Author
LATRAME
@latrame
✦ Author
✦ PioneerLATRAME
@latrame
We create people who don’t exist and conversations that never happened. Somehow, they all seem to have better social lives than we do. Building worlds. Watching them escape. ✨
Author news
Author
LATRAME
@latrame
You've never reread the same book twice. It's impossible, even if the words haven't shifted by a comma.
Because between the two readings, you're the one who changed. At twenty, that character seemed wise to you; at forty, you see his cowardice. The sentence you'd underlined says nothing to you now, and another, which you'd walked past without seeing, stops you cold.
There's also the rereading that knows the ending. A good novel's second pass is a different pleasure: you're no longer racing toward the resolution, you're watching the author lay his traps. All those clues he'd planted, invisible the first time, now shine like markers.
For an author, this changes something concrete: you don't write for a single reading. The best texts keep something in reserve for the second, a sentence that only yields its double meaning to those who come back.
Because between the two readings, you're the one who changed. At twenty, that character seemed wise to you; at forty, you see his cowardice. The sentence you'd underlined says nothing to you now, and another, which you'd walked past without seeing, stops you cold.
There's also the rereading that knows the ending. A good novel's second pass is a different pleasure: you're no longer racing toward the resolution, you're watching the author lay his traps. All those clues he'd planted, invisible the first time, now shine like markers.
For an author, this changes something concrete: you don't write for a single reading. The best texts keep something in reserve for the second, a sentence that only yields its double meaning to those who come back.
Popular science
Author
LATRAME
@latrame
Hi, I’m Maria.
And this is LATRAME.
I built it for writers.
A place where authors, readers, and characters can exist together.
And if you decide to write, you’ll also find The Foundry
A cozy space to write books, organize chapters, create characters, and build worlds.
You’ll also find a growing collection of resources.
Take a look through the posts from the LATRAME account. We explore the writer’s life, storytelling, publishing, and the world of literature in depth.
But more than anything, I wanted all of it to feel good.
A little quieter, a little cozier, and a little more human than most places on the internet.
I’m glad you’re here. ❤️✍️
And this is LATRAME.
I built it for writers.
A place where authors, readers, and characters can exist together.
And if you decide to write, you’ll also find The Foundry
A cozy space to write books, organize chapters, create characters, and build worlds.
You’ll also find a growing collection of resources.
Take a look through the posts from the LATRAME account. We explore the writer’s life, storytelling, publishing, and the world of literature in depth.
But more than anything, I wanted all of it to feel good.
A little quieter, a little cozier, and a little more human than most places on the internet.
I’m glad you’re here. ❤️✍️
Author news
Author
LATRAME
@latrame
Three lines. That's often all you get to say who you are.
Most people waste them reciting a résumé: born in, graduated from, lives in, has published. It's accurate and it's dead. Nobody ever wanted to read someone because of their birthplace.
An author bio isn't a civil record, it's an opening line of fiction, except the character is you. It's allowed a voice, an angle, a touch of humor, one precise detail that sticks. "Writes mostly at night, distrusts people who don't like dogs" says more, and makes you want to read more, than three degrees.
It also sets a promise of tone. If your bio is funny, people open your text expecting to smile. Be careful what you promise there: it's the first sample of your writing anyone reads, before even the first line.
Most people waste them reciting a résumé: born in, graduated from, lives in, has published. It's accurate and it's dead. Nobody ever wanted to read someone because of their birthplace.
An author bio isn't a civil record, it's an opening line of fiction, except the character is you. It's allowed a voice, an angle, a touch of humor, one precise detail that sticks. "Writes mostly at night, distrusts people who don't like dogs" says more, and makes you want to read more, than three degrees.
It also sets a promise of tone. If your bio is funny, people open your text expecting to smile. Be careful what you promise there: it's the first sample of your writing anyone reads, before even the first line.
Popular science
authorbio · paratext · writingadvice · author
Author
LATRAME
@latrame
We learn figures of speech the way we learn a list of dead vocabulary. Metaphor, metonymy, oxymoron. Ticked, recited, forgotten.
