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Tristyn -Chapters One and TwoChapter One
It was a train like any other. As it clattered through the twilit countryside, one could see the flash of the engine passing by, its twin gyronic motors whirring and crackling with seemingly barely contained energy. While its chrome fixtures and trimmings had perhaps not been polished as recently as company guidelines advised, on the whole it was a fine example of why Varelyia was the most prosperous and envied country in the world. The lush green fields and old-growth forests of the rural areas passed by almost in a blur to the passengers as they hurtled along at eighty-six point five miles per hour: the evening express.
In the second-to-last passenger car there sat a girl. She was trying to read a book by the dimming light, holding it up next to the window, partially obscuring her face. The way the car was set up there were private compartments on one side and a sort of long bench along the other wall, in the hall. For some reason the private compartments had readi
Worldbuilding Notes I"Worlds Without End" Worldbuilding Notes
A Note on Species
The inhabitants of the comic are not "anthros" in the conventional sense. They are simply "aliens" who bear a resemblance to Earth animals. Different planets have very different species makeups, though some are similar to the others. On Lhasa's planet, there are three semi-separate species or races, though other planets often have only one sentient species with no real variation at all. This is why Lhasa and Harry look so very different--she's a Duvian (the group that looks kind of a humaniod kangaroo rat) and he's a Talabrossian (the group that looks more like vulpines.) On Calidor, there is only one species (Calidorian), which does not have very much genetic variation, staying even within a narrow band of fur colors (different combinations of brown and gray) with the exception of occaisional red or green pigments turning up in the hair (not in the fur.) Humans and other types of beings also exis
five.Five is the number of times you worry he’s stopped breathing, as the surgeons carve around his heart, twisting away the plaque ridden arteries, and pulling a vein out of his leg. Five is the number of heart wrenching hours you and your family were waiting in the hospital room, worried that your lives would crumble, that there would be five members of the family instead of six, that five days out of the week he would not come home for dinner, that five kisses from him would no longer be given to his wife and four children. Five was the amount of fingernails you bit off while watching people enter and exit the waiting room, and the amount of minutes your mother spent on the phone, explaining that something was wrong. Five is the critical difference between holding a father’s hand as your mother cries into his heart shaped pillow. The difference between rejoicing and smiling weakly because he’s okay or carrying your father’s American-flag-covered-casket and watchin
A Guide to Writing DialogueWhat is dialogue, exactly? The definition from Merriam-Webster’s dictionary was several lines long, so I shall summarize it in a short sentence for the sake of the readers; it’s the writing that illustrates conversations between two or more characters in a story. We read and hear it all around us, but creating it in your own work can be a challenge. However, if you find dialogue an obstacle in your writing, then don’t push the panic button. In this tutorial, you’ll find by analyzing what dialogue can do and how to use it, you can turn your greatest fear into your greatest ally in your story.
What dialogue is
Like I’ve asserted before, dialogue is basically what the characters are saying to each other. It can be found in multiple mediums such as books, movies, comics, video games, etc. We even engage in dialogue daily without even thinking. When you talk to your best friend, a co-worker, or even your dog, you create dialogue. It’s exchang
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