Tired Of Waiting For New Fanfics?

the WORLD needs your writing

have *you* ever seen writing "advice" that mistakes harshness for honesty and punches in the gut for powerful points, and then tells you if you are not constantly, every day, scorching the earth on which you walk with your fiery passion for words - then you are not a writer?

I have! And it really gets to me when I see someone tear other people down rather than build them up, extinguish their lights for being more candles in the dark than nuclear bombs dropped from the sky, who would risk there being more misery rather than cultivate the joy of creating and sharing emotions, ideas, worlds...

So I wrote a post on why YOUR (whoever is reading this right now) writing is needed by the world, as long as it is in that spirit of deep connection and creativity that stretches beyond time and space and can outlive you by several orders of magnitude

I actually strongly take issue with "No one needs your writing". It's not just extremely discouraging and depressing, and turning away a lot of people for not burning with passion at temperatures of the sun, but very likely also just wrong.

Someone out there is missing out on a smile in a torrent of misery, a feeling of connection in a sea of loneliness, a moment of peace in what feels like an eternity of hurt. They won't have that moment of bliss, maybe their day saved, or even entire life changed for the better.

People sometimes think this is reserved to some small group of particularly good writers, that everyone else is foolish to think that anyone can have a big influence on anyone. And it's impossible to predict.

It can be in the most unexpected ways: a random fanfic touching someone's heart because they happen to address a very particular grief or longing that is unlikely to ever be published with characters that feel like family, a small poem providing strength at the hardest moments because it used language that resonated with a reader on a niche subject, an autobiographical story inspiring someone to a new, ethical life... there are so many possibilities.

And I know this *because I am talking from experience*. So many fanfics have let me imagine other lives that could be my own, made me see from new perspectives, awakened hidden feelings or mollified pain, formed the basis of years of friendships and self-discovery, or just opened me up to so many new genres of writing. So many random stories of people, imagined or of this Earth, that bring a light to the darkness of apathy, aloneness, and angst that threaten to engulf so many in the world.

And vice versa, I have been told that my writing (not published, not even getting 10 likes on Tumblr or Ao3!) has inspired some people, been "exactly the right amount of humorous" or even that one line I wrote was the best one they had ever read.

PLEASE, WRITE YOUR THING! FOR everyone whose life might be saved by it, even if just a bit.

The Neurodivergent Writer’s Guide to Fun and Productivity

(Even when life beats you down)

Look, I’m a mom, I have ADHD, I’m a spoonie. To say that I don’t have heaps of energy to spare and I struggle with consistency is an understatement. For years, I tried to write consistently, but I couldn’t manage to keep up with habits I built and deadlines I set.

So fuck neurodivergent guides on building habits, fuck “eat the frog first”, fuck “it’s all in the grind”, and fuck “you just need time management”—here is how I manage to write often and a lot.

Focus on having fun, not on the outcome

This was the groundwork I had to lay before I could even start my streak. At an online writing conference, someone said: “If you push yourself and meet your goals, and you publish your book, but you haven’t enjoyed the process… What’s the point?” and hoo boy, that question hit me like a truck.

I was so caught up in the narrative of “You’ve got to show up for what’s important” and “Push through if you really want to get it done”. For a few years, I used to read all these productivity books about grinding your way to success, and along the way I started using the same language as they did. And I notice a lot of you do so, too.

But your brain doesn’t like to grind. No-one’s brain does, and especially no neurodivergent brain. If having to write gives you stress or if you put pressure on yourself for not writing (enough), your brain’s going to say: “Huh. Writing gives us stress, we’re going to try to avoid it in the future.”

So before I could even try to write regularly, I needed to teach my brain once again that writing is fun. I switched from countable goals like words or time to non-countable goals like “fun” and “flow”.

Rewire my brain: writing is fun and I’m good at it

I used everything I knew about neuroscience, psychology, and social sciences. These are some of the things I did before and during a writing session. Usually not all at once, and after a while I didn’t need these strategies anymore, although I sometimes go back to them when necessary.

