POPULAR: Simple Questions, Simple Answers

[VeniaSilente]

Well, I'm missing on some context such as what's in the mountains but, any ideas I'd have would boild down to "make the stairs accessory to the problem".

Have to climb some stairs / walk a very badly maintained trail? Add some very inconvenient wind and a lack of safety measures, and or a wizard trying to Rocks Fall Everyone Dies the party. Works wonders if the trail has to go by a path carved up on the mountain.
The trail is very long and monotone? Have it be designed so that the characters don't even know if they took the right path. Have the lack of signs and landmarks be a thing.
Climbing stairs is s simple even your characters can do it? Not if they were created with giants or hippogriffs in mind! Perhaps the structure of the trail is not really well suited to ~2m tall bipeds. What if the path was actually designed for the quinquennial pilgrimage of the local Ariados population?
Landscape too simple? Add any of the ISO Standard approved trail and staircase-related narrative hazards to your landscape: wooden bridge over a lava pool, fork on the road where one option leads to an "obviously" bad place, exposed passages where the path disappears under a pile of snow and the characters won't know where it resumes or if there's a turn on the road, etc...
Chapter too monotone? Break up the plot ninjas! One of the steps of the trail was actually a trap and your characters just activated! Now, they must face the in-universe equivalent of a Monster House. Or perhaps they just activated the natural geysers of poisonous gas and they need to get out oof there before they become part of the landscape. Heck, have the trail have been designed by someone with a sense of practicality and flair and make it be lit up in traps and roundabout trickeries that force the characters to treat the trail as they would to a board of Snakes and Ladders.
And of course, have one of the characters sprain their ankle or something.

 

[Misfit Angel]

And of course, have one of the characters sprain their ankle or something.

You know, that's actually one of the more practical ideas, considering the environment I'm putting them into (peaceful and leading up to a monastery). It'd segue quite well into the atmosphere I wanted to set for the next chapter, as well. If I continue to struggle, I'll definitely use this.

Branching pathways seems like a decent idea, too. I can't count how many times I've gone the wrong way while hiking, myself.

 

[CynthiaLover]

Hello. I'm not entirely sure if this is the right place, but I need some possible insight on later arcs in my Psychic Duelist Django series. There's a lot planned, but I'll get to the most important question I have: rating. As in Everyone, Teen, and Mature. The fifth (and, at the moment, final) arc of my series will be significantly darker than the previous ones. The series is currently rated Teen due to moderate swearing, monster violence, and occasional bits about blood and injuries. However, Season 5 will be the darkest of them, as death will be very prevalent in a number of places, such as flashbacks and directly in the plot, and possibly some light sexual innuendo. I'll list some loose examples:

Example 1:

Spoiler: innuendo

Tempest walked up to Django's bed, seeing the stress he was under, also noting that his deep-rooted anger is surfacing more. She touches his shoulder, saying, "Django, I know you're under a lot of stress. I know that Lucifer's evil and your deep desire for revenge is starting to surface more. I have a proposal for you. Seeing how I'm one of the only people who can tame you Berserker Mode, starting tonight, I'll be sleeping with you. I feel that if I'm nearby and you're in pain, I can help soothe it by being right next to you. I was planning to do this eventually, as our relationship grows, but I have to intervene now, for your sake. Please, allow me to get closer to you so I can help ease your pain and remind you that I'll always be by your side." Django looked sheepish, responding in a rather meek voice, "But... but what if I... what if I... grope you by accident or something? I've... I've never slept with anyone else before... I'd be worried I might... violate you by mistake... Can you really live with that?" The young Elemental female replied, "If it happens, then I'll accept it. I won't blame you." She then said silently, "And I may end up enjoying it... No, banish those thoughts, Tempest. You can think those thoughts later, after we win the war."

Example 2:

Spoiler: violence

As Number 96 struggled to get up after the intense Psychic Duel, Django drew the Numeron Blade. The Psykinox charged in, blade held high, and before Number 96 could react, he slammed the blade down upon the evil Number, slicing him in two. Django roared, "For all the pain and suffering you've caused, have a little more of this!" He swung the blade twice more, slicing through the evil Number's body once again, his body cut cleanly into multiple pieces. Django raised the blade up once more, "And for good measures, take this! And give Lucifer a message... HE'S NEXT!" He impaled Number 96 right through his chest before the blade released a massive amount of energy. The energy surge was too much, making Number 96 scream in pain as his body was disintegrated into nothing.

