YOU!! YES, YOU!! GO WRITE THAT FANFIC YOU THINK NOBODY BUT YOU WILL READ!!

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?

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.

I wanted to write today… but my brain said, “Nope.” Not sure if it’s a motivation issue or just good old-fashioned writer’s block, but either way—progress needed to happen.

So, I cheated (but like, in a totally productive way). I followed my plot outline and wrote just the dialogue. No fancy descriptions, no deep internal monologues—just vibes and conversation. And you know what? It worked.

I once said that the only job of the first draft is to exist. A skeletal scene with dialogue and the barest hint of description? Totally fine. That’s what the second draft is for. Future Me can deal with the details—Current Me just needs to keep the story moving.

Basic Writing Terms: Types of Characters

There are a lot of different words to describe the roles that characters play within the narrative, some characters can occupy multiple roles at once, but these terms are not always synonymous. Confusion can occur when one assumes that one term encompasses another with which it is often paired.

These are some terms and a brief overview of how they will be used on this blog.

Protagonist: The leading character. Not necessarily of any particular moral persuasion, can be a goodie, a baddie, or an in-betweenie, depending on the story being told. Can be a group of people either working together, or who inhabit the same narrative.

Antagonist: A person or the person who opposes the protagonist, there can be multiple antagonists for any given protagonist. Does not indicate any particular moral code except that they are in conflict with the protagonist.

Main Character: The leading character. Often in an ensemble cast there is one character who is more central to the story. (Most generic term)

Focalising Character: Characters through which we see the story, their perceptions and knowledge will colour the narrative and influence the reader’s opinions. A story can have one or many focalising characters, but only one can be used at a time (a ‘switching POV’ is a shift from one focalising character to another).

Hero/ heroine: Often a protagonist. Is a character who is explicitly siding with the moral good.

Anti-hero: Often a protagonist. Is a character who is the centre of a heroic narrative while not having ‘conventional’ heroic traits.

Villain: Often an antagonist. Is a character who is explicitly siding with the moral evil.

Anti-villain: Often an antagonist. Is a character who may be explicitly siding with moral evil, but likely has non-villainous motivations or attributes.

Foil: A particular type of antagonist or villain who’s personal qualities compliment or contrast in such a way that they illuminate thematic elements of the protagonist or hero’s character.

Secondary Character: A character who is not in the central protagonist/ focalising character role. Can have significant role/ impact on the narrative, but is not the focus of the narrative.

Minor Character: A smaller role than the secondary characters, may appear only for a few lines, attention to detail on minor characters can help make world building feel more ‘real’.

Narrator: The character who is ‘voicing’ the story. May or may not be a character that is personally a part of the story. (Not all stories have explicit narrators, but all stories have narrative voice!)

Tips for writing dream sequences (from someone who has really vivid, weird dreams on a frequent basis)

My biggest pet peeve with fictional dream sequences is that they make too much sense!! They're too relevant! There's not enough random crazy stuff! That's not always unrealistic per se, but you are missing out on some of the fun ways you can reveal information about your character's mindset, fears, struggles, and future.

Most of my dreams have a goal or objective driving the plot, and it's usually urgent. Ex. "escape the huge storm on the horizon", "find a place to sleep for the night in an unfamiliar town", "find a bathroom". This is especially true of stress dreams.

Everything going on in the dream makes perfect sense to you during the dream. It doesn't feel like reality per se, but you think it is. You're living in a house full of vampires that could eat you at any moment? Seems legit.

Emotions and situations from the dreamer's life can/will find their way into dreams, with varying levels of subtlety. The dream could be about the stressful event itself, or it could be some sort of exaggerated metaphor. Ex. I was worried about whether I was a competent CS major while I was still trying to find a summer job/internship, and I was worried about what my professors must think of me. Such a good student on paper, still without summer plans. I dreamed that I ran into my professors all having lunch together at a restaurant (during a dream with a completely different storyline), and I was wearing my pajamas. They judged me.

Certain things are very hard to do in dreams. This could vary from person to person. For me, it's always driving (the brakes never work right), flying (I can't stay off the ground for very long), and running (it's like trying to run through waist-deep water).

People with PTSD may dream about the traumatic event happening differently than it actually happened. (Take this one with a grain of salt - I don't suffer from PTSD, I just research it sometimes so my blorbos can suffer accurately).

You can have a string of loosely connected or disconnected dream sequences back to back, each with an entirely different plot, setting, etc.

People can have reoccurring themes or plotlines in their dreams, which are often connected to their lives/psyche somehow. I frequently dream about running away from tornadoes and being in situations where there's some catastrophe coming but I'm the only one who understands that there's a problem and nobody will listen to me.

It's common for me to have a dream setting that I KNOW is someplace I'm familiar with, but it doesn't actually look like that place at all. Ex. "I dreamed that we were at my house, but it didn't look like my house..."

Dreams can end in cliffhangers. Sometimes I wake up right before I'm about to eat something delicious.

Sometimes people have dreams about doing things that they would never, ever do in real life, and they wake up feeling disgusted. This is Not a manifestation of their secret desires (*glares at Freud*).

Images are the most memorable parts of dreams. I forget the specific plot points, but I can still picture dozens of liminal spaces my brain has created, even years after I dreamed about it.

Dreams will fade from memory very quickly unless the dream had a strong impression on you, you write details about it down or you tell someone about it before you forget.

