(from [Robert McKee's "Story"] or [John Truby's "The Anatomy of Story"] )
- Write about things you're familiar with, or get familiar with them. When you write about a topic you don't know about, it stands out to anyone that does know about it. Think of all those corny science or investigation shows where they 'enhance' the images.
- Only suspend the users disbelief when it makes sense to do so. It makes sense to a user that there are fire breathing dragons because of the story, but it doesn't make sense that a two year old can hold a decent conversation. Additionally, inserting modern day philosophy and politics into non-modern day scenarios sticks out poorly too if it's just thrown in there.
- Don't go into to much detail. The more you define, the more you restrict yourself. Define things as you need them, use perspectives of characters to understand them through those perspectives, but be careful of going all in on something you don't want set in stone. A lot of writers use long exposition in substitution for writing, a symptom likely due to a desire to world build too quickly.
- If you break the rules of your world, then anything beyond that loses its suspense because now anything can happen at any time. Dragon Ball Super is a huge violator of this with their power levels. There's no real suspense compared to Z since they violate their own rules on an episode basis.
- Don't be in a rush to world build. Let it develop over more chapters. Isekai in particular suffers from this where a lot of Isekai manga start with an 'idea' for the beginning of an Isekai, then once that beginning is rushed through have nothing else and just wing it with random stuff from there on. Stop and think are you trying to write a story, or are you trying to write a character/story beginning?
- Use words to describe sounds and actions. Using text like "?!?!?!?!" or excessive capitals like "AAAAAAAAAAAAHHHHHHHHHHH" is poor quality and stands out as beginner writing. Sometimes the shape/style/font of text can be used to convey meaning, but in 99.9% of cases you can translate those things into descriptions. Show, Don't Tell.
- Show, Don't Tell. You're writing a story, show the things you want the user to see and know. This is related to many of the other points. Sometimes you'll need to tell because you're likely writing something with strange concepts, but even then you can likely cut down the amount of exposition being used.
- If you are writing a LitRPG (a story with video game mechanics) try to cut down on the outright in-your-face-ness of the mechanics. A lot of stories use video games as a basis for not only the world building and mechanics of the world, but for the writing as well. You'll find massive pages of stats, explanations of generic video game mechanics that go on for chapters. Overlord (with the skeleton) is a good example of it being done nicely. It's there, but it feels more real. Though Overlord doesn't have menu screens. This also plays into the other points about showing, not telling.
(found in the comment of those video like this,they could help point out a lot of why that writing is/isn't working,warning for RWBY spoiler though
The narrator can narrate in any style he pleases including by breaking the fourth wall and interacting with the readers, but that interaction should not have a consequence to the story and characters in the story. It must only showcase to the readers the character's feelings towards their current situation, like a disguised self-deprecation
+you can check the other comment about this topic for further understanding :
The plan was to stimulate the market of the village by creating houses. The crown would pay the carpenters and the locals to create housing, thereby increasing the income of the small village significantly (forgot one crucial detail:the king do actually send a group of experience crafter and some manpower to help build the town if there aren't enough (and maybe one master builder/crafter if the dungeon have good potential enough)
. By the time the merchants and entrepreneurs arrived, housing would be readily available for them to purchase at a rather cheap price. Seeing the opportunity to set up base at a growing dungeon town, these people would purchase the housing, and set up shop in the village much faster. Then, since the villagers would have more money to spend thanks to crafting homes, they would be able to spend more money, which would encourage the merchants to restock their wares, thereby attracting more trade to the village.
Between the increased trade and the allure of the dungeon to adventurers and the military, one could expect a large influx of immigration, which then meant more tax money for the crown. In short, this plan aimed to jump-start the miniscule economy of the village into a significant economic engine for the kingdom.
Of course, this plan was only possible due to the fact that the dungeon was projected to be a great natural resource for the kingdom, and thanks to the fact that the village had a very small economy. It was far simpler to boost the economy of a small village such as Nam, as opposed to a large city such as the royal capital
(and this was a Agriculture village,just need a bit boost by prepare/infrastructure investment so more can start farming)
_feedback from other about this:
if they wanted to grow the economy there faster they could create roads there and give tax breaks for the area for a time. The roads would make trade easier and more Lucrative (add more army patrols for the inevitable bandits). The tax breaks would attract the beginning of businesses that have already been set up and running for a significant amount of time
with magic I think even building a canal would be far easier which would be a massive boon to trade in the area