As someone who doesn’t have an em dash key on her laptop (to be honest I don’t know if any laptops even have these to begin with-) and has just been adding them through her phone, how can I make this process less tedious?
Is there a way for me to map the em dash symbol over an existing key I don’t use on my laptop? Or like is there a keyboard shortcut I don’t know of yet?
If anyone knows the fix to this, please enlighten me!
Thank you in advance to anyone who gives some advice or just reads this!
Guys whoever might be struggling with the same thing I had been—USE THIS
Type en and em dash - right on your keyboard
Literally the set up is INSANELY easy, and I didn't even have to restart my laptop or anything—so it was working instantly!
I never have to paste an em dash again or add them from my phone.
I am so happy right now I could cry-
God bless whoever made this code!
An excerpt from my WIP — a very dark, intimate, and intense story to come. Sharing fragments as I draft; reader impressions and interactions are always welcome 🖤
I love your writing tips 🫶🫶🫶tysm.....I wanted to ask how you write a black character
Writing Notes: Black Characters
What terms to use? Terms used to refer to racial and ethnic groups continue to change over time.
One reason for this is simply personal preference; preferred designations are as varied as the people they name.
Another reason is that designations can become dated over time and may hold negative connotations.
When describing racial and ethnic groups, be appropriately specific and sensitive to issues of labeling.
Race - physical differences that groups and cultures consider socially significant. For example, people might identify their race as Aboriginal, African American or Black, Asian, European American or White, Native American, Native Hawaiian or Pacific Islander, Māori, or some other race.
Ethnicity - shared cultural characteristics such as language, ancestry, practices, and beliefs. For example, people might identify as Latino or another ethnicity.
Be clear about whether you are referring to a racial group or to an ethnic group.
Race is a social construct that is not universal, so one must be careful not to impose racial labels on ethnic groups.
Whenever possible, use the racial and/or ethnic terms that your participants themselves use. Be sure that the racial and ethnic categories you use are as clear and specific as possible.
For example, instead of categorizing participants as Asian American or Hispanic American, you could use more specific labels that identify their nation or region of origin, such as Japanese American or Cuban American.
Use commonly accepted designations (e.g., census categories) while being sensitive to participants’ preferred designation.
People of African origin. When writing about people of African ancestry, several factors inform the appropriate terms to use. People of African descent have widely varied cultural backgrounds, family histories, and family experiences.
Some will be from Caribbean islands, Latin America, various regions in the United States, countries in Africa, or elsewhere.
Some American people of African ancestry prefer “Black,” and others prefer “African American”; both terms are acceptable.
However, “African American” should not be used as an umbrella term for people of African ancestry worldwide because it obscures other ethnicities or national origins, such as Nigerian, Kenyan, Jamaican, or Bahamian; in these cases use “Black.”
The terms “Negro” and “Afro-American” are outdated; therefore, their use is generally inappropriate.
Example of bias-free language. Description of African American or Black people.
Problematic: "We interviewed 25 Afro-American people living in rural Louisiana."
Preferred: "We interviewed 25 Black people living in rural Louisiana." or "We interviewed 25 African Americans living in rural Louisiana."
Comment: “Afro-American” and “Negro” have become dated; therefore, usage of these terms generally is inappropriate. Specify region or nation of origin when possible to avoid the impression that all people of African descent have the same cultural background, family history, or family experiences. Note that “Black” is appropriate rather than “African American” to describe people of African descent from various national origins (e.g., Haitian, Nigerian).
How to Write Characters of Color Without Using Stereotypes
Creating characters that belong to a different racial group than you are can be down-right difficult.
You don't want to rely on stereotypes to describe them that can be offensive, harmful, or cliche.
In response to that apprehension, authors often avoid it; they take the easy way out and you don't describe them at all, but is that what's best?
Example. A basic and rudimentary physical descriptions of primary or secondary black characters:
she had chocolate brown skin and big, round eyes
By itself, there is nothing wrong with this description.
It's not necessary for every character to have a full, detailed description.
It's only problematic when this description is compared to the description of a primary or secondary white character:
his brown hair was in a military crew cut and he had icy blue eyes and pale skin
The white character is described more richly and the reader can form a picture in their mind, the black character's description is incomplete in comparison, therefore, the reader is forced to fill in the gaps.
Tips for writing deep character descriptions:
Find a picture of a real person who looks similar to your character (you may need more than one person) and use that as your guide.
Free write. Write out every single detail of the description. Whatever is in your mind just write it out.
Edit. Trim it down so it is more concise and note the words that you feel are stereotypical. Use a thesaurus to exchange those words for others.
You don't have to avoid all racial description. Yes it's ok for your black character to have an afro (some black people have afros).