I journalled all the negative thoughts I had around writing and try to reason them away, using arguments I knew in my heart were true. (The last part is the crux.) Imagine being supportive to a writer friend with crippling insecurities, only the friend is you.

Not setting any goals didn’t work for me—I still nurtured unwanted expectations. So I did set goals, but made them non-countable, like “have fun”, “get in the flow”, or “write”. Did I write? Yes. Success! Your brain doesn’t actually care about how high the goal is, it cares about meeting whatever goal you set.

I didn’t even track how many words I wrote. Not relevant.

I set an alarm for a short time (like 10 minutes) and forbade myself to exceed that time. The idea was that if I write until I run out of mojo, my brain learns that writing drains the mojo. If I write for 10 minutes and have fun, my brain learns that writing is fun and wants to do it again.

Reinforce the fact that writing makes you happy by rewarding your brain immediately afterwards. You know what works best for you: a walk, a golden sticker, chocolate, cuddle your dog, whatever makes you happy.

I conditioned myself to associate writing with specific stimuli: that album, that smell, that tea, that place. Any stimulus can work, so pick one you like. I consciously chose several stimuli so I could switch them up, and the conditioning stays active as long as I don’t muddle it with other associations.

Use a ritual to signal to your brain that Writing Time is about to begin to get into the zone easier and faster. I guess this is a kind of conditioning as well? Meditation, music, lighting a candle… Pick your stimulus and stick with it.

Specifically for rewiring my brain, I started a new WIP that had no emotional connotations attached to it, nor any pressure to get finished or, heaven forbid, meet quality norms. I don’t think these techniques above would have worked as well if I had applied them on writing my novel.

It wasn’t until I could confidently say I enjoyed writing again, that I could start building up a consistent habit. No more pushing myself.

I lowered my definition for success

When I say that nowadays I write every day, that’s literally it. I don’t set out to write 1,000 or 500 or 10 words every day (tried it, failed to keep up with it every time)—the only marker for success when it comes to my streak is to write at least one word, even on the days when my brain goes “naaahhh”. On those days, it suffices to send myself a text with a few keywords or a snippet. It’s not “success on a technicality (derogatory)”, because most of those snippets and ideas get used in actual stories later. And if they don’t, they don’t. It’s still writing. No writing is ever wasted.

A side note on high expectations, imposter syndrome, and perfectionism

Obviously, “Setting a ridiculously low goal” isn’t something I invented. I actually got it from those productivity books, only I never got it to work. I used to tell myself: “It’s okay if I don’t write for an hour, because my goal is to write for 20 minutes and if I happen to keep going for, say, an hour, that’s a bonus.” Right? So I set the goal for 20 minutes, wrote for 35 minutes, and instead of feeling like I exceeded my goal, I felt disappointed because apparently I was still hoping for the bonus scenario to happen. I didn’t know how to set a goal so low and believe it.

I think the trick to making it work this time lies more in the groundwork of training my brain to enjoy writing again than in the fact that my daily goal is ridiculously low. I believe I’m a writer, because I prove it to myself every day. Every success I hit reinforces the idea that I’m a writer. It’s an extra ward against imposter syndrome.

Knowing that I can still come up with a few lines of dialogue on the Really Bad Days—days when I struggle to brush my teeth, the day when I had a panic attack in the supermarket, or the day my kid got hit by a car—teaches me that I can write on the mere Bad-ish Days.

The more I do it, the more I do it

The irony is that setting a ridiculously low goal almost immediately led to writing more and more often. The most difficult step is to start a new habit. After just a few weeks, I noticed that I needed less time and energy to get into the zone. I no longer needed all the strategies I listed above.

Another perk I noticed, was an increased writing speed. After just a few months of writing every day, my average speed went from 600 words per hour to 1,500 wph, regularly exceeding 2,000 wph without any loss of quality.

Talking about quality: I could see myself becoming a better writer with every passing month. Writing better dialogue, interiority, chemistry, humour, descriptions, whatever: they all improved noticeably, and I wasn’t a bad writer to begin with.

The increased speed means I get more done with the same amount of energy spent. I used to write around 2,000-5,000 words per month, some months none at all. Nowadays I effortlessly write 30,000 words per month. I didn’t set out to write more, it’s just a nice perk.