If you realize you're dreaming during your dream, sometimes you can control the dream going forward. This is called lucid dreaming. I've done it accidentally a couple times, and it's really hard to "hold on" to the dream and control it. I usually wake up soon after starting. With practice, you can get better at it.

Sometimes a normal/good dream can turn into a nightmare, and vice versa. Most of my dreams aren't really good or bad, they're something in between.

Your subconscious brain is CRAZY intuitive. We can argue over the existence of prophetic dreams (I've heard so many crazy stories), but at the end of the day, your subconscious brain knows things that you don't consciously know. If your character is in love with someone, their subconscious brain will know even if the character doesn't. Relationship problems? Deepest darkest fears and insecurities? Your brain knows. A dream predicted the downfall of my first relationship eight months before it happened, down to the reason why we failed. You can absolutely foreshadow this way. A character might subconsciously know what the consequences of their or other people's actions will be, understand things about the situation they're in, know things about the people they're interacting with, and more, despite their conscious realizations.

There are plenty of ways to make a dream sequence relevant to your story, but don't forget to add in some fun, random details. Character A is secretly in love with Character B? Have Character A dream about Character B confessing feelings to them while in a Vine Nostalgia themed restaurant over a plate of mac-n-cheese. The details are the fun part, and you can get as weird as you want. I once ran into my aunt in a dream, and she was wearing a backpack with a bunch of (fake?) hands sticking out of it, making a fan that rose above her back behind her head like some sort of peacock feather costume piece. I was so freaked out that I woke up. I dare you to get weirder than that.

Not everyone's brain works the same way. I have vivid, random, detailed, memorable dreams on a frequent basis. When I describe them to people they often ask "what were you on?". My roommate only remembers her dreams when they're nightmares. I have some friends who say they don't dream. Other friends have really boring, mundane dreams about their normal lives. Some people have weird dreams but only once in a blue moon. It's a good idea to decide off the bat what kinds of dreams your character has, and how often they remember them.

That's it for now, but I might make a part two if I think of more things to add. Feel free to reblog with your own personal dream expertise!

WHAT'S TODAY'S SPECIAL?

✩ THE GREAT GATSBY

: a few luxurious vanilla bean scoops, alongside a bright pistachio scoop and a drizzle of some quintessentially american hot fudge to top it off.

I’ve seen Gatsby: An American Myth at the ART two times now, and it’s been such a pleasure both times, with it quickly becoming my favorite show I’ve ever seen or witnessed in my entire life. At this point, there’s no real breakdown of the songs or story yet, and I wanted to detail my own thoughts on the score of the musical. So, here’s my review and summary of every song from Gatsby: An American Myth, in the best way I could possibly articulate it.

— SPOILERS FOR THE GREAT GATSBY BY F. SCOTT FITZGERALD AND GATSBY: AN AMERICAN MYTH AHEAD. read the better version of this on my substack !!

WELCOME TO THE NEW WORLD

NICK, ENSEMBLE

Welcome To The New World is our opening number, and it’s a phenomenal entrance to the story and themes of The Great Gatsby. It starts with NICK, explaining who he is, why he left for New York, and the general vibe of New York as he arrives, and transforms into a full company performance. The choreography really carries this song, but the detailing of New York and its culture at the time of the story is done so well in the lyrics, really emphasizing the passion and energy in the city and state. what i love most is that the song opens on the common people of New York, those that attend GATSBY's parties but are not a part of the “elite,” with clear references to those characters in the company being immigrants, from out of the country and from other parts of the country itself. This idea of the song being sung by the average person in New York really lends itself to the introduction of TOM, DAISY, and JORDAN, who, during the song, are watching the company dancers from a higher level of the stage. as the song concludes, TOM says something along the lines of “quiet down” or a comment about the amount of noise from the other side of the pond, forming a line of class before the show even truly begins. crazy fun beat, crazy fun choreography, and such a captivating start that really draws you into the world of the great Gatsby, despite its weakness in catchiness.

a solid opening number, being incredibly fun with fantastic and dynamic choreography, although not the best song on its own in comparison to other gatsby: an american myth tracks or other musical openings. won’t be a super interesting listen for those who only have access to the score, but will be a super fun watch for everyone who sees the show, and a great start to an even better show! 

GOLDEN GIRL

DAISY

Golden Girl is DAISY’s first solo, and it’s good. for context, the scene previous to this is DAISY confronting TOM about taking a phone call, presumably from a woman or mistress, while they are hosting dinner, and demanding he hang up. he hangs up the phone and hurts her hand in the process, to which she crumbles in pain, with TOM then telling her that she is “being a bad host,” which leads into the song. Detailing DAISY’s emotions of always feeling the need to be perfect, and feeling as though she was pushed from being a debutante directly into being a bride, Golden Girl should be incredibly emotionally touching, especially as DAISY begins to reminisce on a previous love and another possible life, but it’s just not. Golden Girl is fine, and that’s the best way to say it, and it rests a lot on the gorgeous vocals of Charlotte MacInnes. The lyrics are okay, but at this point in the story, the song reads strangely, and it’s just a bit boring to sit through. I think Golden Girl does it’s job explaining DAISY’s feelings, I wish it just did it in a more interesting way, because it feels a bit like an afterthought, and a little forced into the overall flow of the story. Golden Girl’s crime is that of being boring, and that is the real tragedy of the song.

overall, a very basic take on daisy without very compelling ideas or lyrics, that rests on the vocals and acting ability of the performer and not on its own merits. not the worst i've seen in theater before, but my own personal contender for one of my least favorite of this show’s numbers. disappointing for daisy’s first solo, but will be a genuinely great audition piece for those looking for something from the show. this is likely a controversial take, but i just didn’t enjoy it. 