Here's where the hard work comes in:
Remember that real person you were basing your character description on? Imagine reading your description to that person aloud. Try it. Pretend like that person is in front of you and read your description.
If you wouldn't feel comfortable saying it to that person's face then it shouldn't be on your page.
Finally, be creative and if it doesn't feel right keep editing and ask for help.
3 Warning Signs you can use for your work to determine if you should “avoid that Black character.” As in, rethink, reimagine, and rewrite.
If most of their scenes involve them giving a pep talk because they understand the main character or MC’s struggles better than anyone else due to their “unique” identity, you should avoid that Black character.
If the character has an aggressive, angry, or hypersexual* personality that constantly has to be tempered or simmered down, usually by a fairer-skinned, ‘morally superior’ individual, you should avoid that Black character.
If the character is either (A) the MC’s moral compass because they are especially good or (B) so morally corrupt that they eventually lead to their own demise, you should avoid that Black character.
*On top of Black characters often being depicted as hypersexual, there is a related issue that is almost the inverse of this: Black characters being hypersexualized, or turned into something to be observed and objectified. Sexual thoughts and actions are thrust upon them even if they are doing nothing to provoke it. In this way, their mere existence is turned into something sexual just because they are a Black person in a Black body. Descriptions associated with their body will—for absolutely no perceivable reason—begin to be described with animalistic language. For example, let’s say, in a book, that every other character smiled or smirked. But then when it gets to the Black character, it’s suddenly, “He grinned wide with his canines showing.”
In media, Black characters seem to live at the extremes of the moral spectrum.
They either live on a holy pedestal or are so far in the trenches of depravity that, at some point in the book, they have to be “put down like an animal” for the greater good of the world (which is so harmful).
In other cases, the MC has to cut all ties with them, showing that the MC has “risen above” their lowliness and corruption (usually in the form of breaking out of an abusive friendship or relationship, breaking a drug addiction, leaving ‘the hood,’ cutting ties with a gang, choosing peace over revenge, etc.).
Regardless of which extreme the Black character exists at, both serve the function of dehumanizing the character. They are pushed into the margins of humanity, either morally above or below the common person. Either way, they have reached a place beyond humanity, somewhere that is usually painted in these cases as hard to sympathize or empathize with. It often makes them two-dimensional and rigid.
Consider the moral compass Black character who will, more often than not, preach forgiveness and love at the most inappropriate times, and is ready to help wash the MC clean of their sins or warn them about what lies ahead on the “dark path” if they so choose it. And for the morally corrupt Black character, they typically spit every negative stereotype about the Black community back into readers’ faces without context, compassion, or tenderness, which is uncomfortable and heartbreaking.
Ultimately, tread carefully—carefully—in your pursuit of diverse voices in your work. If you do not take this venture with deep consideration and caution, you will run into trouble achieving the rich representation you’re aiming for in your writing. However, just caring about having better representation is important in itself.
Representation is a powerful tool that can inspire communities and amplify the voices of marginalized groups across the globe.
Reading is a tool that allows us to expand our minds and explore the world through written word. When we see ourselves represented correctly in texts, it gives us the space to imagine our futures, learn new things about ourselves, and challenge how we view the world around us.
When we see characters like ourselves become the hero of their own stories, it can give us the power to find that courage and bravery within ourselves.
But just like healthy representation can make our dreams and sense of self flourish, inaccurate or incomplete representation can limit our imaginations and impair our ability to know where and with whom we may belong.
Black people have been excluded from and misrepresented in retellings of history for centuries.
Due to hateful societies and racist conditions throughout time, much of Black history has been forgotten, denied, or stolen.
Because of this, traditional methods of research may not always show the full picture.
Sometimes, a story can capture the truth better than a graph.
Alternative Ways to Write Characters and Plots
Write multiple characters from the same group, so there isn’t one token representative. Additionally, people are often friends with those whom they can relate to. So for instance, rather than having a single gay character in a group of straight characters, a friend group might be made up of multiple LGBTQ+ individuals.
Write BIPOC characters who have agency, complexity, and the ability to fight their own battles. Instead of having a white character advocate for, speak for, and fight for people of color, give characters of color the opportunity to speak and advocate for themselves.
Give BIPOC and LGBTQ+ individuals their own character arcs, with their own goals and desires, rather than making their entire lives revolve around white and straight characters.
Run your book by a sensitivity reader. Sensitivity readers will read unpublished manuscripts and give feedback on cultural inaccuracies, biases, and stereotypes.
Don’t make your villain the sole BIPOC person in the entire story. Similarly, don’t make your villain the sole gay character or sole disabled character.
Don’t kill every BIPOC, LGBTQ+, or disabled character. This sends the message that these characters—and by extension real-life people who are members of these groups— are unimportant.
