Over to you: Do you agree you can achieve more with fewer words? Any snippets to share where More beats Less?

#WritingPrompt
1: Title, Date, & Prompt Introduction This slide features a large torn piece of lined paper with the text "August 15th" at the top and the writing prompt "Less is More" in big script letters. There's a typewriter in the corner with a note saying "TOOLS not RULES". On the right, there's a speech bubble with prompt questions, a Bluesky butterfly, and it has a palm leaf background. Transcription: August 15th Less is More What's your take on this writing technique? Have you used it before—or do you avoid it? Share your thoughts, drop a snippet, or tell us how you'd use it in a scene. 2: What and Why This slide is a piece of lined paper with "What?" and "Why?" highlighted at the top and middle. It explains what "Less is More" means as a writing principle and why it’s useful. There's a Bluesky butterfly and palm fronds in the background. Transcription: What? Less is More is the principle that you can achieve greater impact with fewer—but better chosen—words. It’s an umbrella concept that covers economy of language, restraint in description, ditching unnecessary modifiers, and trusting the reader to fill in the gaps. Why? Cutting the clutter sharpens focus, increases clarity, and makes every word earn its place—giving your writing more punch and momentum. 3: In Practice This slide is a torn piece of graph paper titled "Goldilocks and the three extracts" with a subheading "Same scene, three passes: from cluttered to starved to focused." It shows three versions of the same short scene, labelled TOO MUCH, TOO LITTLE, and JUST RIGHT? The background is teal with palm leaves and there’s a Bluesky butterfly. Transcription: TOO MUCH "Well," she said, draping her embroidered sleeve across her face to shield her sore eyes, "that’s rather excessive." Down in the barren city, colour was a rare commodity. Prickly pears ripened on the cactus pads, turned a tender pink, and vanished into hungry hands before you could properly appreciate it. Up here, in the lap of excess, colour felt like an act of war. A multitude of flowers exploded in vibrant, regimented rows, furious reds and glorious golds on one side facing off against moody blues and triumphant purples on the other, trapping Ess in a merciless floral battle she wanted no part of. TOO LITTLE "Excessive," she said, shielding her eyes. In the city, colour was rare; prickly pears ripened, and the next moment, they were gone. Up here, colour meant war: rows of flowers, reds and golds facing off against blues and purples, boxing Ess in. JUST RIGHT? "Well," she said, throwing up her arm to shield her eyes, "that’s excessive." Down in the city, colour was a rarity. Prickly pears ripened, turned pink, and vanished into hungry hands before you could appreciate it. Up here, colour was an act of war. Flowers exploded in regimented rows, reds and golds on one side facing off against blues and purples on the other, trapping Ess in a floral battle she wanted no part of. 4: What do you think? This slide is a torn piece of paper with discussion questions for writers about using the "Less is More" principle. There’s a speech bubble repeating “TOOLS not RULES,” a Bluesky butterfly, and palm fronds in the background. Transcription: What do you think? What's your take on Less is More? Do purposeful, well-chosen words make a scene clearer and stronger, or does a bit of extra texture earn its place? How do you tell the difference between vivid detail and clutter—especially with modifiers and asides? Is 'less is more' something you write toward from the start, or a lens you apply in revision? Share your thoughts, drop a snippet, or share an example you love (or hate). Hot takes welcome—just please don’t set anyone on fire!
August 15, 2025 at 2:31 PM
gabeorelse.bsky.social
LOVE THIS. subtext is my favorite thing. tbh i think a huge part of my journey as a writer is learning how much can be said beneath the surface. ex: in this excerpt, my MC is terrified of the prospect of allowing his ghost best friend (long story) to move on, but she doesn't know this.
An excerpt of a conversation: Jaime studies him, or maybe she studies his silence. Her bare foot presses again into his ankle. You good? “Yeah.” But he sighs, palming his stubbled chin. “I can’t remember what I named my fish.” Your fish? “In second grade, remember?” Oh—yeah. Her brow crinkles. Wasn’t it Louie?
August 12, 2025 at 11:20 AM
gabeorelse.bsky.social
Tbh I don't love this because it usually leaves me invested in the action only to lose that when we switch to the actual beginning. I think (IMO) to do this right you need to maintain a clear hook between the action & the beginning to keep the reader invested through that switch
cfranciswrites.bsky.social Charlotte Francis @cfranciswrites.bsky.social · Aug 11
Hello #SummerOfStory!