VALLEY OF ASHES

MYRTLE, WILSON, ENSEMBLE

Now. We’re. Talking. MYRTLE and WILSON are so cool in this production, and Valley of Ashes only cements that further. It’s a fantastic company number with a balanced focus between MYRTLE, WILSON, and the rest of the company that centers on the working class’s view of New York and the dichotomy between them and those with money, both new and old. It introduces crucial characters, interesting plot and thematic elements, and from what I recall, it’s sound and choreography is captivating for an audience. Both Solea Phiffer and Shea Renne performed beautifully as MYRTLE, and Matthew Amira makes me actually care about WILSON in ways I didn’t think were possible. It’s just so good, and is such an edgy, interesting performance. Huge fan!

a great company performance with a variety of skills from acting to dance to vocals on display from every member of the cast performing. takes everything amazing about the opening, and dials it up now that it knows the audience is already sat and listening. i'm obsessed.

SHAKIN OFF THE DUST

MYRTLE, ENSEMBLE (FEAT. TOM & NICK)

Another banger from MYRTLE and the wildly hardworking company, that’s only made better by the acting ability and the raw comedic and dramatic timing that Cory Jeacoma and Ben Levi Ross have as TOM and NICK. Taking place in MYRTLE’s apartment, Shakin Off The Dust gives a balance of a fun, party-like atmosphere that really showcases MYRTLE’s lust for life and desire to really live, which is core to her character, alongside the genuine emotions and motives behind the speakeasies and parties of the 1920s, which came from a desire to feel loose and free after the war and diseases that hurt the country, and also deeply hurt MYRTLE and the company characters like her, who desire to emulate the luxury and freedom of the upper classes. It’s much more emotionally raw than would be expected of the flashy costumes and lights, and the gaudy set, and provides insight into TOM and MYRTLE’s relationship and MYRTLE’s difficulties with her husband, family, and life that lead her to lead this affair. It also gives us canonically gay NICK, which I could never be mad at. Fantastic choreography as always, with a special solo given to a wildly talented dancer in the company, Chris Ralph who has delighted the audience both times I’ve seen the show in an incredibly unique way.

fun, flirty, and emotionally devastating. everything that i look for in a track, only made better by those performing, with phenomenal execution of the lyrics and choreography.

NEW YORK SYMPHONY

NICK, MYRTLE, DAISY, ENSEMBLE

This one took me a second to remember, but once I did, it was hard to forget. Taking place after TOM slaps MYRTLE, telling her that he would never truly marry her, and after NICK’s realization of queerness, New York Symphony is a song detailing the experiences of NICK, DAISY, & MYRTLE as people who have moved to New York in search of something, and emphasizes their similarities. It’s not a very memorable song, but I find it touching and a strong support for the overall story. Nothing too special, but still leaves a pretty hefty impact even with just a vague memory of the emotion it evoked.

a strong addition to the story and an interesting depiction of the similarities between multiple main characters, drawing connections that are crucial, or at least helpful, to the story.

ONE HEART BEAT

GATSBY, JORDAN, ENSEMBLE

One Heart Beat is our introduction to GATSBY’s parties, alongside the man himself, and it does a great job at utilizing the skills and talents of the cast alongside the fantastically designed set to create a dynamic and fun atmosphere. Great utilization of JORDAN’s character, which this production can occasionally lack, so that’s a major plus. Reminiscent of Shakin Off The Dust, and previous company numbers, One Heart Beat shows the party scene of New York and emphasizes the characters of both old money and new money who crowd together in GATSBY’s grand parties, but in a great contrast to the desperation of Shakin Off The Dust with the amount of opulence it shows. It’s a little bit of a drag, as I feel it’s a little longer than it needs to be, but overall a great track in vocals, score, and choreography, with amazing comedic moments and a great execution of NICK and GATSBY’s first meeting, and leads perfectly into the next track.

a great party song, with a fantastic showcase of skills from the company and the lead actors and actresses. faithful to the story and the ideas of gatsby’s parties, and just such a fun song, despite possibly overstaying it’s welcome.

DEATHLESS SONG

GATSBY (FEAT. DAISY)

Gonna be real with you guys, I don’t remember this song at all. From what I recall, it happens after GATSBY solidifies plans for lunch with NICK. The song itself contains GATSBY detailing the motives behind his parties, talking about scanning every face in the crowd, obviously looking for DAISY. Towards the end of the song, DAISY enters, standing in front of the green light prop that exists on House Right, but she’s more of a vision and GATSBY does the classic reach out to her from across the pond, which is referenced in the book and the musical. It’s not a bad song, from what I remember, just very forgettable, and it has the problem of existing after a very fast paced moment. Gatsby: An American Myth’s largest issue seems to be timing and placement of songs, and this is an example of it, because it is so easily forgotten in between those that come before and after it. 

doesn’t feel fair to give this a review, but i’m gonna say it’s a little forgetable and boring, but absolutely something that would resonate with someone who is not me.

