Writing Tips

Structure

1. Fun scenarios, just let them loose and see where it goes
   1. "If you can mix it up, do so. A good method is to find a relatable everyday scenario and rework it into a vore fantasy."
   2. Some decisions are purely alternate text, and may not lead to any new branches
   3. Larger decisions are meaningful.
      1. They don't let you say what happens, but you are given enough hints to get the result you want if you were paying attention.
   4. Witcher-style quests where every goddamn thing is a twist?
   5. Sequence of vore events
      1. Familiarize: Don't need too much, introduce the players and give some personality.
      2. Dispose: "The moment the stomach goes from struggling to a squishy ball, a crucial gurgling sound effect happens, or maybe when another character comments that they've stopped moving."
      3. Tokenize: "You've set up the prey as a living person in part one, and by part 2, they've bought it. In part 3, you rub it in our faces."
         1. Results
            1. Burping up panties
            2. Gaining weight
         2. From a living relatable person, to tokens like discarded clothes and bigger tiddies.

Anon's Ideas

>Not wanting to hang around inside and be toyed with.
>Not wanting to both be apart of that sweet ass, and aware of being apart of that sweet ass at the same time.
>Not wanting to hear the distance sounds of their heart beat as their fluid washes over you.
>Not wanting to be constantly reminded that they have you as food and there's nothing you can do.
>Not wanting to be clenched in the guts of the one that ate you as you fall into the rest of their body.
>Not wanting to be a bulge that moves across the whole body, if not eventually.
>Not wanting to experience being nothing more than a morsel as they continue their day as if nothing happened, with you trapped inside.
>Not wanting to experience being processed like food, with food.
>Just burn me fam
To be simple: It opens more doors. A lot more.

Overpopulation has been the inspiration for shrinking technology. Food shortages lead to a push by mega corps and global government to endorse pro-vore propaganda, encouraging the shrunken population to be okay with being eaten by the normal sized population. Naturally, it is a bit easier for the normal sized people to accept this, much to the horror of the shrunk.

https://aryion.com/iss/page.php?page=1&story=727

How to Write Vore by Anon

What do I draw so that you guys like it?

I feel like I've seen this question asked a couple times so here's a mega autistic 3 part wall of text.

This thread centers around what polls indicate is the most common subgenre of vore outside of furry, which is a hybrid of inflation, endo and snuff. We post other stuff if we’re desperate and content is low but this is the core we stick to. Basic guidelines (besides sticking to female only) are that we want comics, realistically rendered stomach sizes, fatal outcomes, and weight gain afterwards.

But more specifically, the most successful drawing progressions all follow these steps:

1. Familiarize
2. Dispose
3. Objectify.

This is the secret to getting those comics that hit you in the dick like a soccer ball. If you search through the top comics that have ever been posted you will find that they virtually all adhere to these steps. I'll lay it out in a little more detail.

Step one: Familiarize

For snuff to work you need to have a baseline of familiarity with the subject. This is already done for you with pre-established characters, probably why they're so popular (despite issues I'll describe later). But even for characters made up on the spot this doesn't have to be a lot of work. Just a clear opening shot of the prey character and some context (they're in school, they look shy or gothic or cheerful, whatever) and people will naturally imagine the details. You also should be careful not to overdo it - we need them to die, but we don't want to feel that bad, so keep some narrative distance from the prey.

Step 2: Dispose

This is the snuff bit. You can work in reforming/sentient-fat/plot-hole-they-came-back for-no-reason if you need to assuage your conscience but it all is just kinda beating around the bush. In a comic progression, this is the moment the stomach goes from struggling to a squishy ball, a crucial gurgling sound effect happens, or maybe when another character comments that they've stopped moving. You've set up the prey as a living person in part one, and by part 2, they've bought it. In part 3, you rub it in our faces.

Step 3: Objectify/Tokenize

There are a lot of ways to do this. The classic trope is burping up panties, clothes, etc, and then gaining weight. Essentially, the prey went from being a living relatable person, to being a "token" of discarded clothes and embiggened titties. More extreme tastes are going to demand even harsher tokens, like visible bones in the stomach or scat. Other contextual tokens can be more abstract, like memories of the prey, or offhand comments about them. This is probably the most crucial step of the progression, to the point that sometimes you can even skip the first two stages if your tokens are good enough: see that recent Dinoboid comic for a good example.

Other notes

Obviously, the most common progression of this form (girl eats girl, digests her, gains weight) has been done to death and you can see a zillion examples with anyone from CassyInko to Idolmonkey to Lampton. So if you can mix it up, do so. A good method is to find a relatable everyday scenario and rework it into a vore fantasy. Or you can just find whatever character types you find hot and put them to work. An easy way to break from the pack is just to draw more extreme material: much of the community is surprisingly softcore, and just featuring well rendered sex or detailed digestion progressions is going to put your art in a way smaller competitive pool.