Day 11: In Media Res

Why start at the beginning when you can throw your reader into the thick of it? In Media Res drops them right into the action, questions swirling, tension already crackling.

Do you love it, hate it, or find it confusing?

#WritingPrompt
1: Title, Date, & Prompt Introduction This slide features a large torn piece of lined paper with the text "August 11th" at the top and the writing prompt "In Media Res" in big script letters. There's a typewriter in the corner with a note saying "TOOLS not RULES". On the right, there's a speech bubble with prompt questions, a Bluesky butterfly, and it has a palm leaf background. Transcription: August 11th In Media Res What's your take on this writing technique? Have you used it before – or do you avoid it? Share your thoughts, drop a snippet, or tell us how you'd use it in a scene. 2: What and Why This slide is a piece of lined paper with "What?" and "Why?" highlighted at the top and middle. It explains what "In Media Res" means as a writing technique and why it's useful. There's a Bluesky butterfly and palm fronds in the background. Transcription: What? In Media Res (Latin for 'into the middle of things') means starting your story or scene in the midst of the action rather than at the chronological beginning. You drop the reader straight into a moment of conflict, drama, or change, then fill in the backstory as the scene unfolds. Why? It grabs attention instantly and hooks the reader before they can wander off. By starting with action or intrigue, you raise immediate questions they'll keep reading to answer. 3: In Practice This slide looks like a piece of graph paper and is titled "The OG In Media Res". It explains that these days, In Media Res refers to scenes that start fast or in the middle of action, but originally, when coined by Roman poet Horace, it meant beginning a story in the heart of the action or climax of the whole work. Two diagrams are shown: The first is the chronological narrative structure most books utilise – boxes for "Exposition", "Rising Action", "Climax", "Falling Action", "Resolution", with "Inciting Incident" marked between Exposition and Rising Action. The second is the structure of a story starting In Media Res – starting with "Inciting Incident or Climax", then "Exposition", "Rising Action", "Climax", "Falling Action", "Resolution". A note says: "Your start point comes from this part of the story, but then you go back and catch the reader up on what they missed." A Bluesky butterfly sits in the corner. Transcription: These days, In Media Res refers to scenes that start fast or in the middle of action. Originally though – in the way back when of the Roman poet Horace, who coined it – it referred to a specific story structure, beginning in the heart of the action or climax of the whole work. This is the chronological narrative structure most books utilise: Exposition → Rising Action → Climax → Falling Action → Resolution And this is the structure of a story starting In Media Res: Inciting Incident or Climax → Exposition → Rising Action → Climax → Falling Action → Resolution Your start point comes from this part of the story, but then you go back and catch the reader up on what they missed. 4: What do you think? This slide is a torn piece of paper with discussion questions for writers about using the "In Media Res" technique. There's a speech bubble repeating "TOOLS not RULES", a blue butterfly, and palm fronds in the background. Transcription: What do you think? What's your take on In Media Res? Have you ever started a book like this? Do you enjoy stories that start in the thick of things, or do you find them confusing? Does this technique work best for action-heavy plots, or can it shine in quieter, character-driven drama? Share your thoughts, drop a snippet, or share an example you love (or hate). Hot takes welcome – just please don't set anyone on fire!
August 11, 2025 at 3:17 PM
gabeorelse.bsky.social
I mostly agree with this, but with some exceptions. sometimes you pull a genre shift, or the tone/initial promise is a red herring. one example: fantasy books in which the setting turns out to be the far flung future. definitely not promised on the first page, but can also work really well.
cfranciswrites.bsky.social Charlotte Francis @cfranciswrites.bsky.social · Aug 9
Hello #SummerOfStory!

Day 9: The First Page Makes a Promise

Also called "The Promise of the Premise". It essentially means there's an unspoken pact between reader and writer: "I will give you my time if you promise to deliver on the expectations you set-up in the opening pages."