Overall, make sure that your characters are complex, realistic individuals who are not defined by stereotype.
Should white people write about people of color? "If you’re thinking about writing outside your culture and you’re afraid to get it wrong, be honest with yourself. Ask yourself why you want to do it. That’s where you start." (author Malinda Lo).
It takes much more consideration than omitting obvious, familiar stereotypes. Instead of focusing on the fact that you need to ensure that your audience knows the character is not white, focus on their inner lives.
Think of their humanity beyond the constrictions of race as a complete signifier, not as the driving force behind the character’s existence, but a puzzle piece.
If you’re not ready to acknowledge and confront your white privilege, it will certainly cloud the creation of your character.
If you are a white writer and you wish to inhabit the consciousness of a POC, do not base their narrative around noble suffering. Sometimes it’s the seemingly mundane details that make a character feel alive.
When whiteness is the standard in literature, “Otherness” becomes defined by easily available tropes and cliches. When race is involved, many writers cling to the mantra “write what you know.”
More excerpts from Malinda Lo's answer:
Anyone who wants to write outside of their culture has to remember this: Books are personal, and one person’s reaction does not mean that everybody is going to react the same way. In fact, it’s likely that every single reader will have a different reaction.
This doesn’t mean that it’s okay to blithely write whatever the hell you want about a culture that isn’t yours. Writers who are writing outside of their culture do have to work extra hard to research that culture, because they have much farther to go to get to the kind of instinctual knowledge of it that allows someone to hear my Chinese name and feel that it sounds poetic.
Writing outside your culture is a complicated endeavor that requires extensive research, being aware of your own biases and limitations, and a commitment to delving deeply into the story. However, writing any fiction requires this. There are no shortcuts to writing fiction truthfully and well. There really aren’t. The writer must put in the time so that they become confident in their decisions, and there are a million and one decisions to make when writing a novel.
If you’re a white writer who wants to write about a culture not your own, go for it. There’s no reason you shouldn’t do it. Some people will prefer that you don’t, but those people don’t speak for everyone. On the other hand, if you’re terrified of writing outside your culture, you don’t have to. There’s not necessarily any reason for you to do something that makes you that uncomfortable. I believe that writing is a personal thing, and you should write what you personally want to write.
Thank you for your lovely words. I'm not exactly the best person for this question, so here are some references I found for you. Learned a lot from these as well, so thanks for the request. Hope this helps with your writing!
Some actually useful Questions to get to know your OC better...
↳ What’s your character’s biggest fear and how does it screw up their relationships? Are they terrified of being abandoned? Do they push people away before they can leave? Are they scared of not being enough? Or being too much?
↳ What’s something they’re stupidly passionate about, and how does it drive their entire life? Like that thing they’d fight someone over. That core belief, hobby, or dream that lowkey fuels every decision they make (even when they say it doesn’t).
↳ What’s one childhood memory they can’t shake and how did it shape the way they see the world now?
↳ What weird habits or quirks make them totally them? Do they always talk with their hands? Hum when they’re nervous? Refuse to eat foods that touch?
↳ Do they have a secret talent no one expects? Like, are they surprisingly great at card tricks? Can they play the piano at concert level but never talk about it? Bake the world’s best banana bread?
↳ How do they handle failure?
↳ Who’s had the biggest impact on their life, and why? Friend, enemy, sibling, teacher, ex?
↳ What do they believe in, deep down? Like, what’s their moral compass? What lines won’t they cross? What kind of person are they trying to be, even if they mess up along the way?
↳ Is there an item or feature they’re weirdly attached to? A necklace? A hoodie? A scar? A pair of old sneakers?
↳ Do they have recurring dreams or nightmares? And what do those dreams mean? What are they trying not to deal with while awake?
When a character is pretending to be someone they’re not
Pretending isn’t just lying, no, it’s becoming a version of yourself that feels easier to manage (easier to love, or control, or survive inside.) It’s a mask that starts out as protection and slowly becomes a second skin. One that’s hard to take off, even when you want to.
✦ They mirror the people around them without meaning to. Their laugh, their phrasing, the way they sit, it all shifts depending on who they’re with. Like they’re constantly adjusting, matching the energy in the room, trying to be what they think people want.
✦ They’re vague when things get personal, and not because they’re secretive, but because they don’t know anymore. Ask them their favorite song, and they’ll pause too long. Ask about their past, and their answers are half-finished, polished at the edges, like they’ve been told too many times to keep it clean.
✦ They over-prepare for conversations. They run through the dialogue in their head ahead of time. Rehearse their jokes, their exits, their answers. Everything feels a little scripted, like they’re playing the role of “themselves” instead of just… being.