Example 3:

Spoiler: blood and death

As the house came down around them, Django tried to hide. A large piece of debris suddenly raked across his back, ripping open a large gash, blood spilling everywhere. He struggled to look up, only to see in horror that his father and mother, Astral and Elna, had been viciously impaled by debris, their bodies lying limply and lifelessly. A sinister laugh could be heard, but Django's eyes closed and blacked out, not knowing if he'd awaken ever again.

From my experience on this site, I'd have to say that this would bump up the rating for Season 5 to Mature, but I want to know for sure. Thanks in advance.

 

[AetherX]

@CynthiaLover It really depends on how many times scenes like those examples show up in the story. If you're worried, then bumping it up to a Mature rating probably wouldn't discourage anyone.

 

[CynthiaLover]

@CynthiaLover It really depends on how many times scenes like those examples show up in the story. If you're worried, then bumping it up to a Mature rating probably wouldn't discourage anyone.

From what my planning documents show, it'll be decently frequent, especially toward the end. So I think I'll bump it up to Mature when I start Season 5 to be safe and for good measures. Thank you for your response, as that helps me plan better.

 

[Misfit Angel]

So, handling quotes... Say I want a character to say the following:

"Things always seem fairer when we look back at them, and it is out of that inaccessible tower of the past that longing leans and beckons."

Here in the real world, this quote is attributed to James Russell Lowell, an American poet and diplomat during the 19th century. However, Storm Island, and I'd imagine most of our stories, don't quite take place on Earth, so figures in Earth's history obviously wouldn't be around. Or would they? If the character who spoke the quote was asked where they heard it, would it be jarring to have them mention a real world name like this?

This might be another one of those minor details, so I don't know why I'm worried about this.

 

[Beth Pavell]

I've never been a huge fan of directly referring to real places in the Pokémon world. If it were me I'd simply call him Unovan and leave both quote and name unchanged

 

[Misfit Angel]

I wouldn't refer to him as an American, since America doesn't exist in Storm Island's universe, but I was curious if keeping the name was fine. Seems like it is, from the people I've asked.

 

[VeniaSilente]

Would it make enough sense to call him Unovan? Lowell was born in Cambridge, Massachusetts, so calling him Unovan gives the implication that if the Pokéverse/world is similar enough to the real one, the Unova in the games is only a very small homonym province / state inside the real Unova Nation aka Poké-MURRICA, or whatever that would be. If this assumption (or any other similar one to that bit of worldbuilding effect) is fine to have, yeah, why not; otherwise, simply omitting the nationality also works, I don't feel like the nationality of such person can be that relevant.

 

[henrymidfields]

I would probably invent a fictional name for Pokemerica. Something to the tune of Emeria (which is a variation of Amerigo Vespucchi) or Columbia (referring to Christopher Columbus). (I consider Unova to be a state within Pokemerica.)

I've actually named Poke-Japan as Shoyo (昇陽; transliterated as "Rising Sun").

I guess it depends on how you see the Pokémon world as. However, I don't think it is jarring to have real life people in the Pokémon world, because we've already have a precedent. Remember, real-life places and objects has been referred to in Gen 1-2, and Takeshi Shudo even referred to World War 2 in his novelization of the Pokémon Anime. The Special Manga, or at least the Japanese original, had either Ruby or Sapphire speak in a Kyushu dialect. And while real-life place names may be gone, some aspects of real-life are still there, such as the Poke-Japanese Tourists in Kalos, and their Gen 1-4 Pokémon.

 

[Srebak]

I've had many a fan idea for Pokemon Anime, but not many people have much to say about them. So i have to ask, are they really that bad?

Idea 1. - Ash having some connection to an Anti-Pokemon organization dedicated to ridding the Earth of the species and conquering it.

We've seen many a Villainous team in the Pokemon franchise, but, they've all been groups who saw Pokemon as a means to an end and frequently use them. Would it really have been bad if a story mixed it up a little and introduced a group that specialized in destroying pokemon? If anything it could introduce a theme of Man vs. Nature, with humans trying to wage war on natural creatures. Also, rather just have Ash be some random trainer who decided to interfere in their plans (Pokemon Chronicles proved that just about any trainer could hinder Team Rocket in some way), he could instead have some connection to them, be able to play a role in their defeats in way that only someone of his history could. Granted, when i came up with this idea, I had TMNT's Foot Clan in mind (more specifically, the 2003 incarnation's version), but still, the notion of an anti-pokemon group still feels like a good idea, what's wrong with it?