FEELS LIKE HELL

WOLFSHEIM, ENSEMBLE

We are so fucking back with this song. It’s incredible, and defies every stereotype of the “ boring old guy musical song that nobody likes,” by being just so well done. I could write a whole post on this song alone, but WOLFSHEIM as a character is just so monolithic, he takes up all the attention on stage, supported and only contested by GATSBY, who has incredibly unique blocking and choreography throughout the scene. In this song, WOLFSHEIM explains GATSBY’s rise to fortune through his help, and the idea of the American Dream in a way that feels so genuine and wildly inventive and creative. WOLFSHEIM manages to be such an amazing character, with so much personality and wit in ways that I don’t the book, the movie, or the other musical have managed to capture. While I will sing the praises of Adam Grupper all day, Isaac Powell’s performance as GATSBY is nothing to scoff at either, managing to transform himself from a young, naive man, to the GATSBY we know today, and doing so flawlessly. An amazing backstory song that blends rawness and wit into something spectacular. 

fantastic addition to the musical, and a dynamic number that never gets old and one that you always look forward to, with especially amazing performances from all cast members involved. i have a feeling that this song will turn out to be wildly underrated when the cast recording releases, but trust me, it’s great.

A SMILE LIKE THAT IS RARE

NICK, JORDAN (?)

You may notice the question mark next to JORDAN. I can’t fully remember if she has a singing role in this song, or only a speaking role, but it doesn’t really change the overall song. It is, even if JORDAN also sings, largely a NICK solo, as he comments on GATSBY’s charm. The song details GATSBY’s smile, and how his genuine joy is rare for the circles both JORDAN and NICK find themselves in, and it’s the beginning of NICK’s understanding about who DAISY is to GATSBY, as this all comes after NICK’s agreement to stage a tea meeting for the aforementioned characters to come together, which is what GATSBY wants. It leads into a larger song, as NICK’s hesitance to set up the meeting is met with JORDAN’s reassurance that it may turn out well, as she remembers GATSBY for the radiant joy he had around DAISY, and their relationship. It’s a bit of a filler song, but it’s pretty, with lyrics that show an understanding of the characters in the story’s feelings and moves the plot along in a way that doesn’t feel too forced or too slow. It’s small, it’s cute, it’s there. 

nothing too much to say. it’s a cute addition, and it does it’s job. it’s not anything special, but it’s well-written and well-performed, and has a very clean placement in the story itself.

MONTH OF LOVE

GATSBY, DAISY (FEAT. NICK & JORDAN)

Do I remember the lyrics? No. Do I remember how absolutely lovely this song was in essence and feeling? Yes! NICK and JORDAN watch on from a side of the stage as a young GATSBY and DAISY meet and fall in love, with JORDAN being implied to be telling their story to NICK. However, everyone other than DAISY and GATSBY seem to melt away during this song and the scenes within it, even if they’re still present on stage, which seems intentional and phenomenally done. DAISY and GATSBY pull the audience into their romance, with soft lyrics and a romantic backing to every word spoken and action taken, without it coming across too gaudy, fake, or unreliable to the book itself. This is a gorgeous song, and it really demonstrates the skills of the performers to be able to shift into their characters’ younger selves so well, with only a change in costume. A beautiful song, made even better by the tragedy you know will befall their romance.

dreamy, romantic, and gorgeous, everything gatsby and daisy remember their month together as seen from their and jordan’s memory. this number really makes us understand daisy and gatsby’s history in a way that wasn’t available before.

I’VE CHANGED MY MIND

DAISY, JORDAN, DAISY’S MOM (FEAT. GATSBY)

This song is so heartbreaking, it makes me physically ill. DAISY, on the day of her wedding to another man, receives a long-awaited letter from GATSBY, begging her to wait for him. So simple, yet so gut-wrenching, Daisy’s repeated lines of “I’ve changed my mind” show her youth and desperation so well, especially as her mother berates her and asks her to think of their good family name (“Love will fade, but our good name is forever.”) and the luxuries that DAISY has enjoyed her whole life. DAISY continues pleading, standing soaked in a bathtub (like, actually soaked), until the moment she is carried out and dragged to the wedding, and it’s such a deeply ruinous song that absolutely wrecks an audience. TOM is a looming, silent figure throughout this song, and JORDAN’s helpless worrying only adds to the desperation the song carries and the fear DAISY has, every element on stage working to make you see just how much DAISY is conflicted, scared, and naive. I’ve Changed My Mind shows the tragedy of The Great Gatsby that is always so delicious, and it’s nauseating how amazing this track is. The blocking, costuming, and subtle choices made (JORDAN picking up GATSBY’s letter from the bathtub where it dropped as DAISY gets carried away, before throwing it out, DAISY’s mother and JORDAN in black as though they are mourning) elevates this song to heights I’m obsessed with.

possibly one of my favorite songs of the show, with just phenomenal vocals, acting choices, blocking, and just everything that makes a song perfect. i’m obsessed with this track, and I think it’s a real showcase of the show at its best.

POURING DOWN

DAISY, GATSBY, NICK (KINDA), ENSEMBLE

I know I just spent 10 years absolutely showering I’ve Changed My Mind with praise, but Pouring Down manages to elevate to even higher heights as a track. At NICK’s house for tea, both GATSBY and DAISY are overwrought with stress and nerves, and are so awkward and tense they can find nothing to talk about but the stormy weather. It’s difficult to detail in words, because it sounds so simple, but the mixture of their voices and characters combine into something so awkwardly beautiful, emulating the true tense feelings behind reconnecting with an ex. The company aids in the vocals, especially later in the song as they move into GATSBY’s house, and NICK’s involvement in the scene is somehow both touching and incredibly comedic, adding some necessary levity without drawing too much focus to himself when unnecessary. It’s a beautiful, understated but near-perfectly constructed track, and I love it so dearly. Not to mention, the set design including led-lights that flash down in rain patterns during this scene has such visual appeal I can’t even find the right words to describe it.

a crucial addition, that shows both the comedic and tragic potential of the characters themselves, that adds such great character building and tension to the story that makes it absolutely delectable. it’s a treat for me, seeing and hearing this song. understated, simple, and yet so deeply complex and thought out, a real work of ART.