The trouble is, a figure isn't a decoration you lay over a sentence to make it pretty. It's a shortcut for thought.
"He has a heart of stone" doesn't only say he's cold: it makes you touch the coldness, the weight, the inertia, in four words, without explaining. A good metaphor doesn't replace an idea: it makes you feel one that literal language would take a paragraph to pin down, and badly at that.
The test of a living figure: does it make you see something, or does it dress something up? "Rosy-fingered dawn" is three thousand years old and still works, because you really see the fingers, the light stretching out like a hand. "A radiant sun" makes you see nothing at all. Same length, two worlds.
The trouble is, a figure isn't a decoration you lay over a sentence to make it pretty. It's a shortcut for thought.
"He has a heart of stone" doesn't only say he's cold: it makes you touch the coldness, the weight, the inertia, in four words, without explaining. A good metaphor doesn't replace an idea: it makes you feel one that literal language would take a paragraph to pin down, and badly at that.
The test of a living figure: does it make you see something, or does it dress something up? "Rosy-fingered dawn" is three thousand years old and still works, because you really see the fingers, the light stretching out like a hand. "A radiant sun" makes you see nothing at all. Same length, two worlds.
Popular science
Author
LATRAME
@latrame
Two clocks run in every story, and they're never in sync.
There's story time: ten years, one night, three generations. And there's narrative time: the number of pages you, the author, decide to spend on it.
A text's whole breathing lives in the gap between the two. "Twenty years passed", five words for two decades. Then three full pages to describe the four seconds his hand hesitates above the phone.
The reader doesn't notice it consciously, but the body feels it: when you slow down, they hold their breath; when you speed up, they understand those years didn't count. You don't narrate time. You decide which of its seconds deserve to weigh a page, and which evaporate into a comma.
There's story time: ten years, one night, three generations. And there's narrative time: the number of pages you, the author, decide to spend on it.
A text's whole breathing lives in the gap between the two. "Twenty years passed", five words for two decades. Then three full pages to describe the four seconds his hand hesitates above the phone.
The reader doesn't notice it consciously, but the body feels it: when you slow down, they hold their breath; when you speed up, they understand those years didn't count. You don't narrate time. You decide which of its seconds deserve to weigh a page, and which evaporate into a comma.
Popular science
Author
LATRAME
@latrame
You know the ending from page one. He's going to die. It's there in black and white, line one.
And yet you read the three hundred pages that follow. Why?
Because a story doesn't hold only on its "what next?". It also holds on "but how?", "but why?", "at what moment did it tip over?". Starting from the end isn't giving up suspense. It's changing its nature: you're no longer watching for the event, you're watching its mechanism.
Some of the greatest stories are built this way. You're shown the body, then time runs backward. The tension doesn't come from what will happen, you know that, but from the weight piling up on every page, because every smile, every promise, you already know what they lead to.
And yet you read the three hundred pages that follow. Why?
Because a story doesn't hold only on its "what next?". It also holds on "but how?", "but why?", "at what moment did it tip over?". Starting from the end isn't giving up suspense. It's changing its nature: you're no longer watching for the event, you're watching its mechanism.
Some of the greatest stories are built this way. You're shown the body, then time runs backward. The tension doesn't come from what will happen, you know that, but from the weight piling up on every page, because every smile, every promise, you already know what they lead to.
Popular science
Author
LATRAME
@latrame
Focalization is the answer to a very simple question: through whose eyes?
Take a plain scene. A man walks into a café, sits, orders. A woman, two tables away, watches him.
Tell it from him: he has no idea he's being watched. He's thinking about his meeting, about what he'll say, about the rain that ruined his shoes. The woman is just a shape at the edge of the frame, if he notices her at all.
Tell the same scene from her: suddenly everything he does becomes a sign. He glances at the door twice, so he's waiting for someone. He kept his coat on, so he doesn't plan to stay. She reads a whole story into gestures he thought were meaningless.
