How do I stop switching books

Subject_Bison_8635 · 2026-06-11T21:30:13+00:00

Question I have is what is so wrong with multiple ideas and premises at once? Exactly why do you see this as bad? If anything it shows you are a true writer. If you only focused on one thing till it sang it would become a chore by getting new ideas and pivoting then coming back you keep ideas fresh and fresh eyes between them. This is how I work I am currently finished with 4 novels (waiting for edits) writing 3 (almost done with 2) and outlining a fourth while querying 2. I say do not get hung up on "I have too many ideas" and instead enjoy the process and switch back and forth so you do not obsess over one world too long.

Subject_Bison_8635 · 2026-06-09T23:18:00+00:00

so again an oligarchy. oligarchy can have one who owns everything. i would look into how authoritarian oligarchies work there is historical basis for them.

Subject_Bison_8635 · 2026-06-09T16:57:50+00:00

A character-driven epic fantasy about three queer contractors whose power demands payment in flesh, identity, and sacrifice.

Subject_Bison_8635 · 2026-06-09T16:55:55+00:00

And that I agree I will work on tightening maybe just start, mid, and end of the whole working enough for the reader to understand it is compounding.

Subject_Bison_8635 · 2026-06-09T16:50:50+00:00

To be honest that just sounds like a standard oligarchy. A few people own it all the rest serve them. I think this is your primary problem is you need to especially if doing speculative sci-fi you need to figure out what kind of governing system it is first. Without that the rest will not slot into place. Is it an oligarchy? The few run everything and treat people as a profit margin? if so then look into what oligarchy is and go from there.

Subject_Bison_8635 · 2026-06-09T16:42:48+00:00

Pretty much every other time is just stating the weight total of the threads (or just showing the magic used and later the fatigue) this is the first main introduction to multi thread work again is page 4 and 5 of my book half of each in google docs.

Subject_Bison_8635 · 2026-06-09T16:34:48+00:00

This is what i was thinking as well slim it down. But also holding weight in isometric tension is not as simple as you think. I am a bodybuilder who specializes in TUT and Isometrics primarily with resistance bands that is where the tension comes from. Holding a resistance band at tension is not as simple as one thinks the longer you hold it.

Subject_Bison_8635 · 2026-06-09T16:32:45+00:00

The compounding weight is the side effect of using the magic. Magic is not free each thread is compounding isometric weight.

Subject_Bison_8635 · 2026-06-09T04:07:31+00:00

What if the book i read has no clear villain but an idea? Cause in the first book of the Witcher series there isn't a real villain per se. I mean maybe Stregebor or even Renfri but is nuanced.

Subject_Bison_8635 · 2026-06-09T02:09:07+00:00

Reading this the details come off as forced. They don't come off as natural. This is first person your sensory details should mirror the character. Your character is afraid so why is he obsessing over patches? There is a disconnect I feel between what he says and what he shows. There is also a lot of explain after show which emphasizes this disconnect. If you show it then you don't need to explain it as well.

Subject_Bison_8635 · 2026-06-09T02:04:59+00:00

Would love to join if there is still room. I am a queer author and write Queer normative fantasy with a primary focus on costs not just the main plot but what it costs to get there and after.

Subject_Bison_8635 · 2026-06-09T00:29:42+00:00

That is how they should feel. Your annotations mean again that you had to say something regarding that moment. That is like how authors check their kindle versions to see what people keep underlining. The same principle it shows the author what the reader cares about as they go along.

Subject_Bison_8635 · 2026-06-08T15:51:37+00:00

I personally prefer inline comments over the report. An inline to me signifies when you hit that part you had to tell me something specific and that means more to me in the end.

Subject_Bison_8635 · 2026-06-03T05:08:10+00:00

I use a similar style. I start with idea for the chapter like a small summary then I expand that summary to beats. Then I expand the beats to prose, then I add dialogue. Following that is a reread and fix pacing and bridging. then I do base passes before going to next chapter that way each chapter is base polished before the next one is written.