Look, I’m not saying you should write every day if it doesn’t work for you. My point is: the more often you write, the easier it will be.

No pressure

Yes, I’m still working on my novel, but I’m not racing through it. I produce two or three chapters per month, and the rest of my time goes to short stories my brain keeps projecting on the inside of my eyelids when I’m trying to sleep. I might as well write them down, right?

These short stories started out as self-indulgence, and even now that I take them more seriously, they are still just for me. I don’t intend to ever publish them, no-one will ever read them, they can suck if they suck. The unintended consequence was that my short stories are some of my best writing, because there’s no pressure, it’s pure fun.

Does it make sense to spend, say, 90% of my output on stories no-one else will ever read? Wouldn’t it be better to spend all that creative energy and time on my novel? Well, yes. If you find the magic trick, let me know, because I haven’t found it yet. The short stories don’t cannibalize on the novel, because they require different mindsets. If I stopped writing the short stories, I wouldn’t produce more chapters. (I tried. Maybe in the future? Fingers crossed.)

Don’t wait for inspiration to hit

There’s a quote by Picasso: “Inspiration hits, but it has to find you working.” I strongly agree. Writing is not some mystical, muse-y gift, it’s a skill and inspiration does exist, but usually it’s brought on by doing the work. So just get started and inspiration will come to you.

Accountability and community

Having social factors in your toolbox is invaluable. I have an offline writing friend I take long walks with, I host a monthly writing club on Discord, and I have another group on Discord that holds me accountable every day. They all motivate me in different ways and it’s such a nice thing to share my successes with people who truly understand how hard it can be.

The productivity books taught me that if you want to make a big change in your life or attitude, surrounding yourself with people who already embody your ideal or your goal huuuugely helps. The fact that I have these productive people around me who also prioritize writing, makes it easier for me to stick to my own priorities.

Your toolbox

The idea is to have several techniques at your disposal to help you stay consistent. Don’t put all your eggs in one basket by focussing on just one technique. Keep all of them close, and if one stops working or doesn’t inspire you today, pivot and pick another one.

After a while, most “tools” run in the background once they are established. Things like surrounding myself with my writing friends, keeping up with my daily streak, and listening to the album I conditioned myself with don’t require any energy, and they still remain hugely beneficial.

Do you have any other techniques? I’d love to hear about them!

I hope this was useful. Happy writing!

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.

Writers

10 Magazines That Pay for Fiction

Start Building Your Portfolio

My goal for this year is to take everything I've learned over the last 15 years, put it together, and start working towards publication. With that in mind, I've been doing some research into magazines that pay for fiction.

I figured it might be of interest to others, too, so I wrote a short article with links to the relevant magazines submission guidelines to streamline the process.

Hi I was wondering if you knew any fics about where Luffy successfully rescues ace from Impel Down.

Of course! I did my best to find fics where it was Luffy who saved Ace, but I've also included some where someone else helped!

Ace Rescued From Impel Down Fic Recs

This list will include all ratings and tags, so read at your own discretion! :) Enjoy!

A Fair Trade by Rijus_Hope - Not Rated

Luffy and his crew hear about Ace's execution before it reaches the papers, before they're split up at Sabaody Archipelago. His crew is ready for Luffy to boldly declare that they were going to break his brother out of prison, but Luffy is as unpredictable as ever, and presents an entirely different plan: To offer himself, the son of the Revolutionary Dragon, as a prisoner in Ace's place.

It was cold without you by my side by Dezace - Rated T

Sabo just got back from a mission. He overhears news concerning the Second Division Commander of the Whitebeard pirates and the supernova Strawhat Luffy. Strawhat was reported to be in Impel Down, trying to break out Fire Fist Ace. What the World Government didn't know was that this caused a domino effect of epic proportions. Sabo would rather kill himself than not do anything. His brothers were counting on him.

The will to live is harder to keep than a will to die by Dezace - Rated T

Ace was chained down in Impel Down, waiting for his execution and death, knowing that nothing can change that. When Ace hears the news that Luffy was here and there for him, Ace couldn't sit still. Not anymore. Or: Ace decided that being the damsel in distress sucks and that if you wanted something done right, do it yourself.