Idea 2. - Ash having a sister

Not much i can say about this one, other than the fact that it seemed like a good idea at the time. Also, back then, no one really clarified that Ash was an only child in a confirming way; we hear Misty say he's an only child, but for all we knew at the time, she was only making an assumption about him, an assumption he never got around to correcting. Also, in that Mr. Mime episode, Delia only asked if Ash had a twin brother, not if he had a twin sibling, just saying. It wasn't until the XY Generation that we hear Ash actually say he had no siblings, so, until then, it was still sort of left ambiguous if he really was an only child. Just saying

Idea 3. - A talking Persian

This was yet another idea that seemed like a good one at the time, and now, i really feel like it could have worked. This Persian could have served as the antithesis of all other Persian because he was large, burly and sort of scruffy looking instead of medium sized, petite and elegant. Rather than be the type of Persian one would keep as a pet, this Persian would be the kind of Pokemon you'd ask to be a bodyguard.

Also, he could have worked because he could have served as Ash and Co.'s reflection of Team Rocket's Meowth; while Meowth is a follower and kind of whiny, this Persian would act as the stern peacekeeper and staunch protector of the group's pokemon and serve as the occasional adviser to the group itself. While Meowth knows very few attacks, is a bit of a coward and kind of shrimpy but not very agile, and prefers to use weapons and trickery, this Persian would gladly jump into the fray, is incredibly large for his kind, but very fast and agile and knows a multitude of attacks and moves (some of which are not the type that a Persian is known to use). Both can talk because they taught themselves how to do so and both are feisty and sharp of tongue, but while Meowth is mostly just a wise guy braggart with a temper, this Persian is more calm and collective and can actually back up what he says with both actions and real knowledge. Also, while Meowth is a bit of a narcissist, this Persian cares very little about his appearance, hence why his fur would be so rough and unkempt, his whiskers would look a little mangled, his gem would look a little dull and his claws and teeth would resemble those of a hardened predator rather than a well groomed pet. Finally, while Meowth and Pikachu really do not get along, this Persian would have an almost symbiotic relationship with Pikachu.


Are these ideas really that bad?

 

[Misfit Angel]

So I'm introducing Gary Oak during a flashback for an upcoming chapter of Storm Island, but I'm having a bit of a detail dilemma. In my own little world, Gary has inherited the laboratory in Pallet Town from his grandfather, and has studied long enough at a university to earn a PhD in biology, and has thus earned the title of professor.

So my question is, how do I introduce readers to the idea that Professor Oak is actually Gary, and not the Samuel that they're familiar with, while still referring to him as Professor Oak in dialogue?

 

[AetherX]

I have a couple ideas, depending on context. If the flashback is a story being told to another character, the non-POV character could ask for clarification somehow. Or you could either directly refer to him as "Professor Gary Oak" or have him introduce himself as such through dialogue for one reason or another. Another idea is to have him reference his grandfather for some reason and make the implication that his grandfather is Samuel.

Hope that helps.

 

[VeniaSilente]

Yeah, like the above. Plus, it would kinda fit his personality even if the trait is mellowed by maturity. "I'm Professor GARY M*F*ING OAK! Ya know, just like grandpa. Aaaah, good times."

If the flashback can get into the adequate perspective to make it happen, you can introduce the fact from a bit of confusion. Have Prof. Oak be reading a book by Prof. Oak and one character asks "What? You read your own books?" "Oh? No, this is by grandpa."

 

[Jaypom]

I have a question. When you guys are planning your story, about how far along do you all plan ahead?

 

[Legacy]

I have a question. When you guys are planning your story, about how far along do you all plan ahead?

It depends. I normally have an outline of things pretty much start to finish before I seriously begin to write. Just helps me to know where everything is going. I normally do this if it's a serious work that I want other people to read.

I do believe, though, that there's value to just writing. Not worrying about outlines and plans and just letting it flow. You can always go back and amend later.

 

[Misfit Angel]

I plan way too much. I'm currently looking at my chapter list, and of the actual chapters I have titles, plots and plans for, I'm sitting at 148, which is when I want to wrap things up. That doesn't even factor in some minor filler/travel chapters. At the moment, I'm only on chapter 44, working on 45.