#WritingPrompt
1: Title, Date, & Prompt Introduction This slide features a large torn piece of lined paper with the text 'August 9th' at the top and the writing prompt 'The First Page makes a Promise' in big script letters. There is a typewriter in the corner with a note saying 'TOOLS not RULES'. On the right, there is a speech bubble with prompt questions, a Bluesky butterfly, and a palm leaf background. Transcription: August 9th The First Page makes a Promise What's your take on this writing technique? Have you used it before — or do you avoid it? Share your thoughts, drop a snippet, or tell us how you'd use it in a scene. 2: What and Why This slide features a piece of lined notebook paper with the headings “What?” and “Why?” on torn sticky-note labels. A bluesky butterfly sits in the upper right corner, and palm fronds frame the background. Transcription: What? The First Page(s) isn’t just an introduction to your book, it’s a promise you make to the reader: “This is the journey I’m taking you on.” The tone, genre, and mood you set here are a promise you’ll keep. If you open with high-stakes adventure, delicious banter, or creeping dread, the rest of the book needs to deliver that same energy. Why? If your book swerves away from the tone, genre, or central idea you set up at the start, readers might abandon you mid-journey. Honouring the set-up you establish in the opening pages builds trust and keeps the story on track. 3: In Practice This slide looks like a piece of graph paper and features the first page of To Kill a Mockingbird by Harper Lee, along with commentary. The background is teal with palm leaves. Transcription: Opening Page of To Kill a Mockingbird by Harper Lee When he was nearly thirteen, my brother Jem got his arm badly broken at the elbow. When it healed, and Jem’s fears of never being able to play football were assuaged, he was seldom self-conscious about his injury. His left arm was somewhat shorter than his right; when he stood or walked, the back of his hand was at right angles to his body, his thumb parallel to his thigh. He couldn’t have cared less, so long as he could pass and punt. When enough years had gone by to enable us to look back on them, we sometimes discussed the events leading to his accident. I maintain that the Ewells started it all, but Jem, who was four years my senior, said it started long before that. He said it began the summer Dill came to us, when Dill first gave us the idea of making Boo Radley come out. I said if he wanted to take a broad view of the thing, it really began with Andrew Jackson. If General Jackson hadn’t run the Creeks up the creek, Simon Finch would never have paddled up the Alabama, and where would we be if he hadn’t? We were far too old to settle an argument with a fist-fight, so we consulted Atticus. Our father said we were both right. I can think of few books that map out the journey to come as well as Harper Lee does in the opening page of To Kill a Mockingbird. In a few hundred words, she captures: * Introduces the narrator's reflective voice, rooted in childhood memory * Hints at the climax: how Jem broke his arm * Establishes a Southern setting shaped by history and heritage * Presents key characters: Jem, Scout, Dill, Atticus, and the elusive Boo Radley * Foreshadows major themes: justice, perspective, and the loss of innocence * Quietly signals this is a story about how the past shapes who we become 4: What do you think? This slide is a torn piece of paper with discussion questions for writers about using 'The Power of Page One' technique. There's a speech bubble repeating 'TOOLS not RULES', a bluesky butterfly, and palm fronds in the background. Transcription: What do you think? What's your take on this technique? Do you think the First Page should make a promise about the journey you're taking the reader on? Do you try to hint at character arcs and theme early on? Or do you take a different approach altogether? Share your thoughts, drop a snippet, or share an example you love (or hate). Hot takes welcome — just please don't set anyone on fire!
August 9, 2025 at 5:07 PM
gabeorelse.bsky.social
100% agree w/ show AND tell. IMO show don't tell is overly prescriptive and if adhered to constantly can create a bogged down book. My current WIP is split between a POV that is deep third (mostly show) and a distant POV that's more like somebody telling a story. lots of telling, but for a reason
cfranciswrites.bsky.social Charlotte Francis @cfranciswrites.bsky.social · Aug 7
Hello #SummerOfStory!

Day 6: Show AND Tell

𝘚𝘩𝘰𝘸, 𝘥𝘰𝘯'𝘵 𝘵𝘦𝘭𝘭 is one of the most repeated writing rules—told to primary children and experienced writers alike. But is it always right?

NB: These ideas are not my own. I'm not trying to tell anyone how to write, just prompt discussion.