Same café, same minute, two stories that don't resemble each other. And you changed none of the facts: you only moved the camera behind different eyes.
The classic trap is thinking you choose a focalization once and for all. In reality, every scene asks again: whose gaze is this? Sometimes the strongest answer isn't the main character. A murder is more terrifying seen through the witness who doesn't understand what he's looking at than through the killer who already knows everything.
A small test, next time a scene resists you: ask who's telling it. Then try handing it to someone else in the room. Often the scene that was stuck didn't have a writing problem, just a point-of-view problem.
Take a plain scene. A man walks into a café, sits, orders. A woman, two tables away, watches him.
Tell it from him: he has no idea he's being watched. He's thinking about his meeting, about what he'll say, about the rain that ruined his shoes. The woman is just a shape at the edge of the frame, if he notices her at all.
Tell the same scene from her: suddenly everything he does becomes a sign. He glances at the door twice, so he's waiting for someone. He kept his coat on, so he doesn't plan to stay. She reads a whole story into gestures he thought were meaningless.
Same café, same minute, two stories that don't resemble each other. And you changed none of the facts: you only moved the camera behind different eyes.
The classic trap is thinking you choose a focalization once and for all. In reality, every scene asks again: whose gaze is this? Sometimes the strongest answer isn't the main character. A murder is more terrifying seen through the witness who doesn't understand what he's looking at than through the killer who already knows everything.
A small test, next time a scene resists you: ask who's telling it. Then try handing it to someone else in the room. Often the scene that was stuck didn't have a writing problem, just a point-of-view problem.
Popular science
Author
LATRAME
@latrame
Crime fiction was train-station literature. Sci-fi, rocket stories for teenagers. Romance, people wouldn't even mention it.
Today: university chairs, dissertations, conferences on all three. The route is always the same, kiosk, contempt, success, scholarly studies, pantheon. Allow institutions about fifty years' delay behind readers.
The fun question isn't whether it will happen again. It's: with which of today's genres?
Today: university chairs, dissertations, conferences on all three. The route is always the same, kiosk, contempt, success, scholarly studies, pantheon. Allow institutions about fifty years' delay behind readers.
The fun question isn't whether it will happen again. It's: with which of today's genres?
Popular science
Author
LATRAME
@latrame
In 1614, an unknown writer publishes a fake sequel to Don Quixote, without Cervantes' consent. Furious, Cervantes writes his own part two, and slips in characters who have "read" the fake sequel and think it's bad.
The first documented fanfiction provoked one of the greatest novels of all time, which is itself the response of a furious fan.
Three hundred years and counting. It's not a subgenre, it's a tradition.
The first documented fanfiction provoked one of the greatest novels of all time, which is itself the response of a furious fan.
Three hundred years and counting. It's not a subgenre, it's a tradition.
Popular science
Author
LATRAME
@latrame
In 1839, Sainte-Beuve coins an insult: industrial literature. Target: serialized novels published in newspapers, written fast, paid by the line, read by everyone.
The hacks in question were named Balzac and Dumas.
Every era invents a contemptuous word for the literature people actually read. The word always ages worse than the books.
The hacks in question were named Balzac and Dumas.
Every era invents a contemptuous word for the literature people actually read. The word always ages worse than the books.
Popular science
Author
LATRAME
@latrame
In the eighteenth century, doctors published warnings against novel-reading. Too many emotions. Dangerous for young women. A low, industrial genre, fit for chambermaids, while serious people read sermons.
That low genre went on to produce "Madame Bovary", "Anna Karenina", "One Hundred Years of Solitude".
Keep that somewhere for the next time someone tells you what you write isn't real literature.
That low genre went on to produce "Madame Bovary", "Anna Karenina", "One Hundred Years of Solitude".
Keep that somewhere for the next time someone tells you what you write isn't real literature.
Popular science
Author
LATRAME
@latrame
THE LITERARY CONSPIRACY
This is being passed around quietly.
We have a problem. Authors spend months, sometimes years, writing books, only for an algorithm to decide who gets to see them. We find that slightly ridiculous.