✦ They always look put-together, maybe almost too much. Their clothes, their hair, their whole vibe is carefully chosen. But there’s a difference between style and armor, and this is armor. A version of themselves they’ve curated, down to the last thread.
✦ They panic when the script slips. Catch them off guard, and it shows... like, they freeze and fumble. The real stuff, feels dangerous. Being authentic means being vulnerable, and they’ve learned the hard way how risky that is.
✦ They shift depending on the room. One version of them at home, another at school, another with friends, like flipping channels. It’s not manipulation, no guys, it’s muscle memory, and they’ve learned to survive by adapting, and now they can’t stop.
✦ They touch their face or hair when they’re uncomfortable, like they’re checking to make sure the mask is still in place. A nervous habit that’s half-grounding, half-ritual, as if letting their guard down even physically would let everything else fall apart, too.
✦ Their smile is always photo-ready. Perfect, pretty, practiced...But there’s something in the eyes that doesn’t match, like they’re smiling at you, not with you. Like they’ve learned what people want to see, and they’ve gotten very good at giving it.
✦ If someone tells them, “I like the real you,” they go quiet. Not because they’re shy, but because deep down, they don’t know who the “real” version even is anymore. They want to believe there’s someone underneath it all, they just don’t know how to find them.
From someone who’s definitely been in too many and would very much like a refund...ツ
⊹ Waiting rooms are emotional purgatory. They’re too bright, too quiet, and weirdly timeless. Fluorescent lights buzzing, TVs playing muted news no one watches, coffee that tastes like burnt stress. People aren’t relaxing in there, they’re just existing, awkwardly pretending their phones are interesting while dissociating at 40% battery.
⊹ Everyone talks in a whisper, but not because it’s respectful, no, it just feels wrong to speak normally. Like the walls might be listening, like if you talk too loud, something worse might happen, even the loud people get quiet in hospitals.
⊹ Overnight stays are hell. hospital chairs? medieval torture devices with upholstery. even if someone’s trying to nap next to a patient, they’re not sleeping. They’re half-listening to the symphony of beeping machines, nurse shoes squeaking, the occasional cough, and distant Code Something crackling over the intercom. it’s anxiety with a blanket.
⊹ The smell is unforgettable, like it’s not just antiseptic. it’s plastic and cafeteria meatloaf and sweat and fear and the smell of a place where people are very much not okay. the first time your character walks in, it’ll hit them like a wall. later, they might not even notice, or maybe it’s the only thing they can smell for days after.
⊹ Talking to doctors is a weird performance. You're trying to be calm, they’re trying to be calm. But no one is calm, your character wants to ask 47 questions and not sound desperate. The doctor explains things like they’re narrating a science video, and when they leave, someone will immediately go “wait... we forgot to ask” every. single. time.
⊹ Monitors beep constantly. half the time, it’s nothing. A wire got loose, someone rolled over. But the second it is something, the vibe shifts fast. Nurses appear like ghosts, machines start going off, and everyone starts moving. And your character? they might freeze, or panic, or forget they have lungs. Go with whatever makes sense for them, but make it visceral.
⊹ Time goes full funhouse mirror. Ten minutes waiting for test results feels like a year. A full hour stretches into eternity, meanwhile, three hours can pass without anyone realizing it. You can use this in your pacing, make it drag when the waiting is unbearable.
⊹ Hospital cafeteria food: Garbage. It’s either offensively bland or stupidly overpriced. The grilled cheese is six dollars and tastes like regret, and someone will 100% cry into a cold sandwich at 3am, because grief doesn’t care where you are.
⊹ People start fixating on tiny, random things. They can’t control the big stuff, so their brain zeroes in on a sock slipping off, a crooked IV pole, the repetitive drip-drip-drip of medication. Let them obsess over something small, it’s how the brain copes with being completely powerless...
How to Write a Redemption Arc That Hurts (In the Best Way)
Redemption isn’t a straight line. It’s jagged. Messy. Earned.
Whether your character is a once-noble hero who made one devastating mistake—or a full-blown villain who slowly realises what they’ve become—a strong redemption arc can be one of the most emotionally resonant journeys in fiction.
Here’s how to write one that lands:
1. Start With the Fall (Or the Flaw)
Redemption means nothing without something to redeem. What did they do?
– Betrayal? Violence? Abandonment? Apathy?
Make the sin personal, and make sure your reader feels the weight of it.
✍️ Tip: Don’t shy away from their wrongdoing. Redemption is powerful because it’s hard-earned.
2. They Have to Want It (Eventually)
A redemption arc doesn’t work if they’re forced into it or if they don’t regret their actions.
There has to be a moment — big or small — when they begin to want to change. That spark is everything.
Examples:
A flash of guilt after seeing someone harmed by their choices.
Hearing a phrase they once said…used by someone crueler.