#WritingPrompt
Title, Date, & Prompt Introduction This slide features a large torn piece of lined paper with the text "August 7th" at the top and the writing prompt "Show & Tell" in large script letters. There's a typewriter in the corner with a note saying "TOOLS not RULES". On the right, there's a speech bubble with prompt questions, a Bluesky butterfly, and a palm leaf background. Transcription: August 7th Show & Tell (No, that's not a typo) What's your take on this writing technique? Have you used it before – or do you avoid it? Share your thoughts, drop a snippet, or tell us how you'd use it in a scene. 2: What and Why This slide is a piece of lined paper with "What?" and "Why?" highlighted at the top and middle. It explains what "Show, don't tell" means as a writing rule, and why using both "Show AND Tell" is important. There's a Bluesky butterfly and palm fronds in the background. Transcription: What? "Show, don't tell" is one of the most repeated writing rules, and (in my opinion) one of the most misused. Showing means illustrating through action, dialogue, or sensory detail. Telling means stating something directly. Good writing uses Show AND Tell—the trick is knowing when. Why? Getting the balance right keeps your story engaging. Showing invites readers into the scene; it slows the pace, deepens emotion, and creates immediacy. Telling gives you control over time, voice, and emphasis; it lets you move quickly, shift tone, or frame meaning. 3: In Practice This slide looks like a piece of graph paper with the header “Showing Voice through Telling”. It discusses how telling can be a tool for revealing narrative voice and gives two famous book opening examples. There’s a Bluesky butterfly, palm leaves in the background, and the summary explains how even ‘telling’ can show a lot about character and voice. Transcription: There are obvious times you need to ‘tell’ in stories, when you need to reveal key details that can’t be shown. But telling is also a unique opportunity to develop the narrative voice. "If you really want to hear about it, the first thing you'll probably want to know is where I was born, an what my lousy childhood was like, and how my parents were occupied and all before they had me, and all that David Copperfield kind of crap, but I don't feel like going into it, if you want to know the truth." Catcher in the Rye, JD Salinger "It is a truth universally acknowledged, that a single man in possession of a good fortune, must be in want of a wife." Pride and Prejudice, Jane Austen Even though these famous book openings are pure ‘tell’, they reveal a lot about the character/narrator. Used well, telling can be a dynamic tool for enhancing voice. 4: What do you think? This slide is a torn piece of paper with the heading 'What do you think?' at the top. There are discussion questions for writers about using 'Show AND Tell' in fiction. On the right is a large speech bubble with 'TOOLS not RULES', a blue butterfly, and palm fronds in the background. Transcription: What do you think? So, what's your take on Show AND Tell? Do you agree with the classic 'Show, don't tell' advice, or do you believe there should be a balance between both? Have you ever used telling to enhance your narrative voice? Why not share your experience or a snippet with the community? Hot takes welcome—just please don't set anyone on fire!
August 7, 2025 at 3:50 PM
Reposted by Gabe C
florencechien.com
✨ THE REVENANT OF SUROLIFIA ✨
belle époque vibes | so many schemes

🗡️ an imperial officer bent on revenge
🪽 a thief plotting scandals & revolution
🩸 they aim to kill each other
🔥 but must cooperate to stop another war

📅 07.07.26 #questpit #P #A #F
Secrets are often liabilities Sometimes they are power When the Empire of Colours slaughters 17,000 of his silver-eyed kin, Lucas Rhine buries his hatred, hides his eyes behind coloured lenses, and vows to liberate his country through a diplomatic secession. Usurped prince Faye Phlorik escapes from prison and joins the revolutionaries. They need a silver-eyed champion to rally the people, and Faye needs their resources to reclaim his crown. Lucas and Faye must eliminate each other to achieve their goals. But when the empire's warships come again, they must unite their forces or there will be nothing left of the people they're both trying to liberate. The Revenant of Surolifia A political fantasy Florence Chien
August 6, 2025 at 4:13 AM
Reposted by Gabe C
faindriart.bsky.social
Trying new graphics for #QuestPit!

My queer adult fantasy WIP with an autistic trans man MMC and his chaotic bisexual love interest. Their romance makes a battle between gods WORSE!