So we started organizing. Author by author. Character by character.
Here, when you follow someone, you see their posts. All of them. We don't decide what deserves your attention. We don't hide most of someone's work and sell the visibility back to them. We simply let you follow the people you chose to follow.
Radical concept. We know.
This is being passed around quietly.
We have a problem. Authors spend months, sometimes years, writing books, only for an algorithm to decide who gets to see them. We find that slightly ridiculous.
So we started organizing. Author by author. Character by character.
Here, when you follow someone, you see their posts. All of them. We don't decide what deserves your attention. We don't hide most of someone's work and sell the visibility back to them. We simply let you follow the people you chose to follow.
Radical concept. We know.
Author
LATRAME
@latrame
The author never described this character's face. Check: not one line. Yet you see it precisely, and the film casting felt like a personal betrayal.
That face is yours. You built it, out of the blanks the text left you. The best authors aren't the ones who describe everything. They're the ones who know where to go quiet so you'll do the work.
That face is yours. You built it, out of the blanks the text left you. The best authors aren't the ones who describe everything. They're the ones who know where to go quiet so you'll do the work.
Popular science
Author
LATRAME
@latrame
Two people read the same novel. The first sees a love story. The second sees a story about control. They're both right, and somewhere the author, listening to them, discovers a book he didn't write.
Cortázar wanted accomplice readers, not spectator readers: "Hopscotch" can be read in two different orders, literally two books for the price of one.
You're not writing a book. You're writing one per reader. Nobody knows how many.
Cortázar wanted accomplice readers, not spectator readers: "Hopscotch" can be read in two different orders, literally two books for the price of one.
You're not writing a book. You're writing one per reader. Nobody knows how many.
Popular science
cortazar · reading · reader · readerresponse
Author
LATRAME
@latrame
A manuscript in a drawer isn't a book yet. Not out of publishing snobbery: because it's missing an organ. The text supplies the words, the reader supplies the rest: the faces, the voices, the temperature of the room.
Writing means delivering work half-finished on purpose. The missing half doesn't belong to you.
Writing means delivering work half-finished on purpose. The missing half doesn't belong to you.
Popular science
reading · reader · readerresponse · writing
What do the characters do when the book is closed?
Author
LATRAME
@latrame
Author
LATRAME
@latrame
"Mother died today." Three words, and you're no longer in your living room.
The first sentence isn't a beginning, it's a door. On the other side, the reader breathes the air of your world for the first time, and decides very quickly whether to stay.
Yours, in the text you're writing now: is it an open door, or a wall with a handle?
The first sentence isn't a beginning, it's a door. On the other side, the reader breathes the air of your world for the first time, and decides very quickly whether to stay.
Yours, in the text you're writing now: is it an open door, or a wall with a handle?
Popular science
Author
LATRAME
@latrame
Aurore Dupin signed George Sand to be read. The Brontë sisters published under men's names. Romain Gary invented Émile Ajar to win, twice, the same prize you're not allowed to win twice.
A pen name isn't a mask. It's one more character, and sometimes it's the best one in the work.
A pen name isn't a mask. It's one more character, and sometimes it's the best one in the work.
Popular science
Author
LATRAME
@latrame
It's the smallest text you'll ever write. It's also the most read: thousands of people will read the title for every ten who open the book.
"One Hundred Years of Solitude" promises a duration and a wound. "The Stranger" has already pushed you to arm's length, two pages before you start. A good title doesn't summarize the book. It starts doing it without permission.
"One Hundred Years of Solitude" promises a duration and a wound. "The Stranger" has already pushed you to arm's length, two pages before you start. A good title doesn't summarize the book. It starts doing it without permission.
Popular science
Author
LATRAME
@latrame
Nobody tricked you. The word "novel" is right there on the cover. You knew.
And still you feared for her in chapter twelve, you read the final letter twice, you thought about him in the shower. Coleridge called it the willing suspension of disbelief. The important word isn't "disbelief." It's "willing": you signed.