MR. NOBODY FROM NOWHERE

GATSBY, ENSEMBLE

BOOOO!!! Tomato, tomato. Okay, I joke, but in all seriousness, this song is GATSBY’s Golden Girl, if you know what I mean. It’s just so boring, especially as the Act One finale, and it’s just so disappointing because it’s obviously placed there so we can get a serious moment to end on, that centers around GATSBY himself, but it just lacks what the past two songs had and really dampers Act One’s momentum. I understand it’s neccessity, especially for setting up GATSBY’s character, and his relationship with the idea of being “nobody” and finally escaping that boudary with the love of DAISY as his crutch, because that is vital for later on, but I just find this style of ballad-esque solos very boring, basic, and uninspired, which is a shame for a show as dynamic and unique as Gatsby: An American Myth. It was okay, and it does something for GATSBY’s character, but that’s the best I can do.

again, we have another song who’s worst crime is being boring. it wouldn’t be so bad if it didn’t follow multiple fantastic songs, but it does, and it’s rough. there’s not a better place to put it, and there’s no getting rid of it, so we’re stuck. still mildly disappointing, although i’m sure every high school theater boy just cheered for another audition song for them.

JUST A LITTLE PARTY

MYRTLE, ENSEMBLE

Starting off Act 2 with a quiet bang, Just a Little Party is a subtly sinister take on the party scene of 1920s New York, with “the help” at the center of the song. Highlighting the hauntedness of Gatsby's parties and the way the lower class workers are essentially invisible to the party-goers and work jobs that are completely unnoticed every night and every day, it's a dark, but incredibly captivating performance. MYRTLE’s appearance as a maid to contrast the life she wishes she had, as one being served rather than the one serving, is incredibly tragic and adds depth to her character. Her appearance in the song as a whole elevates it, and it's just such a fun way to get dragged back into the world of the show.

absolutely gorgeous re-entry to the world of gatsby: an american myth, that used the entire company to their best, and was just an amazing performance. 10/10, no notes, i’m in love.

WELCOME TO THE NEW WORLD (REPRISE)

GATSBY, DAISY, NICK, JORDAN, ENSEMBLE (FEAT. TOM AND MYRTLE)

DAISY’s introduction to the party world that GATSBY has created for her is within this song, and it is absolutely perfect. Before I write anything else, it’s important to know that NICK and JORDAN shine in this song, especially showing the way that NICK has evolved to mold seamlessly with the upper-echelon’s party mindset that he was once uncomfortable with. It’s such a gorgeous, fun reprise with just the right amount of sinister to remind us that GATSBY and DAISY are on borrowed time, with the threat of TOM right around the corner. Such a fun beat, and a great callback to the original song. All the characters, including MYRTLE and TOM who don’t have singing roles in this song, are utilized so well in both acting and vocal talent and skill.

so fun, so perfect, and an amazing reprise! more fun to watch then the original in my opinion, although the lyrics probably aren’t as strong, or at least don’t change much from the original.

DRIVING MY WAY

MYRTLE

This is MYRTLE incredibly ironic breakup song to TOM, although framing it that way doesn’t do her justice. Post-party, MYRTLE is incredibly frustrated with TOM, and I would describe this song as a type of angry, break-up letter to him, essentially telling him that one day, he will have lost her, and he won’t be able to drive her way anymore. It’s tragic in the context of the show, and that tragedy comes from the hope that it has as a standalone track, but it’s still incredibly powerful in the moment and represents something important for MYRTLE, and the shows overall themes and ideas. It’s a very powerful song, and while that really rests on the power of the performer, it’s just a fantastic track. The costuming of MYRTLE during this scene, in the maid dress she wore to the party, lends so much to the powerless feeling MYRTLE feels like she gains with TOM, and it gives the ending, where she clearly states her power over him, so much more punch than it would’ve otherwise.

overall, myrtle really isn’t in a single song that’s bad, especially not ones focused on her, and the stage presence that is both written into myrtle’s character, and executed flawlessly by the performers, only served to make this piece so much more emotionally fufilling and shattering for an audience.

WHAT IS THIS WORSHIP?

GATSBY, DAISY, NICK, ENSEMBLE

What Is This Worship is by far one of the most dreamy, romantic tracks in the entire score, with a slightly sinister undertone, and it’s no wonder that it comes in the seemingly blissful, but secretive, days of GATSBY and DAISY’s reigniting of their romance. The melody and music tell a far different story than the lyrics themselves though, with the music airy and cloudlike, like a fairytale, and the lyrics painting a picture of doomed devotion. According to the song, GATSBY falls into depression the moment DAISY leaves, and places his whole value on her presence, which shouldn’t need to be explained as unhealthy to be understood that way. The choreography shows they can never get their hands off of each other, with GATSBY especially clinging to DAISY and the lyrics reflect such desperation. It’s just such a gorgeous song, and everything about it reflects the love of DAISY and GATSBY without straying from the original themes and intentions behind their relationship, and the complexities with idealism and “the american dream” that litter the relationship as a whole.

showstopper, amazing, and steamy without being gaudy or graphic. one of my favorite portrayals of gatsby and daisy’s romances done, like, ever!