A moment of kindness that catches them off-guard.
3. Let Them Resist It
Real change is uncomfortable. Your character should stumble, fight it, maybe even relapse.
They might question if they even deserve redemption. That doubt makes them human.
✍️ Narrative tension idea: Just when the reader thinks they’ve changed, let them snap under pressure—and then feel the shame of it.
4. Give Them a Chance to Actively Do Good
Redemption isn’t about feeling bad — it’s about making amends.
They need to choose to do something selfless, painful, or courageous — not because it earns them praise, but because it’s right.
Make them:
Apologise without expecting forgiveness.
Protect someone they once hurt.
Make a sacrifice no one will ever know about.
5. Let Consequences Stand
Redemption is not a get-out-of-jail-free card. Let people mistrust them. Let them lose things permanently.
They can change and still face the cost of what they did — and that’s what makes it powerful.
6. Not Everyone Has to Forgive Them
Forgiveness is not owed. Some characters will never believe the change. That’s okay. It’s real.
Use this to:
Add tension and realism.
Explore different reactions to trauma.
Show that redemption is internal, not dependent on external validation.
7. End With Who They Become—Not Just What They Did
The final step of a good redemption arc isn’t about “undoing” the past.
It’s about choosing who they are now — and committing to being better.
They’re still carrying scars. But now, they’re facing forward.
✍️ Bonus Tip: Redemption arcs hit hardest when they hurt. Let it cost something. Let it mean something. Let them bleed for it. That’s when readers believe it.
Redemption Arc Prompts (for maximum angst & payoff)
Need a spark to start the fire? Here are some redemption arc prompts to put your character through it — and maybe, just maybe, let them claw their way out again:
🩸 The Monster Who Chose His Soul
They were never supposed to feel guilt. Their nature was cruel, cursed, inhuman — so when they start to care, it shatters something deep. But caring isn’t enough. So they go in search of what they were never meant to have: a soul, a conscience, something to make the guilt stick. Not for redemption. Not for love. But because they can’t stand not knowing what it means to be human.
Use this for…
Vampires, demons, cursed warriors, AI trying to evolve.
Arcs where the redemption begins after the obsession.
Characters whose change isn’t instant—it’s agonising, feral, and full of relapse.
Key Questions For Writers
What event or moment makes the monster realize they want a soul or conscience?
How does their monstrous nature conflict with this desire for humanity?
What sacrifices must they make to earn or reclaim their soul?
How do others react to their transformation—fear, disbelief, hope?
Does the monster’s journey lead to true redemption, or is it an ongoing, painful struggle?
Emotional Notes
The agony of clawing through darkness for something intangible.
The loneliness of being neither fully monster nor human.
The fragile hope that change is possible — even when the past screams otherwise.
Let their monstrous heart break—and witness the fierce fight to claim their lost humanity.
🕯️ The One Who Survived…and Shouldn’t Have
They lived through the massacre, the betrayal, the war—whatever happened—not because they were brave, but because they were cowardly enough to survive. They made the wrong choice. They ran. They closed the door. They didn’t look back. And they’ve hated themselves every day since.
Now the world remembers them as a hero. Statues, ballads, accolades. But they know the truth—and it’s rotting them from the inside.
So they disappear. Not in disgrace, but in determination.
Not to erase the past.
But to earn the life they didn’t deserve.
Use this for…
A reluctant protagonist with deep survivor’s guilt
A morally grey character trying to rebuild something they helped destroy
An older warrior protecting the next generation to make peace with the last
A spy, a traitor, a deserter who becomes the shield they once refused to be
Key Questions for Writers
What lie do people believe about this character?
What one decision do they regret the most?
What would it take for them to forgive themselves?
What’s the first thing they do to try to be better—and does it hurt?
Emotional Notes
Anguish that simmers under silence.
Redemption through action, not speech.
Consequences that can’t be undone, only carried.
Let the weight of survival shape them. Let them falter. Let them bleed for the right thing this time.
❤️🔥 Changing for the Love That Never Was
They were reckless, broken, or cold — maybe even cruel. But when the person they secretly adored barely noticed them, something snapped. Not because they wanted to be better for themselves, but because they needed to be worthy of love they’d never received. They start changing — small things at first, then big. Trying to erase their flaws, rewrite their past, and fit the ideal they imagine the other wants. But love built on self-denial is fragile.
Use this for…
Characters trapped in unrequited love or obsession
Antiheroes who want to become heroes for someone else
Stories where identity and self-worth collide
Tense romance arcs with bittersweet or tragic endings
Key Questions for Writers
What flaws do they try to hide or fix?
How does their unrequited love affect their choices?
Do they ever admit the change isn’t truly for themselves?
What happens when the love remains unreturned?