Using established characters can be a blessing or a curse. On the one hand, having a pre-established backstory can help with the familiarization stage a lot. On the other, a character that is clearly alive in canon can heavily undermine the disposal and tokenization phases. I prefer to only use one-shot OCs and I think a lot of the better comics out there have also shared that preference, but it's ultimately a bit of a coin toss as to whether it'll work.

If you can increase your rendering quality, that’ll also help. Kveis didn’t have any narrative at all and people swooned over them because their drawings had a lifelike quality. Conversely, if you suck at drawing or are in bad artist traps like spherical belly syndrome or sameface, you’re going to have to lean on concept a lot more.

Don’t over narrate. ESPECIALLY if you can’t write. Starcrossing was clearly trying to hit this formula in the last thread and didn’t even get noticed because the writing was so stilted (and that they can’t animate a full stomach properly). This is a much higher risk if the writing is cheerful, too - nothing undermines the disposal/objectification stage like some out of place cheerful commentary from someone inexperienced with casual vore.

Examples of progression in action

1. Shadowfaps mariocart comic: spends a lot of time on familiarization, multi part disposal phase, brutal tokenization phase because his characters are all one shot OCs.
2. Cassyinko progressions (such as pic related): very consistent mark-hitters, with a heavy emphasis on the disposal phase. Tokenization is almost always weight gain, but it works.
3. Aesir: Aesir is actually an example of getting this wrong a lot of the time, because he does so many single-image pinups and pre-established characters and never has any followup. But when he does get the occasional Crufl-style commission he’s very good. One of the earliest users of the panty burp token. One of the few effective users of bones.
4. Moga: you’ll notice that one Moga comic that keeps getting posted all the time? Exact formula follower. Clear setup shot, obvious progression from very clear human belly shape to digested sphere, tokenization in weight gain. Pretty much right on the mark. Not a real surprise it’s been posted all the time, even before it hit meme status.

Lastly, none of this is going to apply 100% to everyone. I’m just making generalizations based off my own preference and what is clearly the most posted comic type. Some people really can’t get around the fatal bit and will bend over backwards to keep that from happening at the expense of effective tokenization. Others really like willing or casual vore and ease up on their disposal steps a bit. Some people just like to sperg out and derail threads with memes and huge tldrs.

But in general, if your art doesn’t completely suck, following this formula will put you in the same pool as most other posted art. Give it a shot and see how it goes.

Im the anon who asked, and thats very nice, i admit i suffer from the "pinup syndrome" as well, especially im worried about making poses that are not dynamic. That would explain why not a lot of people like my characters but starts to like them when i tell backstory stuff etc.

I feel like Avora's chaser comic is a good example of not distancing from the prey. I stopped reading it because it because I knew I was going to feel gross for days if she died.

Don't overdo it on the backstory. It's just distracting. Core concept is important, details are not. Not a single one of Shadowfap's stories had backstory and I'd say they had the best writing we ever got on this board.

You're not wrong but I think you spent a lot of effort to basically say "pre-vore and post-vore are just as important as the vore itself" and "context is important in a psychological fetish" which should be obvious to anybody who's tried to think about it

Think of it this way. Vore as viewed by anyone else elicits a unique feeling of horror and disgust that is probably biological (think pic related). My theory is that we're miswired to get turned on by that, so we're trying to constantly achieve maximum horror-trigger within this tiny range of subject matter without bleeding into other areas like gore aversion or genuine sadness. Permanence adds to that horror, because there's no parallel universe where everybody's a-ok. As far as your brain is concerned, they're actually gone, and that's terrifying (and thus boner).

For example, DraconatedZ recent One Piece fic really hit all my right notes. At the end of everything, Robin's decision to digest permanently has weight behind it, and both her and Nami feel this weight and use it to make the situation more erotic for them. The fic goes out of its way to let us know that she is never coming back and that that detail is hot as fuck.

As for the belly, I don't really care for inflation much. Spheres are a straight turnoff - some decent stretching that makes the outline of the person clearly visible is good, especially throat bulges. Unrealistic, small stomach with a person in it is ok though. Scat, bones - a big turnoff.

OCs suck ass, they're all the same trite alpha pred bullshit that is repetitive after the second or third pic, and you better believe most don't stop there. Fanfic stuff uses premade characters as a base to make interesting what-if scenarios and provide a mental or visual image of characters people like and have attachment to in a pred/prey scenario. If you don't have favorite girls in media that you want to see with a nice thick gut full of stewing prey, or see them gain weight from a voracious binge, I dunno what to tell you, you just have shit taste. What is the alternative, seeing the thousandth Ryla pic? How is that any better?

In OC content on the other hand, you can just leave things vague for the most part, fill in some critical details with good use of incluing and your audience will do the rest with their imagination. You have a world purpose built for vore instead of trying to shoehorn your fetish into someone else's creation.