Hope some of you guys are still around in a decade, because it's going to be a long haul if I ever finish :|

 

[CrystaI]

For me, I planned my story basically all the way at least up to half of the entire work. But for this, it is only the basic draft outline, or the general idea what I had planned to write in the future. It is alterable anytime during the process. I do this because it will then give me an idea what kind of keywords or innuendo/prompt I should put in my early chapters which may turns out to be important link to the future arcs.

Then for each single chapter itself, the "planning" is basically just a quick note of list of the things I needed this specific chapter to accomplish. Such as this specific character goes to some specific location, going to catches a specific pokemon, or to solve some specific problem, or to have a battle with someone, or some other specific things and/or achievements. And on top of that, a note of the general idea and purpose of this entire chapter. Such as to say for this one chapter, it is used as an introduction to an important newcomer, explain the basic things of some simple things, and let him do the work. Because of that, do not tried to make things complicated, bring in things and conversation that can showcase the personalities of this newcomer.
Basically that's it. Anything further is no more "planning". The details are considered and wrote down immediately upon the actual writing process.

But, even with this story skeleton is planned beforehand, I will alter this skeleton draft anytime after if I think it makes the future story flow illogical and/or unsmooth. So until I had my chapters finally written down and edited, felt fully satisfied and called it a completion, any future plan is alterable.

BTW, regarding on the battle scenes, the planning will be quite different for me personally. I tended to provide detailed planning specifically for battle, from the participant pokemons to the moves they used during the battles, and from the final outcome to the pokemon exchange timing during the combat, every detail is planned beforehand. That is because battle is basically action scene, the motions and movements of the characters is the focus, and it is just one after another without too much break in between. Therefore I needed to plan like an action movie director yet at the same time think in the mindset of in-story characters themselves, how will the participant react immediately to the instant changing situation yet it will look magnificent from the third-party spectator viewpoint.

 

[Beth Pavell]

I have a question. When you guys are planning your story, about how far along do you all plan ahead?

I think for any story you at least need a good outline of what will happen and how long it will take to happen. I have an overall story summary for that, including the big points of detail - that is, key battles, key characterisation moments, key interactions.

I don't plan each arc in detail till I get to it - so for each arc essentially I end up with key ideas about what should happen, which get properly paced and organised when I come to it. Chapter wise I think I plan in more detail than anyone else - for me, writing a chapter is about turning a point-by-point synopsis into proper prose.

I can never understand how people can write stories with key events and ideas up in the air

 

[Misfit Angel]

Chapter wise I think I plan in more detail than anyone else - for me, writing a chapter is about turning a point-by-point synopsis into proper prose.

I'll challenge that.

When I write a chapter, I first start out with a rough plan of what major goals I intend to meet in a chapter. Even small things like arriving at a new location at the start of a chapter are listed. I list conversation topics the characters should have. In the event of a battle, I list who the combatants are and the outcome I want. Other events, such as flashbacks, events the characters witness, etc, are also described in great detail during this planning phase.

Once that's done, I start to write out the basic idea behind each major scene that takes place in the chapter. I don't actually write the prose yet, I describe what I would see the characters doing if I were there, physically witnessing it. If a nice quote I want one of my characters to say comes to mind, I'll throw that in there for later. These mostly serve as reminders of what I envisioned so that I can return to them after I take a break from writing. If need be, I'll go into further detail to really push the point home when I start to actually write.

After that, I take a look back at my ideas. If there's anything I'm unsure about, or anything I feel like my readers might be unsure about, I take the time to do some basic research. I end up spilling notes all over the place in my text file. If I need inspiration for what I want my scenery to look like, I'll search the web for images of similar environments. For example, these (among some less impressive images) were what I used when trying to envisage what Andrea and Kimberly saw while climbing the Thousand Steps in chapter 42 of Storm Island.

Then once that's all done, I'll work on the dialogue I want between the characters. Once that's done and dusted, I go over the dialogue a few times and look for ways to spice it up, such as having the characters perform actions, or split it up with a bit of description. Then I try to piece all of those little sections of dialogue together.

I only wish the end product could be higher quality for how much effort I (feel like I) put into it. I proofread twice before publishing, but even then, I always miss a mistake that I find while reading things over a few weeks later.

Christ this turned into quite a bit of a rambling rant. My apologies.