: Re: Establishing a social circle for a promiscuous character I am developing a college-age female character and think that there may be a contradiction. This is an important secondary character, a

The answer to your questions depends entirely on how you characterise the girl's friends. Are they prudish snobs? Then yes, they would shun her. Otherwise, no reason why they should. If they disagree with how she acts, they might say something, but there's a great difference from this to actually pushing her away. I find it more realistic that a friend would express their concern for the girl's safety (getting drunk with unfamiliar guys...), maybe come with her to make sure nothing bad happens.

If you want the character not to be shunned by her friends, you'd need to make her friends the kind of people who would be accepting, if not approving.

As for crossing paths with friends' boyfriends, that's again down to you, and how you characterise the girl. Would this girl go to bed with anyone, or would she refuse a guy who she knows is a friend's boyfriend? Or anyone's boyfriend? There's no shortage of boys in a college - plenty of single guys around.

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: Think of your flashbacks like you think of any other scene. The fact that this is a flashback shouldn't make a significant difference. There are five senses you can engage: sight, hearing,

: Re: Establishing a social circle for a promiscuous character I am developing a college-age female character and think that there may be a contradiction. This is an important secondary character, a

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: Does point of view matter drastically? I've looked at a few other questions and answers but nothing that I was really looking for. The point of view is a little confusing at the beginning

: How do I get reliable information on things I don't know anything about? I'm writing a short story about robots and I wanted them to bleed coolant and thought the colour contrast would look

: How to research sex for writing? I'm not writing erotica - I'm writing fantasy and sci-fi. But sometimes my characters make love, sometimes in ways I cannot be familiar with. In one story,

: Think of your flashbacks like you think of any other scene. The fact that this is a flashback shouldn't make a significant difference. There are five senses you can engage: sight, hearing,

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