I'm happy to see new members emerging and actively writing threads and providing answers. Also, some legendary members are back active. In comparison, I'm still a teenager in terms of account age on SHF. 
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One indicator of successful characterization is when readers can recognize who the speaking character is based on their unique voice.
It might seem easy if there are only 1-3 characters. But what if there are 7 characters speaking in a single chapter?
It's very possible for readers to get confused, even with the help of name tags.
Are you ready to rewatch some peak?
Let the melody of rain be a lullaby...
The first POV inherently acts as an unreliable narrator. The narrative camera uses the character's perspective directly to perceive their world. You cannot know the emotions and thoughts of other characters. Even if the "I" provides interpretations regarding other characters, that information should be subjective. The exception is if your narrator is a historical narrative.
I pity the writing school!
April 1st won't make me lie to myself about not writing. Do I write or not?
Seeing the feedback requests on Feedback Section tickled me, and I wanted to leave simple feedback.
But I'm sorry, but I have to hold back. I can't do that right now; I'm focused on my fiction.
Maybe another time. I don't want to touch someone else's kitchen while mine is still burning.
Narrating power systems and lore without feeling like an info dump is one of the most difficult challenges in writing fantasy fiction.
Can we narrate how power systems work?
Can we narrate lore as the foundation of the story?
No narrator's voice. No expository dialogue.
Only subtext interspersed in the organic interactions between characters.
When the universe seems...
To refuse us to write...
We have time but no ideas...
We have paper but no ink...
We have resources but no passion...
We have passion but no resources...
It's time when writers cry.
I believe a good mystery narrative should be fair in providing narrative clues through foreshadowing and scattering subtle hints; so both the protagonist and the reader have an equal opportunity to uncover the mystery.
Instead of inserting a new chapter to patch the plot hole, I pasted the transition chapter (x') into the old chapter and merged the old chapter (chapter y) with the old chapter above it (chapter z) into one combined chapter (chapter yz).
So, chapter x' = transition chapter (new); chapter yz = combined chapter y (old) + chapter z (old).
A description narrative is considered "decoration" or empty setting when its presence or absence doesn't affect the story and/ or simply adds to the word count. Therefore, every descriptive narrative should have a functional purpose and/ or add "value" to the story.
In mainstream fiction, mothers are generally just the background of the story or the 'victim' who motivates the protagonist's growth.
In my fiction, the mother is the subject of history, the bearer of the fate of the world, the protector of her child and the main protagonist as a center of the story.
What a sweet scene... a little daughter fell asleep in her mother's arms in a creaking rocking chair on the terrace of the wooden house accompanied by the mist and valley breeze.
I tried to rewrite the lore about the fantasy ideological concept conveyed by the narrator through an info dump into a children's fairy tale narrative through the dialogue of a mother and her little daughter.
But my head immediately became fuzzy; it was so difficult to simplify the complex and dark concept into a simple and child-friendly concept.
Hmm... writing subtext isn't as easy as reading its theory.
Critiquing fiction is easy, criticizing narrative is easy, and criticizing our own writing is also easy.
Anyone who reads a story can easily find something wrong with it, whether intuitively or rationally. What's difficult?
Providing and implementing concrete solutions to improve the narrative's quality.
I'm not very good at math but I can give you the value you deserve.
The emotional impact of fiction is considered successful if it meets the expectations of its genre.
Comedy fiction makes you laugh. Tragedy fiction makes you sad. SoL fiction makes you feel relaxed. And dark fantasy fiction makes you ponder what it means to be human in a dark world.
What's absurd is giving a low rating for deviant expectations.
Respect others' privacy as we respect our own. Don't get too involved in other people's affairs unless absolutely asked. That's at least basic social etiquette to create a more peace and comfortable social environment. -
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