Can they find self-acceptance apart from the other’s approval?
Emotional Notes
Longing that cuts deeper than hate.
Masks slipping under pressure.
The painful difference between being wanted and loved.
Let your character wrestle with heartbreak, identity, and the price of change—for better or worse.
⚖️ The Villain Who Broke Their Own Rules
They were ruthless, feared, and driven — yet they always told themselves some deaths were “necessary.” But when their actions accidentally kill someone innocent — someone they never intended to hurt — that line breaks. The guilt crashes over them like a storm. No excuse, no justification, no second chance. For the first time, they question everything: their goals, their methods, even themselves. This moment becomes the catalyst for change, forcing them to confront their darkness — not just to save themselves, but to stop hurting others.
Use this for…
Characters trapped in unrequited love or obsession
Antiheroes who want to become heroes for someone else
Stories where identity and self-worth collide
Tense romance arcs with bittersweet or tragic endings
Key Questions for Writers
Who was the innocent? How do they affect the villain’s conscience?
What personal rules did the villain break?
How does this death change their motivations?
Can they ever make amends, or is this their undoing?
How do others react to the villain’s shift?
Emotional Notes
Crushing guilt that can’t be ignored.
A fragile hope born from devastating loss.
Inner conflict between old habits and new purpose.
Let your villain’s cold exterior crack—and watch them fight to rebuild what they’ve broken.
💔 The Final Breach of Trust
He’s broken her trust one too many times — through lies, betrayal, or neglect. Before, there was anger, tears, shouting. But now her silence is worse than any outburst. The cold, emotionless “Get out” is a door slammed shut forever. For the first time, he truly sees what he’s lost — not just her love, but her belief in him. And it terrifies him more than any punishment. Redemption won’t come from empty apologies or promises; it will come from the long, painful work of earning back a love that may never return.
Use this for…
Romantic dramas with fractured relationships
Characters grappling with addiction, betrayal, or repeated mistakes
Stories about self-awareness born from loss
Emotional arcs where redemption means more than just forgiveness
Key Questions for Writers
What was the betrayal, and why was it the last straw?
How does the character react to the silence and coldness?
What does he do differently after hearing “Get out”?
Can she ever forgive, or is his redemption truly for himself?
How does the loss change his identity?
Emotional Notes
Silence heavier than words.
The shattering weight of finality.
Redemption as a path through grief and self-loathing.
Let the moment of loss be the spark that sets the slow burn of change in motion.
A Final Note
Redemption stories are some of the most powerful journeys you can write — they dig into pain, change, and hope in ways that stay with readers long after the last page. Use these prompts to explore the messy, beautiful process of transformation, whether your character rises, falls, or struggles somewhere in between. I’d love to see what you create — tag me so I can cheer you on and share your work! ❤️
Belladona - sweet but poisonous; its black berries can be deadly
Castor oil plant - each spiny capsule has 3 beans inside
Hemlock - all parts are toxic; the seeds contain the most poison
Lily of the valley - this pretty plant is highly poisonous
Manchineel - its dangerous leaves can cause blisters if touched
Oleander - its poisonous leaves are very bitter
Pong pong - its fruit contains a poisonous seed—eating it can kill a human in 2 days
Rosary pea - a single seed contains enough poison to kill an adult human
White baneberry - its bitter, white berries look like the eyes of a doll
White snakeroot - its toxic leaves poison the milk of cows that feed on them
Wolfsbane - its purple, helmet-shaped flowers give it its other name, “Devil’s Helmet”; the deadly sap of its leaves may cause a rash if touched
Yew - its toxic leaves can kill within hours if eaten; its harmless red berries hide poisonous seeds
NOTES
Many plants produce poisons to prevent them from being eaten. While some will cause only a stomachache, others can kill. You should never eat any part of a plant, unless an expert can confirm it is safe.
Throughout history, humans have known about the poisonous properties of certain plants and used them for deadly ends:
Belladonna was used to make poison-tipped arrows.
Hemlock is said to have been used to kill the great philosopher Socrates in ancient Greece.
Wolfsbane was rubbed on arrows for hunting wolves, and during Roman times, it was commonly used for murdering enemies.
Ricin, extracted from the castor oil plant, remains one of the most deadly poisons known today.
Although all the plants shown here are toxic to humans, some are harmless to animals. For example:
Birds can eat the berries of the white baneberry plant and yew without any ill effects. The birds then spread the seeds in their poo.
Iguanas are known to feast on the fruit and leaves of the toxic manchineel.
💀 Making Your Villain Make Sense (Without Making Them Right™)
("because if I see one more war criminal with a sad diary entry get a redemption arc, I’m gonna throw my laptop.")
Here’s the thing: your villain doesn’t need to be redeemable. But they do need to make sense.