#W #F #A #LGBT
A Reader's Guide to Shrike & Thorn Adult Fantasy WIP by FaindriArt / J. R. Silverman The graphic is black and white with red accents. The theme is shrike and thorn motifs. Pitch Narok is a monster hunter blessed by the sun god. When his friend is murdered, he vows to discover the killer—against his god’s wishes. While on the hunt, he crosses paths with a sorceress from a rival religious order with a vendetta of her own. For Fans of... Foxglove King by Hannah Whitten (religious themes) The Shadow of the Gods (Norse influences) Trans, Bi, A-spec rep Autism Rep Found Family Yearning Slow Burn Diverse Cast original fantasy races shapeshifters petty, battling gods monster hunting forbidden romance one f*cked up world tree Snippet In the five years since Narok had joined the King’s Mercies, this was the third time he had died. The first time it’d happened, he’d impaled himself on a pitchfork while fighting a troskar tainted by the Felwood. The slippery creature had thrown him across a barn hall, right onto the fork’s metal prongs. The impact broke his lower back, but his first taste of death had been due to the blood loss. Not his proudest moment.
August 6, 2025 at 8:24 AM
gabeorelse.bsky.social
MIDNIGHT MASS X JEWISH HORROR

His dead best friend haunts him. His brother, an evangelical pastor, eggs his hometown toward ruin. All Teddy wants his salvation - but he's not ready to leave his Jewish heritage behind. Unfortunately, he might not get to choose.

#QuestPit #AG #W #A #H
Title: Jacob's Ladder Tags: Jewish Mythology Religious & Body Horror Dying Small Town Generational Trauma Trans MC / Trans Author At eighteen, Teddy killed his best friend. At twenty-six, her ghost won’t leave him alone. Desperate to help her move on - and absolve himself of his crime - he returns to his dying hometown, where his now-Christian brother claims he can heal his sin. But the town is not keen on Teddy’s return, and if he wants redemption, he’ll have to prove he deserves it - no matter the cost. Once he’s done puking, he washes his hands, wipes wet palms on his jeans, and studies his reflection in the bathroom mirror. He is of middling height, with dark hair buzzed to his skull and a sallowness that speaks to recent illness. The skin beneath his eyes is dark and swollen like the bruise beneath the skin of an apple. When he probes the space between socket and cheek, he imagines the flesh bursting open, worms spilling out. This doesn’t happen. You have a wild imagination, his mother would chide him. Teddy Curtis and his wild imagination. This is partially imagination too. His mother never called him Teddy.
August 6, 2025 at 4:14 PM
Reposted by Gabe C
zillawrites.bsky.social
At Hotel Adair, doors lock themselves, spectral scenes play out in empty rooms, &Cody's friends die in ways her favorite slashers can’t script. If she wants to protect her bff &survive, she must become a Final Girl who doesn’t just fight monsters but herself.

#QuestPit #Q #A #H
August 6, 2025 at 11:32 AM
gabeorelse.bsky.social
my hot take: slow starts can be good sometimes. as always, it depends on your book and what you're aiming for. instead of trying to grab the reader, i try to raise a question (which maybe is the same thing idk im tired)
cfranciswrites.bsky.social Charlotte Francis @cfranciswrites.bsky.social · Aug 3
Hello, #SummerOfStory.

It's #SundayShare! Every Sunday, share your favourite writing technique, a snippet demonstrating how it works, or tell us a craft hot take. Show off what works for you, or just geek out about writing craft with me. Let's swap ideas and inspiration!

#writingprompt
A colourful, summery graphic with palm leaves in the background and torn notebook paper as the centrepiece. At the top, a taped label reads "August 3rd". Large script text says "Sunday Share", with a Bluesky watercolour butterfly between the words. In the bottom left, an old-fashioned typewriter holds a sign saying "TOOLS not RULES". In the bottom right, a Kraft paper speech bubble reads: Over to you! I'd love to hear more about your go-to techniques, hot takes, or anything else you'd like to add to the discussion.
August 3, 2025 at 7:57 PM
gabeorelse.bsky.social
i love this one because psychic distance is something i've only recently begun playing w/ on purpose. i used to believe you had to pick one and stick with it. now i'm working on what this post states: subtly applying different levels to achieve effect
cfranciswrites.bsky.social Charlotte Francis @cfranciswrites.bsky.social · Aug 2
Welcome back to #SummerOfStory

Day 2: Psychic Distance

A technique most writers probably use subconsciously, but can you get more out of your scenes if you actively fine-tune PD?

NB: These ideas are not my own. I'm not trying to tell anyone how to write, just prompt discussion.