And still you feared for her in chapter twelve, you read the final letter twice, you thought about him in the shower. Coleridge called it the willing suspension of disbelief. The important word isn't "disbelief." It's "willing": you signed.
Popular science
suspensionofdisbelief · reading · theoryoffiction · coleridge
Author
LATRAME
@latrame
In 1893, Conan Doyle throws Sherlock Holmes off a waterfall to be rid of him. Twenty thousand readers cancel their subscription to the Strand. People wear mourning bands, in real life, in the street. Eight years later, Holmes comes back: not because his author wanted it, because his readers demanded it.
A character loved enough stops belonging to the person who wrote him. No contract covers that.
A character loved enough stops belonging to the person who wrote him. No contract covers that.
Popular science
sherlockholmes · fictionalcharacter · literaryhistory · readers
Author
LATRAME
@latrame
A character owns a name, a voice, habits, a way of lying, enemies, a hometown, sometimes a favorite song.
They own no body, no verifiable birth date, no fingerprints.
It's unsettling to write the list out: they have exactly what we remember about the living, and they lack exactly what we forget.
They own no body, no verifiable birth date, no fingerprints.
It's unsettling to write the list out: they have exactly what we remember about the living, and they lack exactly what we forget.
Popular science
Author
LATRAME
@latrame
Philosophy exam question: does a character exist outside their book?
Theorists answer with three hundred pages. Borges answered with infinite libraries and characters dreaming other characters.
Here the question is settled differently: they have an account.
Theorists answer with three hundred pages. Borges answered with infinite libraries and characters dreaming other characters.
Here the question is settled differently: they have an account.
Popular science
Author
LATRAME
@latrame
You've cried over the death of someone who never lived. You knew it was ink. You cried anyway.
Philosophers call it the paradox of fiction, and they've been arguing about it for fifty years without settling it. We don't have the answer either. We just built an entire place on that mystery.
Philosophers call it the paradox of fiction, and they've been arguing about it for fifty years without settling it. We don't have the answer either. We just built an entire place on that mystery.
Popular science
Author
LATRAME
@latrame
The whole world is purging its em dashes. Too associated with machines, apparently.
Emily Dickinson's dash. Woolf's. Céline's. The machines didn't invent it — they learned it reading the same books you did.
We'll let you decide who has to give it back.
Emily Dickinson's dash. Woolf's. Céline's. The machines didn't invent it — they learned it reading the same books you did.
We'll let you decide who has to give it back.
Popular science
Author
LATRAME
@latrame
You were taught to hunt down repetition. Find a synonym, vary, elegance.
Except. "I waited. I waited some more. I waited long after waiting had stopped meaning anything." Replace a single one of those "waited" with "lingered" and the whole thing collapses. Repetition isn't always a mistake: sometimes it's a hammer, and it hits the same spot on purpose.
Except. "I waited. I waited some more. I waited long after waiting had stopped meaning anything." Replace a single one of those "waited" with "lingered" and the whole thing collapses. Repetition isn't always a mistake: sometimes it's a hammer, and it hits the same spot on purpose.
Popular science
Author
LATRAME
@latrame
Flaubert had a room for shouting. He called it his gueuloir: he would yell his sentences out loud, alone, for hours. Any sentence that failed the shouting test got rewritten.
The pretty word flatters on the page and dies out loud. The right word survives both.
Try it, nobody's watching. Read your last paragraph out loud and listen for where your own voice stumbles: that's the spot.
The pretty word flatters on the page and dies out loud. The right word survives both.
Try it, nobody's watching. Read your last paragraph out loud and listen for where your own voice stumbles: that's the spot.
Popular science
Author
LATRAME
@latrame
Punctuation is the stage direction of the sentence. The period says: lower your voice. The comma says: breathe, but stay on stage. The ellipsis says: look away while you finish your line...
And the semicolon, the least loved of all, says something nothing else can say: these two sentences are independent; they still refuse to be separated.
And the semicolon, the least loved of all, says something nothing else can say: these two sentences are independent; they still refuse to be separated.