Draconated and Noisekeeper are the two that come to mind that make me roll my eyes the most

It's interesting that you mention those two because I've always thought they were on the better side of dedicated fanfic writers. I've definitely gotten a lot of mileage out of their writing and commissions as pure fap material despite not really knowing most of the franchises they use. However I definitely see that their work is repetitive with the beats each story hits, a lot of stories feel interchangeable. I have a hard time understanding the creative process behind that because they aren't writing for money. Is it just the need to combine vore with whatever other media one is interested in at the time? My sexuality is so compartmentalized I almost never think about vore in the context of other things so that seems strange to me.

As you can see, there are multiple potential focuses of a story and approaches to creating settings that an author can take when writing a fetish story, and each has its own stylized appeal. No one is inherently better, lazier, sexier, or duller than another. What matters is how well they execute what they intend to do. That's why even Noisekeeper, whose characters act far removed from how any reasonable person would, is a genius author. There's a very clever figurative and surreal experience to all of his works.

The entire point we've been trying to get across is that there's some really fucking sexy value in the point of comparison between a character's original form and how they turn out in a fetish story.

Just wanted to give my two cents on fanfic/characters vs OCs, especially in writing. I'm a writer myself and I think there's ups and downs to both sides.

Fanfics do become redundant when characters are used but more-so feel like "skins" on a generic predator base. People like to use the same alpha personality and slap it on any character which makes it repetitive. I think when fan characters are used, there does need to be wiggle room due to it being vore and all, but I try to keep the personalities as accurate as possible when writing. This is actually why I find Endo so entertaining mainly due to the fact that a character can enjoy the pleasures of vore without fatality. Then you don't have to write up justification for murder.

For OCs, that's definitely where creativity really blooms. One cannot argue that writing up a well made OC takes a lot more talent than fan character relating things. Although what sucks about OCs is that you need to sift through a lot of the bad ones, especially the generic ones that take on appearance and personality traits that have been absolutely done to death. This is why I'm incredibly shy on making OCs myself, as I witness those who have an OC in what seems like every week, and every 3 out of 5 of them seem to be typical. It can be hard to avoid that though due to popular tropes being popular for a reason.

OCs also suffer when there's no artwork tied to them, shying people, hell, even myself away from stories that don't have art in the thumbnails. A lot of us are just too lazy to read on and use imagination, while fan works already give you a ton to go on, if you're familiar with the series.

Just wanted to give my two cents as an avid writer/RP'er. When dealing with fan stuff it's quite fun to keep the personalities of characters as faithful as possible and I definitely appreciate those more. But like I said, both sides have their ups and downs!

Reference

Check out Noisekeeper?

General Writing Tips from Pixar

List

https://imgur.com/gallery/fPLnM

1: You admire a character for trying more than for their successes.

2: You gotta keep in mind what’s interesting to you as an audience, not what’s fun to do as a writer. They can be v. different.

3: Trying for theme is important, but you won’t see what the story is actually about til you’re at the end of it. Now rewrite.

4: Once upon a time there was ___. Every day, ___. One day ___. Because of that, ___. Because of that, ___. Until finally ___.

5: Simplify. Focus. Combine characters. Hop over detours. You’ll feel like you’re losing valuable stuff but it sets you free.

6: What is your character good at, comfortable with? Throw the polar opposite at them. Challenge them. How do they deal?

7: Come up with your ending before you figure out your middle. Seriously. Endings are hard, get yours working up front.

8: Finish your story, let go even if it’s not perfect. In an ideal world you have both, but move on. Do better next time.

9: When you’re stuck, make a list of what WOULDN’T happen next. Lots of times the material to get you unstuck will show up.

10: Pull apart the stories you like. What you like in them is a part of you; you’ve got to recognize it before you can use it.

11: Putting it on paper lets you start fixing it. If it stays in your head, a perfect idea, you’ll never share it with anyone.

12: Discount the 1st thing that comes to mind. And the 2nd, 3rd, 4th, 5th – get the obvious out of the way. Surprise yourself.

13: Give your characters opinions. Passive/malleable might seem likable to you as you write, but it’s poison to the audience.

14: Why must you tell THIS story? What’s the belief burning within you that your story feeds off of? That’s the heart of it.

15: If you were your character, in this situation, how would you feel? Honesty lends credibility to unbelievable situations.

16: What are the stakes? Give us reason to root for the character. What happens if they don’t succeed? Stack the odds against.

The stakes are that she needs to:

1. Gain knowledge
2. Save the world
3. Repeat The girl will become more wildy voracious

17: No work is ever wasted. If it’s not working, let go and move on - it’ll come back around to be useful later.

18: You have to know yourself: the difference between doing your best & fussing. Story is testing, not refining.

19: Coincidences to get characters into trouble are great; coincidences to get them out of it are cheating.

20: Exercise: take the building blocks of a movie you dislike. How d’you rearrange them into what you DO like?

21: You gotta identify with your situation/characters, can’t just write ‘cool’. What would make YOU act that way?

22: What’s the essence of your story? Most economical telling of it? If you know that, you can build out from there.

You wake up one day, able to eat and be eaten by others. This effect can be to your benefit, but you can also end up a pawn of others' whims.

Will you live your life with no consequence, or what?