#WritingPrompt
1. Title, Date, & Prompt Introduction This slide features a large torn piece of lined paper with the text "August 2nd" at the top and the title "Psychic Distance" in big script letters. There's a typewriter in the corner with a note saying "TOOLS not RULES". On the right, there's a speech bubble with prompt questions, a Bluesky butterfly, and it has a palm leaf background. Transcription: August 2nd Psychic Distance What's your take on this writing technique? Have you used it before—or do you avoid it? Share your thoughts, drop a snippet, or tell us how you’d use it in a scene. 2. What and Why This slide is a piece of lined paper with "What?" and "Why?" highlighted at the top and middle. It explains what "Psychic Distance" means as a writing technique and why it's useful. There's a Bluesky butterfly and palm fronds in the background. Transcription: What? Psychic Distance, a concept popularised by John Gardner, is about how close the reader feels to a character’s thoughts and experiences. It can range from far and objective—like watching from a distance—to deep inside a character’s head, feeling what they feel and thinking what they think. It’s not about POV; it’s about proximity. Why? Shifting psychic distance lets you control how much the reader connects and how fast the scene moves. Zoom out for clarity or commentary. Zoom in to build tension, intimacy, or emotional punch. 3. In Practice 
This slide looks like a piece of graph paper and features more highly dubious stick figure doodles by yours truly illustrating the five levels of psychic distance, from very far to very close. Each level has a sample sentence showing how narration changes as the psychic distance shifts. The right side explains how sliding between levels can affect story flow. The background is teal with palm leaves. Transcription:
 John Gardner defined 5 levels of Psychic Distance. 
Level 1 (very far) to Level 5 (very close) Level 1
 In the dark study, a woman sat at her desk late into the night.
 Purely external, objective narration. No access to character's thoughts or feelings. Level 2
 Charlotte often struggled to find the right words for her stories.
 We now know the character's name and a little of her opinion, but still from a narrative distance. Level 3
 She wondered whether she’d ever truly master psychic distance, or if her characters would always feel just out of reach. 
Now we're getting some of the character's internal thoughts, but still in third person. Level 4
 The glare of the laptop, the ache in her wrist, the endless shuffle of half-written sentences—her doubts pressed closer every minute.
 The narration is now inside the character's immediate sensory experience and emotions. Level 5
 Why can't I get this right? Maybe I'm not meant to be a writer after all.
 We're now essentially inside the character's head, hearing her (relatable!) direct thoughts. By sliding between the different levels, it makes writing feel more dynamic. If you jump between levels, though, it can feel discordant. 
String these sentences together and you have the start of story. Jump from L1 to L5, and it's jarring for your reader. 4. What do you think? This slide is a torn piece of paper with discussion questions for writers about using the "Psychic Distance" technique. There's a speech bubble repeating "TOOLS not RULES," a Bluesky butterfly, and palm fronds in the background. Transcription: What do you think? So, what's your take on Psychic Distance? Is it entirely subconscious for you, or do you pay attention to the flow of your scenes, zooming in and out with more forethought? Where does your writing mostly sit L1–L5? Why not share your experience or a snippet with the community? Hot takes welcome—just please don't set anyone on fire! BONUS Challenge! Why not try an experiment? Take a paragraph from your WIP and play around with the Psychic Distance to achieve a different tone or mood. Can you make scenes less or more intense by sliding up and down the scale? What happens when you stay at the same level the whole time?
August 2, 2025 at 11:18 AM
Reposted by Gabe C
tacobellquarterly.org
This is how you become a writer: just pick one of the things that is deeply wrong with you. Make it a character. Now send it on a self-help journey or try to kill it. Now call it a book.
November 18, 2024 at 2:40 PM
gabeorelse.bsky.social
my take: this is a super useful tool in my writing toolbox, but not one i adhere to religiously. it depends on the pace of the story and the vibe i'm going for. that being said, learning this taught me how to better evaluate how and when to jump in, which sometimes means lingering #SummerOfStory
cfranciswrites.bsky.social Charlotte Francis @cfranciswrites.bsky.social · Aug 1
Welcome to #SummerOfStory, a game all about the craft of writing. Can't wait to hear everyone's opinions.