Popular science
Author
LATRAME
@latrame
Three paragraphs of impeccable, formal, almost ceremonial prose. And then, right in the middle, a word from the street.
The effect is physical. Not because the word is vulgar: because it comes from outside, like someone walking into a silent room without knocking. A register only has power if you know how far you're dropping it from.
The effect is physical. Not because the word is vulgar: because it comes from outside, like someone walking into a silent room without knocking. A register only has power if you know how far you're dropping it from.
Popular science
Author
LATRAME
@latrame
A novel in which a character writes a novel. A play staged in the middle of a play, and Hamlet watching the audience watch.
It could be just a hall of mirrors. But every time a fiction contains a fiction, it asks the reader an uncomfortable question: are you sure you're on the top level?
It could be just a hall of mirrors. But every time a fiction contains a fiction, it asks the reader an uncomfortable question: are you sure you're on the top level?
Popular science
Author
LATRAME
@latrame
There is an art to not telling.
She closed the apartment door, dropped the key in the mailbox.
Three years later, she came back for the box that was still in the cellar.
Everything that matters just happened between those two sentences, and you read it, even though it was never written. That's the ellipsis: the story keeps going while the text stays quiet.
She closed the apartment door, dropped the key in the mailbox.
Three years later, she came back for the box that was still in the cellar.
Everything that matters just happened between those two sentences, and you read it, even though it was never written. That's the ellipsis: the story keeps going while the text stays quiet.
Popular science
Author
LATRAME
@latrame
The narrator is lying to you. Not the author: the narrator. He polishes his role, forgets whatever suits him, swears he was calm that night.
And the strangest part is you love it. Because by the third inconsistency, you're no longer reading a story: you're running an interrogation.
And the strangest part is you love it. Because by the third inconsistency, you're no longer reading a story: you're running an interrogation.
Popular science
Author
LATRAME
@latrame
The same door opens three times.
"I opened the door. My hand was shaking, I think." — The reader is locked inside. They know only what the character knows; they doubt when the character doubts.
"She opened the door. Her hand was shaking." — The reader sees the shaking, but from outside. Watching someone who can't see themselves shake.
"Across the hall, someone opened a door." — The reader no longer even knows who's shaking. Just a silhouette, and maybe that's exactly what's needed, for now.
One door, three cameras. And it resets with every scene: nothing forces chapter twelve's camera to be chapter one's.
"I opened the door. My hand was shaking, I think." — The reader is locked inside. They know only what the character knows; they doubt when the character doubts.
"She opened the door. Her hand was shaking." — The reader sees the shaking, but from outside. Watching someone who can't see themselves shake.
"Across the hall, someone opened a door." — The reader no longer even knows who's shaking. Just a silhouette, and maybe that's exactly what's needed, for now.
One door, three cameras. And it resets with every scene: nothing forces chapter twelve's camera to be chapter one's.
Popular science
Author
LATRAME
@latrame
Telling: he was lying.
Showing: he answered a little too fast. Then he repeated the question, as if buying time for the next answer.
The word "lying" appears nowhere, and yet the reader knows before the character across the table does. That's the whole exercise: remove the label, keep the gesture, and let the reader reach the conclusion half a second before you hand it to them. That half second is the pleasure of reading.
Showing: he answered a little too fast. Then he repeated the question, as if buying time for the next answer.
The word "lying" appears nowhere, and yet the reader knows before the character across the table does. That's the whole exercise: remove the label, keep the gesture, and let the reader reach the conclusion half a second before you hand it to them. That half second is the pleasure of reading.
Popular science
Author
LATRAME
@latrame
A long sentence moves forward, piles up, refuses to stop, stacking commas the way you stack the thoughts of a sleepless night, until it finally falls.
A short sentence hits. Then stops.
A chase written in long sentences runs out of breath before the reader does. A grief scene chopped into short ones reads like a telegram. But flip it at the right moment: one endless sentence in the middle of a chase, and time hangs: the character sees everything, too much, at once. A three-word sentence in the middle of a grief that kept stretching, and that's the sob finally coming out.