Of Seas and Freedom by OCEANSHELLS - Rated T

Law and Luffy break Ace out of Impel Down during a date and make out in the elevator, not exactly in that order.

Fair Enough by WolfyTheWolfz - Rated T

Luffy finds out about Ace's execution, and instead of rushing straight towards Impel Down, he enlists the help of Boa Hancock, to help trade himself for his brother but to also get a message out to his crew.

see you again by yeonjunenby - Rated T

While awaiting his execution, Ace silently wishes that he could have seen his brothers Luffy and Sabo one more time. His wish comes true, except for some reason this Sabo and Luffy appear to be from three years in the future, and they seem hellbent on breaking him out of prison.

Of course I'd come for you by Lerya - Rated T

Making a beeline to the end of the hallway, Luffy didn't care about anything else but getting to his big brother.

Garp taught Luffy how to be a marine and uses that knowledge to break into a government facility by Dezace - Rated T

Garp wanted Luffy and Ace to be Marines, so he taught them what a good marine should know and how to do it. While Ace and Luffy obviously didn't become marines, that knowledge was, literally, pounded into their heads. With Ace captured and set for execution, Luffy uses that knowledge to bust his brother out of prison. Or: Why Garp shouldn't have taught an upcoming rookie what Marine codes meant because all it led to was the chaos a pirate could use it for.

Not Once, But Twice In A Lifetime by BonneyJewelry - Rated G

On the way to Wano, Luffy is forced to rest by his frantic reindeer doctor. When he snaps his eyes open again, he is not where he expects to be. Is that Aces Vivre Card?

Never Let Go by Applepie - Rated G

Sabo never managed to escape from his father after he gave himself up for Ace and Luffy’s sake. But ten years pretending to be the Noble his father expects him to be is nothing when it lets him save his brother in the end. (In which Ace gets a visitor in Impel Down, and it’s the last person he expects.)

The Rescue Party by UntoldDepths - Rated M

In which the Straw Hat pirate crew finds out about Ace's execution earlier than canon and immediately launches a rescue mission.

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?

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!

AU where Ace can take over Sabo’s body after he ate the Mera Mera no Mi

Any tips you’d give to other pantsers/discovery writers?

hi anon!

so without much ornamentation, let me tell you this: being a pantser/discovery writer doesn't make you any less of a writer. it doesn't make you less passionate, serious, or committed to writing. you are a writer if you're writing; you are one even if you're only brainstorming or carrying a few characters in your head. you are a writer if somewhere in your heart you feel like you are one. don't let anyone tell you otherwise!

now for a few tips to help you feel less confused and alone in the process of writing your book –

it is okay to not know where you're going. the journey you're embarking on will be beautiful beyond your expectations, so try to loosen up a little and let go of your anxieties.

if you're still anxious, try to take it one step at a time. you don't have to constantly be thinking about the ending/destination. try to figure out what lies right in front of you. what's the next scene? what's a character relationship that you want to explore? what dialogue would you like to include? take small steps that will eventually lead you to the end and be mindful of them.

expect to be blank. sometimes, you can be completely out of tune with your book and it doesn't mean it's going to be like that forever. writing your book is important but it's equally important to take breaks, listen to music or watch shows that remind you of your book, stay hydrated, eat that meal, reward yourself for the things you've done, and do nothing.

when things aren't working out, let it rest for some time. a fresh brain is essential for a pantser because you need so much headspace (or bandwidth as i like to call it) to be able to daydream your own book into existence.

do not laze around too much. if you're a pantser, you might fall into the trap of just waiting for the muse to hit you, but the truth is, it won't. get started on the book, sit down to work on it, immerse yourself in the world as much as you can. make an effort to bring your story to life.

allow yourself the time it needs to write your book. it is okay if you can't write a book in thirty days. or months. or years. every story needs its space and every writer takes their time. don't rush it.

being a pantser means you're testing out the waters as you go, so here's a little pat on the back for being brave and strong and unapologetically you!

– ann.