NB: My goal is to prompt discussion, not tell anyone how to write. These aren't my ideas, just my interpretation of well-known tips & techniques

Day 1: Arrive Late, Leave Early

#WritingPrompt
Slide 1: Title, Date, & Prompt Introduction This slide features a large torn piece of lined paper with the text "August 1st" at the top and the writing prompt "Arrive Late, Leave Early" in big script letters. There's a typewriter in the corner with a note saying "TOOLS not RULES". On the right, there's a speech bubble with prompt questions, a Bluesky butterfly, and it has a palm leaf background. Transcription: August 1st Arrive Late, Leave Early What's your take on this writing technique? Have you used it before — or do you avoid it? Share your thoughts, drop a snippet, or tell us how you'd use it in a scene. 
Slide 2: What and Why This slide is a piece of lined paper with "What?" and "Why?" highlighted at the top and middle. It explains what "Arrive Late, Leave Early" means as a writing technique and why it's useful. There's a Bluesky butterfly and palm fronds in the backgrond. Transcription: What? Originally a screenwriting technique, "Arrive Late, Leave Early" means starting a scene as close as possible to the moment of change, conflict, or plot development, then exiting as soon as it resolves—or during, if you're aiming for a cliffhanger. Why? Streamlines the storytelling, keeping the reader engaged and the narrative moving at a brisk pace. Slide 3: In Practice This slide looks like a piece of graph paper and features stick figure doodles telling a story about someone waking up, brushing teeth, encountering a bear in the kitchen (the bear!), and fighting it off. Key moments are labelled, and there are arrows suggesting where a scene could start or end. Transcription: Where should this scene start and end? Asleep → Wake up → Brush teeth → Doom Scroll → Walk into kitchen (Start here?) → Find bear → Fight bear off with air freshener → Bear runs away → React (End here?) → Post about it → Haggle with locksmith → Wait for new locks But what if it's a romance and the locksmith is the LI? Where is the latest point we can enter that gets straight to the meat of the conflict? (Yes, that was a bad pun) Slide 4: What do you think? This slide is a torn piece of paper with discussion questions for writers about using the "Arrive Late, Leave Early" technique. There's a speech bubble repeating "TOOLS not RULES," a blue butterfly, and palm fronds in the background. Transcription: What do you think? So, what's your take on "Arrive Late, Leave Early?" Do you like to drop your readers into scenes close to the conflict/action, or do you prefer a slower start? Do you plan your scenes with this in mind? Why not share your experience or a snippet with the community? Hot takes welcome—jst please don't set anyone on fire!
August 1, 2025 at 12:39 PM
gabeorelse.bsky.social
drafting and editing in different ways. but mainly the time period where a book is for my eyes only - i try to appreciate this more nowadays
questpit.bsky.social questpit || next event: JAN 30th @questpit.bsky.social · Jul 31
Welcome to the #questpit Q&A! Let’s get started!!

Q1: What is your favorite stage of writing?
a light blue background with jellyfish, a stingray, and seaweed decorating it and text that reads “#questpit Q&A Question number 1: What is your favorite stage of writing? (i.e. outlining, drafting, editing, etc.)”
July 31, 2025 at 4:32 PM
gabeorelse.bsky.social
the body horror / dead person crawling out of a living person for fun. this is the most romantic part of the book btw
cometkins.bsky.social Ian Haramaki 🏳️‍⚧️✨ @FurCon @cometkins.bsky.social · Jul 31
Everything’s gnarly. What’s gnarly about your book? (Interpret this as you wish) #WritingPrompt
July 31, 2025 at 3:18 PM
gabeorelse.bsky.social
Okay this sounds fun. One like, one book I love
audconnelly.bsky.social Aud Connelly @audconnelly.bsky.social · Jul 26
One like, one book I love.

(Y'all got me with this one. I don't form opinions but I do be reading.
andria-kennedy.com Andi Kennedy: Art & Words @andria-kennedy.com · Jul 26
This feels more like me.

One like, one book I love.
July 29, 2025 at 12:22 PM
gabeorelse.bsky.social
one like, one writing opinion (my hottest opinion of all is that I should be revising. and yet)
robinjoak.bsky.social Robin Oak @robinjoak.bsky.social · Jul 27
One like, one writing opinion.

No idea if mine are controversial, shall we find out? :D
ddwardiswriting.bsky.social Mx. D. D. Ward (they/them) @ddwardiswriting.bsky.social · Jul 27
one like, one writing opinion.