WHAT WILL WE DO WITH OURSELVES 

GATSBY, DAISY, NICK, JORDAN, TOM, ENSEMBLE

shirts getting thrown off, daisy regrets, gatsby asks daisy to tell tom she never loved him

This song is so fucking long, and so fucking good. The whole song is just wrought with tension and stress and it genuinely made me almost claw into my seat, it was so nailbitingly good. Beginning in GATSBY’s home, with DAISY worrying about the past and how much time they’ve both lost, and what their future will look like together (“What will we do with ourselves / Today, and the next forty years”), the song immediately brings a sense of finality that we know is coming to the affair, highlighting DAISY’s insecurities and fears. However, they move on, with the song transitioning into DAISY and TOM’s home as DAISY and GATSBY prepare to tell TOM of the affair —with JORDAN and NICK being the unfortunate bystanders. This begins the “it’s too hot” repeated lyric, which shows the way that the environmental circumstances, along with the tension, are affecting everyone but TOM, unaware of the issue. Later on, TOM becomes more conscious of the affair when DAISY decides to drive with GATSBY, leading him to also remark on the heat later on. All in all, it’s a rich, tense piece of storytelling that relies on the actors’ abilities in the best possible way, highlighting all of the strengths of the amazing performances done.

stressful, nauseating, and just so deliciously good. a fire could’ve started during this song and i would’ve had no idea. i don’t really know how they’re going to split this song and what is this worship up, or how they’ll make it into the cast recording, but that doesn’t change the intense emotion raditating out of this song.

WHAT OF LOVE, WHAT OF GOD

MYRTLE, WILSON, ENSEMBLE

I NEED THIS SONG TATTOOED ON MY BRAIN. Anyway, this is my favorite song of the whole score. MYRTLE and WILSON are fascinating characters, and they’re love and dynamic is so stressful and so beautiful and so heartbreakingly, realistically tragic. WILSON’s desperation for MYRTLE to stay despite her affair is so clear in this song, alongside the clear anger and betrayal he feels for both himself, God, and his and MYRTLE’s deceased daughter. It’s genuinely so raw with emotion that it’s palpable, and MYRTLE doesn’t pull her punches either, with her clear exhaustion with WILSON’s excuses and her pessimism contrasting his optimism, which is a swap of their earlier roles in the story. The contrast between them is what really seals this, with WILSON (And what of love, and what of God?) and MYRTLE (Love will not save you here / ... / God will not save you here) showing clear the hopes that people had in America and how those hopes eventually are crushed. The shift in their personalities is evident too, and it’s just such a realistic depiction of the kinds of struggles they would face as fully fledged people, not characters. It’s so. Fucking. Good.

a really great song to pretend you’re fighting with someone to, if that makes sense. a really great song, period. i am getting a tattoo of these lyrics, and no one can stop me.

THE DREAM FOUGHT ON

DAISY, GATSBY (FT. TOM, MYRTLE, NICK, JORDAN, & ENSEMBLE)

DAISY is going to drive. That’s important for you to know. This is the scene, as in the scene where DAISY takes control of her life, for better or worse, removing herself from being the dream debutante, the dream wife, and then GATSBY’s American dream, and in doing so, taking back both control and the keys to the car from GATSBY. The Dream Fought On is about fighting for a dream, whether this be DAISY’s dream of breaking free from expectations, GATSBY’s dream of having DAISY, and MYRTLE’s dream of truly living, and finding a new life. This is where MYRTLE dies fighting for her dream, running in front of the car as DAISY drives, and the choreography and blocking of specifically this scene is phenomenal, along with the song’s blocking as a whole. While the song can be rather basic, and a pretty common and derivative take on the story, it’s still very well done, especially on stage, and especially with the acting of all those involved.

overall, it’s a great song that has the issue of a lot of acting moments around it, and being shelved in between multiple other far better songs, but still, it’s great. i feel like i’m forgetting something about it, but i’m fairly certain this is a reliable description.

THE DAMAGE THAT YOU DO

TOM, DAISY

If there were to be any song that beats out What of Love, What of God?, it would be this one. TOM and DAISY are such rancid people in this song, and it really highlights the ways TOM and DAISY behave similarly, which calls back to similar highlighting during Act Two’s opening that showed both DAISY and TOM’s affairs in the spotlight. It’s so good in ways I can’t describe, but it’s one of the other great argument songs on this track, and there’s a piece of lighting work I also really love in this song, where the spotlight kicks up from behind them and you can see dirt and blood on the bottom of both DAISY and TOM’s clothing, highlighting the blood and grime they both have on their hands and their consciousness, and how neither of them are clean people. I think it provides a lot of insight into why DAISY and TOM end up staying together.