And I mean sense beyond "they’re evil and they monologue about it."
Or “they have a tragic past, so now they do murder <3.”
Or “they were right all along, the hero just couldn’t see it 🥺.”
Let’s fix that.
─────── ✦ ───────
🧠 STEP ONE: BUILD A LOGIC SYSTEM THAT ISN’T OURS
Your villain shouldn’t just be wrong, they should have their own internal system that works for them. Morally flawed? Absolutely. But coherent.
Ask yourself:
What do they value more than anything? (Power? Order? Loyalty? Vengeance?)
What do they believe about the world, and how did they get there?
What fear drives them? What future do they think they’re trying to prevent?
The villain doesn’t need to know they’re wrong. But you should.
Make their logic airtight. even if it’s awful. Give them cause and effect.
─────── ✦ ───────
👿 STEP TWO: STOP GIVING THEM THE BETTER IDEOLOGY
Listen. I love a “morally gray” moment as much as anyone. But if your villain is making all the good points and the hero’s just like “no because that’s mean,” your arc is upside down.
If your villain is critiquing injustice, oppression, or inequality, make sure their methods are the problem, not their entire worldview.
✖︎ WRONG:
Villain: “The ruling class is corrupt.”
Hero: “That’s not nice.”
✔︎ RIGHT:
Villain: “The ruling class is corrupt, so I’m burning the city and everyone in it.”
Hero: “So you’re just… committing genocide now?”
Your villain can touch a real issue. Just don’t let them be the only one talking about it, or solving it with horror movie logic.
─────── ✦ ───────
🔪 STEP THREE: GIVE THEM POWER THAT COSTS THEM
The best villains lose things too. They’re not just untouchable horror dolls in sexy coats. They make bad choices and pay for them. That’s where the drama lives.
Examples:
They isolate themselves.
They sacrifice people they love.
They get what they want, and it destroys them.
They know they’re the monster, and choose it anyway.
If your villain can kill a dozen people and feel nothing, that’s not scary. That’s boring.
Let them bleed. Let them regret it. Let them double down anyway.
─────── ✦ ───────
🧱 STEP FOUR: MAKE THEM PART OF THE WORLD, NOT OUTSIDE IT
Villains shouldn’t feel like they were patched in from another genre. They should be part of the world’s logic, culture, class system, history. They should reflect something about the setting.
Villains that slap:
The advisor who upheld the regime until they decided they deserved to rule.
The noble who’s using war to reclaim stolen legacy.
The ex-hero who thinks the system can’t be saved, only reset.
The priest who truly believes the gods demand blood.
They’re not just evil, they’re a product of the same world the hero is trying to save.
─────── ✦ ───────
👁 STEP FIVE: SHOW US THEIR SELF-JUSTIFICATION
You don’t need a tragic backstory™. But you do need to show us why they think they’re right. Not just with exposition, through action.
Let us watch them:
Protect someone.
Choose their goal over safety.
Justify the unjustifiable to a character who loves them.
Refuse to change, even when given a chance.
A villain who looks into the mirror and goes “Yes. I’m correct.” is 1000x scarier than one who sobs into a journal and says “I’m so broken 🥺.”
─────── ✦ ───────
🧨 BONUS ROUND: DON’T MAKE THEM A HATRED MEGAPHONE
Especially if you’re writing marginalized characters: don’t let your villain become a mouthpiece for slurs, abuse, or extremism just to make them “evil enough.” That’s lazy. And harmful.
You don’t need real-world hate speech to build a dark character. You need power, consequence, and intent.
─────── ✦ ───────
TL;DR:
Good villains don’t need to be right. They need to be real.
Not a vibe. Not a sad boy in a trench coat. Not a trauma monologue and then a sword fight.
They need logic. They need cost. They need to scare you because you get them, and still want them to lose.
Make them dangerous. Not relatable.
Make them whole. Not wholesome.
Make them make sense.
—rin t.
// thewriteadviceforwriters
// villain critic. final boss consultant. licensed chaos goblin
P.S. I made a free mini eBook about the 5 biggest mistakes writers make in the first 10 pages 👀 you can grab it here for FREE:
✦ A free (and actually helpful) guide to leveling up your first 10 pages ✦If you're unsure whether your opening is ✨doing enough✨ to hook re
✏️ Writing Dialogue That Sounds Like Real People, Not Theater Kids on Red Bull
(a crash course in vibes, verbal economy, and making your characters shut up already)
Okay. We need to talk about dialogue. Specifically: why everyone in your draft sounds like they’re in a high school improv group doing a dramatic reading of Riverdale fanfiction.