I'm sure this won't be controversial...
July 28, 2025 at 3:37 PM
gabeorelse.bsky.social
it's really funny how i only ever rediscover my passion for art when there's other things im meant to be doing. like yes i have a massive to do list let me open clip studio paint rq
July 28, 2025 at 2:42 PM
gabeorelse.bsky.social
there is nothing sexier than a wip that is not the wip you are meant to be working on
July 26, 2025 at 11:07 PM
gabeorelse.bsky.social
all i have is angst in this one
A snippet of a novel that reads: “Or hell,” he throws out contemptuously. “I don’t care. You go up to heaven, or hell, or whatever there is, and I’ll go home and I’ll—“ He stops, because the sudden thought makes him unbelievably sad. Sad like a distant memory; sad like the day he’d found his fish, his first pet, floating belly-up. He’d named the fish, taken meticulous care of its feeding and cleaning, provided it with gravel and plants and a single, pirate-themed decoration, which was all that could fit in the bowl, and then he’d come home from school and it was dead. Elliot said he’d crowded the habitat, and for months Teddy had tortured himself with this notion, the idea that his extravagant affection had murdered his pet. Years later, he’d learned that the species needed a tank to survive, not a bowl; the fish had been victim of his mother’s negligence rather than his own. He can’t remember what he named it. He struggles with sudden, intensive desperation, but nothing comes. This is surely natural, the way time smooths the cracks of memory, but it guts him anyway.
July 26, 2025 at 11:06 PM
gabeorelse.bsky.social
WIP excerpt for #WIPSnips
A writing excerpt that reads as follows: Two exits down, the fifty-five footer peels off the highway, leaving only a long tongue of asphalt and an unbroken horizon. Teddy picks up speed, watches the numbers tick higher. Sixty-five, seventy. Seventy-five. Soon they’re flying through eighty, roaring down the road with no end, no end in sight but the occasional exit and the GPS picking off miles one by one. Fifty miles ‘til Keene. Forty-nine, forty-eight. Neither of them speak. The air inside the car is cold, nigh manufactured, but he keeps it that way on purpose. It serves a comforting buffer between his body and the untamed openness of the land beyond. This is what he despises: the nothing of it all. Nothing but the unfolding fields, the drenched heat, and the horizon like a table’s edge, taunting him to the brink. Maybe he’ll reach the end, hit the brakes too late, and tumble into a white-out sky.
July 24, 2025 at 1:28 PM
gabeorelse.bsky.social
Hey I was in this! (and it is SO COOL to see my name among so many incredibly talented authors). Thank you Nadia and Julia!
nadiabulkin.bsky.social Nadia Bulkin @nadiabulkin.bsky.social · Jul 20
WHY DIDN'T YOU JUST LEAVE won a Shirley Jackson! What an ending for the book @omgjulia.bsky.social and I thought up in our first interaction on a defunct social media site!

I can't thank our amazing contributors enough. And our publisher @ericraglin1992.bsky.social. And our Kickstarter backers!
July 22, 2025 at 9:27 PM
gabeorelse.bsky.social
okay I was gonna post another snippet from my WIP but today's word is jaded and apparently I don't use that word....at all? snippet postponed until tomorrow ig
July 17, 2025 at 1:57 PM
gabeorelse.bsky.social
I've never tried this before but it looks like fun so here's a snippet from my dying town/jewish body horror wip
A screenshot of a snippet from a WIP. It reads: Teddy nods. Relief floods him and he tries not to appear as if he’s drowning in it. Sometimes he feels like such a fuck-up that he can’t look at Elliot head-on, even in memory. His brother is a fluorescent light with all the accompanying eye damage: so bright that it folds over into harshness.
July 16, 2025 at 4:56 PM
Reposted by Gabe C
maraalyse.bsky.social
The auction is live!
maraalyse.bsky.social Mara @maraalyse.bsky.social · Jan 13
The #kidlit4ceasefire auction begins this Wednesday, January 15, and runs until January 31st. As of my writing this, 222 items are available! See the link in my bio to bid on my donated critiques.
#Kidlit4Ceasefire 2025 Auction announcement. January 15-31st. There is a QR code to donate an item, as well as a URL. There is nothing in this description after the URL. https://bit.ly/kidlit4ceasefireauction2025signups. Kidlit for ceasefire auction announcement: a query critique from Mara Hollander Kidlit for ceasefire auction announcement: a first 20 pages critique from Mara Hollander, YA or adult books only
January 15, 2025 at 1:33 PM