VIGIL

GATSBY, NICK

GATSBY is going to take the fall for DAISY, and desperately wants NICK to validate this decision, which NICK struggles immensely in doing. This is, I believe, where NICK fully beings to understand the lengths that GATSBY has gone in only the pursuit of DAISY, how the entire empire he has built is for her, and how he will tear it all down for the chance of having her call, for the chance to protect her. This song, while sung by GATSBY and NICK, is more reminiscent of NICK’s point of view on GATSBY’s tragedy, rather than a real duet. NICK remarks that GATSBY is “standing vigil over nothing,” and when GATSBY asks NICK if he thinks DAISY will call, NICK decides to lie and say yes, despite his real beliefs. It’s a truly tragic song, if only in the sheer patheticness and desperation shown in GATSBY. I have, personally, never been one to dislike DAISY as much as many other readers of the book, but this song really hits hard, and really draws a lot of sympathy for GATSBY’s struggle and desperation for something, and someone, we all know isn’t coming.

it’s raw, it’s good, it’s tragic, and it’s all one big beautiful lie, and it’s just incredibly desperate and pathetic as a song, in the most loving, sympathetic way. it’s gonna be great, and people are going to love it.

AMERICA, SHE BREAKS

GATSBY, WILSON

Oh, I’m crazy. WILSON, similar to MYRTLE, is always going to be a smoking gun —see what I did there— of a character, bright and attention-grabbing and with such a loud but welcome stage presence. America, She Breaks is a perspective on the myth of the American dream from both GATSBY and WILSON’s perspective, as they lament on what the pursuit of this dream has lost them. This song genuinely leaves me speechless, a heavy tension and desperation running through the entire thing until the death of GATSBY and WILSON by WILSON’s own hand and handgun. It’s, strangely, a magical experience of a song, with it being wildly captivating and attention-holding. It’s a fantastic commentary on the themes of the show, and genuinely could’ve been a great ending to the show that wraps up the story and the themes, although it would leave parts of the book’s ending out. It’s just such a solid and genuine performance, and it always leaves the audience gasping.

this song drives me crazy. i am crazy. 

POURING DOWN (REPRISE)

NICK, JORDAN, GATSBY’S FATHER, COMPANY

This is where, ideally, the show would’ve ended if it didn’t end after America, She Breaks. The inclusion of GATSBY’s funeral, and the few mourners, alongside NICK and GATSBY’s father is well-done, and I absolutely adore GATSBY’s father being Native-American, which adds a whole new level to GATSBY’s character and desire to fit into the 1920s American dream. I’m not well-versed enough to speak on the representation, but I do think the idea of GATSBY being Native-American adds a lot to the story and adds complex, and interesting dynamics and themes to the overall script. I think this song specifically being a reprise of Pouring Down works well, and I think it’s an emotionally fitting ending to the show. 

emotionally fitting, a perfect mourning song, and a lovely and well-done reprise. incredibly solid as both a standalone song and a closing to the score and story as a whole.

BEFORE I GET INTO THE LAST SONG... I want to say that there are two places this show could’ve ended after this that I would’ve been happy with.

After NICK mentions to GATSBY’s father that DAISY didn’t even send flowers, GATSBY's father asks NICK who DAISY is. This works as a tragic ending, as it shows that GATSBY’s pursuits were largely for nothing, and no one will ever truly remember or understand the lengths that he went to for DAISY, along with being tragic due to the reminder that DAISY was not all that important to anyone else, and that she was only a dream of GATSBY’s, and not nearly as lifechanging for others. It just ties up DAISY and GATSBY’s relationship in a tragic little bow that I think works

And I would prefer this. NICK and WOLFSHEIM have a conversation about GATSBY after WOLFSHEIM doesn’t attend GATSBY’s funeral, that generally goes with NICK saying that GATSBY should’ve meant enough to WOLFSHEIM that he be bothered to go to the funeral, and WOLFSHEIM saying that GATSBY meant everything to him. WOLFSHEIM’s monologue ends with him saying that “[GATSBY] was a beautiful fool” and I think this makes for a good ending.

I’m sure there are other places that would make for a good ending, but not the one I’m about to tell you.

WE BEAT ON

FULL COMPANY

I hate it. I’m sorry, I hate it so much. We did not need a full company number at the end, it really just ruined it. It sucks so bad, I’m so sorry. I’m sure there’s a good reason to have it, maybe, probably, but my idea is that reason was just that they wanted the whole company on stage for bows, which is not a good enough reason to have this number included. It’s a boring song, with boring choreography, and I don’t think it serves a good enough purpose, or emphasizes the message of the show in any way. I believe that this song was only included to have the entire company onstage at the end of the show to prep the stage for bows, and nothing else. Sorry, but not really.

i’m a d1 hater of this song, and will be pretending it doesn’t exist.

so, that’s the scoop!

if you enjoyed this review, let me know. if you didn’t, that’s too bad, sorry about that. please follow me for more content, and feel free to ask me any more questions about this show, my experience with it, or content in general! i’m always down to chat, and i’m open to reviewing more scores, soundtracks, and/or albums! all the love, all the kisses, and have a fantastic day or night, wherever you are.

8.12.2024🍨 eleanor

If you're a writer you're supposed to write a lot of bullshit. It's part of the gig. You have to write a lot of absolute garbage in order to get to the good bits. Every once in a while you'll be like "Oh, I wish I hadn't wasted all that time writing bullshit," but that's dumb. That's exactly the same as an Olympic runner being like "Oh, I wish I hadn't wasted all that time running all those practice laps"

Request~ short comic in which luffy cooks for his brothers but it looks horrible and ace and sabo stomachs the food because they love lu too much

who let this boy into the kitchen

Why Haven’t You Killed Your Character yet?

A couple of years ago, I wrote a post during NaNoWriMo titled “Make Your Deaths Mean Something.” It’s the most popular post I’ve ever written (on this blog or any of my other blogs) and I was looking at it the other day and decided it was time to look at the other side of the discussion. You need to get your act together and kill your character.