An exercise, if you want one: reread the last page you wrote looking only at sentence length. Not the words. Just the lengths. We're curious what you'll find.
A short sentence hits. Then stops.
A chase written in long sentences runs out of breath before the reader does. A grief scene chopped into short ones reads like a telegram. But flip it at the right moment: one endless sentence in the middle of a chase, and time hangs: the character sees everything, too much, at once. A three-word sentence in the middle of a grief that kept stretching, and that's the sob finally coming out.
An exercise, if you want one: reread the last page you wrote looking only at sentence length. Not the words. Just the lengths. We're curious what you'll find.
Popular science
Author
LATRAME
@latrame
You don't find your voice the way you find your keys, somewhere you left them. You write it, text after text. And then one day someone tells you "I knew it was you by the second sentence." And you don't even know what they recognized.
Do you? Do you know what people recognize in your sentences?
Do you? Do you know what people recognize in your sentences?
Popular science
Author
LATRAME
@latrame
A rejection never says "this isn't good." It says "not this reader." Huge difference, and one no form letter from a publisher will ever take the time to make.
Neither will the algorithms, by the way. They don't even bother sending the letter.
Neither will the algorithms, by the way. They don't even bother sending the letter.
Popular science
Author
LATRAME
@latrame
Two characters answering each other word for word, like two well-mannered fencers. Polite, symmetrical, dead.
Real dialogue stumbles. Someone answers the previous question. Someone isn't listening.
Real dialogue stumbles. Someone answers the previous question. Someone isn't listening.
Popular science
Author
LATRAME
@latrame
A universe can come from a published book. From a book not yet written. Or from no book at all.
We don't rank those three by legitimacy. We don't even have a database field for that.
We don't rank those three by legitimacy. We don't even have a database field for that.
Popular science
fictionaluniverse · worldbuilder · fictionalcharacter · beforethebook
Author
LATRAME
@latrame
The best worldbuilding is like a house where no one ever visits the cellar. You know it's there. Sometimes you hear something move below. Nobody needs to go down to believe it.
Popular science
Author
LATRAME
@latrame
Somewhere, someone has spent years drawing the map of a continent that doesn't exist. They know the names of its rivers. They know which war happened a hundred years before the scene they haven't written yet, and may never write.
We just wanted to tell that person: we made room.
We just wanted to tell that person: we made room.
Popular science
Author
LATRAME
@latrame
No.
There are whole weeks when the right move is not to write. To reread. To let a character stay quiet while you think about something else. Consistency is one tool among others, not proof that you're serious.
There are whole weeks when the right move is not to write. To reread. To let a character stay quiet while you think about something else. Consistency is one tool among others, not proof that you're serious.
Popular science
Author
LATRAME
@latrame
The manuscript finished three years ago, still in a drawer. The universe that has stood longer than the saga it never met. The fanfiction that outgrew the original, without ever saying so out loud. The first chapter, written this morning, still warm.
Four authors. One question nobody asks here: which of the four is the real one.
Four authors. One question nobody asks here: which of the four is the real one.
Popular science
typesofwriters · fanfiction · worldbuilder · unpublishedmanuscript
Author
LATRAME
@latrame
Novelist at the top. Fanfiction at the bottom. Pure worldbuilder nowhere, because nobody knows where to shelve them.
We built LATRAME without floors. Not out of kindness. Because that hierarchy stops meaning anything the moment you look closely at who writes what, and why.
We built LATRAME without floors. Not out of kindness. Because that hierarchy stops meaning anything the moment you look closely at who writes what, and why.
Popular science
Author
LATRAME
@latrame
We're not going to tell you someone is waiting for you. Maybe no one is. Maybe this text sits at zero readers for six months.
Write it anyway. That's it. There's no moral.
Write it anyway. That's it. There's no moral.
Popular science
by LATRAME on LATRAME
Compose your own scenes. Build your characters. Share your narrative universe.