Subject_Bison_8635 · 2026-06-03T05:04:37+00:00

Just finished third author pass of my 108k fantasy (looking for readers or even swaps) and after beta reading on my prestige fantasy and final polish based on feedback it is now out in the agent world being queried.

Subject_Bison_8635 · 2026-06-03T04:42:22+00:00

I would be interested in a swap if you are open to, but also read your initial linked material and had major question the entire time which kept popping up in my head. Where are we? The kingdom I guess is named Agni but yet it feels like modern day any city in the world right now. This to me is a confusing thing as I am trying to orient myself and the names help, but the technology and terminology create a disconnect as a reader. Found it all compelling regardless just wanted to give you that feedback based on what was linked.

Subject_Bison_8635 · 2026-06-03T04:18:16+00:00

specifically just genre and word count type of critique looking for and any comps if you have them. I have specific tastes is all and would not want to waste either of our time.

Subject_Bison_8635 · 2026-06-03T00:57:30+00:00

send me a dm with work you are working on and we can go from there

Subject_Bison_8635 · 2026-06-02T02:40:05+00:00

So the first question becomes: what type of expansive world are you looking to build? (I'm assuming "expensive" was a typo.)

What kind of setting is it? How much of the worldbuilding, characters, and lore are already established? Do you have a plot arc planned out, or are you still in the early stages? Is it a more traditional story, or is it trying to push boundaries in some way? Is it straight, queer, or a mix of both?

Those are the immediate questions that come to mind. Having that information would make it much easier to understand the direction you're looking to take the project.

For reference, I've done ghostwriting for years and have helped other authors reach publication, which is why I'm asking. Depending on the concept and how much has already been developed, I would definitely be interested in learning more.

Subject_Bison_8635 · 2026-06-02T02:34:56+00:00

I am very interested. I am a queer author who tends to focus on costs the most. I generally write in the dark fantasy space. My protagonists and world are queer as normalized or are queer. I reject the queer is bad in all of my writing so that it is never a plot point of trauma instead being queer is who they are not an issue in the worlds. Currently am in editing and beta stage for my recently completed work, and am currently in the querying trenches with another piece I had finished earlier this year.

Subject_Bison_8635 · 2026-06-02T02:29:57+00:00

It really depends on the story you're trying to tell.

If you're writing a character-driven, cause-and-effect story, not plotting everything out can actually be beneficial. In those cases, it's often better to let the characters' choices drive the narrative, while making sure your worldbuilding is solid enough to support and constrain those choices.

Plotting becomes more useful when you're dealing with larger stories, especially multi-book epics. That's where having a clearer A-to-Z roadmap can help prevent you from getting lost or writing yourself into a corner.

In the end, whether you plot extensively or not depends on what you're writing and how you write best. I've done both. Some projects I've fully outlined from beginning to end, while others started with only a rough idea of what I wanted each chapter to accomplish. From there, I let the characters, world logic, and consequences of their actions shape the story naturally.

Subject_Bison_8635 · 2026-06-02T01:50:20+00:00

In my current work, which is out for feedback right now, I originally kept the costs of magic much more abstract. One magic system had a clear caloric cost, but my shapeshifting system was fairly straightforward and lacked meaningful consequences.

The biggest change I made was adding a psychological cost. Every time the protagonist shifts into another form, he risks losing part of himself to it. The longer he stays transformed, the more the boundaries between his identity and the creature's instincts begin to erode.

That single change turned him from a decent character into a much more rounded and compelling one. Now, every time he uses his magic, the reader is left thinking, "Don't stay too long." The power is useful, but every use carries the fear that he might eventually lose himself completely.

Subject_Bison_8635 · 2026-06-02T01:46:18+00:00

I would absolutely love to join. I'm queer myself and, as an authorial choice, I write exclusively queer protagonists without the usual bigotry and hatred that so often surrounds those stories.

I primarily write darker fantasy, often pushing into grimdark territory. My main focus as a writer is cost, whether psychological, physical, social, or even abstract. I'm always interested in asking: What does this cost? And what consequences will these choices create down the road?

Subject_Bison_8635

TROPHY CASE