I’m probably the worst person to write about killing off characters since it’s not something I do often in my own writing, but I think my perspective can help you and maybe help my own writing as well. So let’s talk about the benefits of a good death in your narrative.

Killing a  character can start a story

This is a bit of a cheat, but I can’t resist using it. In the Princess Bride, we meet Inigo Montoya. (I know this isn’t a story about Inigo alone, but stick with me here.)

When he is a small child, Inigo’s father is killed by a mysterious man with six fingers on his right hand. Inigo swears vengeance and dedicates his life to learning the art of sword fighting. If the Princess Bride were just about Inigo, then this would be the start of the book/movie.

A better example might be found in The Graveyard Book by Neil Gaiman. (Hope you don’t mind the reference @neil-gaiman.) In that story, a shadowy figure enters a house to kill everyone inside. His quest is successful, except for the youngest member of the family. This small child manages to crawl out of the house and finds his way to the cemetery where is adopted by the ghosts that live there. This is also the beginning of his quest for vengeance.

Killing your character can advance the story

Were you one of the people that were upset when Dumbledore died? I don’t get that. Dumbledore’s death made the story that much better. Until that moment in the series, Harry treated the head of Hogwarts like a crutch. Dumbledore had all the answers and explained every important plot point. (And stole Harry’s candy, but only that one time that we know of for sure.)

It was the death of Dumbledore that made Harry realize that he needed to strike out on his own and take an active approach to fighting Voldemort instead of just hiding out in “safe houses.” (Remember those Dementors? Feels quite safe doesn’t it?)

Another good example is Luke Skywalker in A New Hope. If his aunt and uncle hadn’t been wiped out, in the search for R2D2 and C2PO, he might not have left his home planet with Obi Wan. Where would Star Wars be then?

Remind people that your story is similar to reality (even if it isn’t completely true)

Even in the most unusual of tales, we need to have a way to connect to the reality around us. Without some form of connection, your readers won’t be able to get into the story. 

Consider Alice in Wonderland and Through the Looking Glass by Lewis Carrol. (Keep in mind that they are very different stories and worlds.) Carrol manages to create bizarre worlds with a narrative flow that can be confusing to many readers. So why is this story embraced by so many readers, writers, directors, and producers?

It’s because there’s something in these books that people can connect to. We all know someone like the Red Queen, full of bluster and shouting. We’ve dealt with an overly educated egghead like Humpty Dumpty. Regardless of the bizarre natures of the characters, they are familiar to us.

Oh yeah, death- so the point I’m trying to make is that death is a thing that happens and having a death in your story can bring your narrative back to reality, at least for a moment or two.

Change the character dynamics

Let’s say you have a group of characters you have been working with. There is a group dynamic that they share. What happens when one of those characters is gone from the group? That changes who the group is and how they relate to each other.

This happens frequently with television shows. Let’s consider Buffy the Vampire Slayer. How many romantic interests does Miss Summers have that die to create a change in the story. (and it’s not just Buffy that has this happen-not Tara!) When not overused, this can be an important way to address issues tht are often associated with dying. (brevity of life, mortality, unfairness, injustice, etc)

Give your story some extra meaning

Be careful with this one. You can’t just kill a character and then expect it to mean something. Death is a thing that happens and it is meaningful, but it doesn’t mean as much if you don’t know the person. Consider the difference between the following scenes.

Rebecca looked at her watch and then looked up the tunnel. She was going to be late. Where was her train? The familiar change in pressure signaled the arrival of another train. She heard a shout and turned towards the sound in time to see a tall lanky many dressed in an baggy suit step off the platform in fall in front of the train.

now this one

Kelly looked at her watch and looked up the tunnel. He was going to miss the train. She’d been waiting here for ten minutes now and her brother still hadn’t shown up. She heard a shout and turned to see what was happening. It was her brother running towards her. She ran to meet him, but the crowd was moving forward as the train approached. Brian was pushed forward by the crowd until he was at the edge of the platform. she watched as he lost his footing and fell in front of the train.

Now this was a bit of a cheat since we really don’t know much about either Kelly or Rebecca, but hopefully you get the point. The first death is a complete stranger to the character and so there is less meaning to it, but we can attach some meaning to the death of Kelly’s brother right away.

Add a sense of immediacy

Your character(s) have a goal to accomplish, or they had better have one. Even in the most dire of situations, you might get complacent and get distracted by non essential concerns. Sometimes the death of an important character in the story can motivate the remaining characters to get back on track.

Consider the graphic novel, Watchmen, (or the movie if you missed out on the GN) Almost all of the vigilantes have given up on their quest to fight crime after all the complications of the politics of vigilantism. It is the death of the Comedian that causes them to don their masks anew and search for the answers they have been ignoring. There is a sense of need that was missing from their lives before now.

Show they mean business

So far we have only talked about deaths that impact the story line because they are a point against your main character, but what about your character trying to prove a point? We haven’t thought about that have we? There’s no reason your character has to be such a goody two shoes that they can’t use death to make a point of their own, right?

Let’s look to comic books again for this one. Consider some of comic’s most popular antiheroes (I’m thinking the likes of Wolverine, the Punisher, and Deadpool to name a few.) They take the initiative to make their point and intentions clear with the use of a death or two if they have to, and sometimes even if they don’t.

Wrap up

We could go on forever with this topic, but I think that’s enough for now. Hopefuly this will give you some motivation to go out there and kills some characters. As always, let us know if you have any other questions.

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.