Before you panic, this is normal. Early dialogue is almost always too much. Too polished. Too "scripted." So if yours feels off? You’re not failing. You’re just doing Draft Zero Dialogue, and it’s time to revise it like a boss.
Here’s how to fix it.
─────── ✦ ───────
🎭 STEP ONE: DETOX THEATER ENERGY
I say this with love: your characters are not all quippy geniuses. They do not need to deliver emotional monologues at every plot beat. They can just say things. Weird, half-finished, awkward things.
Real people:
interrupt each other
trail off mid-thought
dodge questions
contradict themselves
repeat stuff
change the subject randomly
Let your characters sound messy. Not every line needs to sparkle. In fact, the more effort you put into making dialogue ✨perfect✨, the more fake it sounds. Cut 30% of your clever lines and see what happens.
─────── ✦ ───────
🎤 STEP TWO: GIVE EACH CHARACTER A VERBAL FINGERPRINT
The fastest way to make dialogue feel alive? Make everyone speak differently. Think rhythm, grammar, vocabulary, tone.
Some dials you can twist:
Long-winded vs. clipped
Formal vs. casual
Emojis of speech: sarcasm, filler words, expletives, slang
Sentence structure: do they talk in fragments? Run-ons? Spirals?
Emotion control: are they blunt, diplomatic, avoidant, performative?
Here’s a shortcut: imagine what your character sounds like over text. Are they the “lol okay” type or the “okie dokie artichokie 🌈✨” one? Now translate that into speech.
─────── ✦ ───────
🧠 STEP THREE: FUNCTION > FILLER
Every line of dialogue should do something. Reveal something. Move something. Change something.
Ask:
Does this line push the plot forward?
Does it show character motivation/conflict/dynamic?
Does it create tension, add context, or raise a question?
If it’s just noise? It’s dead air. Cut it. Replace it with a glance. A gesture. A silence that says more.
TIP: look at a dialogue scene and remove every third line. Does the scene still work? Probably better.
─────── ✦ ───────
💥 STEP FOUR: REACTIVITY IS THE GOLD STANDARD
Characters don’t talk into a void. They respond. And how they respond = the real juice.
Don’t just write back-and-forth ping pong. Write conflict, dodge, misunderstanding. If one character says something vulnerable, the other might joke. Or ignore it. Or say something cruel. That’s tension.
Dialogue is not just information exchange. It’s emotional strategy.
Try this exercise:
A says something revealing.
B lies.
A notices, but pretends they don’t.
B changes the subject.
Now you’ve got a real scene.
─────── ✦ ───────
🔍 STEP FIVE: PAY ATTENTION TO POWER
Every convo has a power dynamic, even if it’s tiny. Who’s steering? Who’s withholding? Who’s deflecting, chasing, challenging?
Power can shift line to line. That shift = tension. And tension = narrative fuel.
Write conversations like chess matches, not ping pong.
─────── ✦ ───────
✂️ STEP SIX: SCISSORS ARE YOUR BEST FRIEND
The best dialogue is often the second draft. Or third. Or fourth. First drafts are just you figuring out what everyone wants to say. Later drafts figure out what they actually would say.
Things to cut:
Greetings/closings ("Hi!" "Bye!"--skip it unless it serves tone)
Exposition disguised as chat
Obvious thoughts spoken aloud
Explaining jokes
Repeating what we already know
Readers are smart. Let them fill in blanks.
─────── ✦ ───────
🎧 STEP SEVEN: READ IT OUT LOUD (YES, REALLY)
If you hate this step: too bad. It works. Read it. Mumbling is fine. Cringe is part of the ritual.
Ask yourself:
Would someone actually say this?
Does this sound like one person speaking, or a puppet show with one hand?
Where does the rhythm trip? Where’s the breath?
If you can’t say it out loud without wincing, the reader won’t make it either. Respect the vibe.
─────── ✦ ───────
🏁 TL;DR:
If you want your dialogue to sound like real people, let your characters be real. Messy. Annoying. Human. Let them interrupt and lie and joke badly and say the wrong thing at the worst time.
Cut the improv class energy. Kill the urge to be ✨brilliant✨. And listen to how people talk when they’re scared, tired, pissed off, in love, or trying not to say what they mean.
That’s where the good stuff is.
—rin t.
// thewriteadviceforwriters
// official advocate of awkward silences and one-word replies
P.S. I made a free mini eBook about the 5 biggest mistakes writers make in the first 10 pages 👀 you can grab it here for FREE:
✦ A free (and actually helpful) guide to leveling up your first 10 pages ✦If you're unsure whether your opening is ✨doing enough✨ to hook re
Your blog is super helpful with advice and research.
Do you have any resources on writing a character with PTSD, specifically from the Vietnam War era? I want to be accurate and respectful.
Thank you so much!
Writing Notes: PTSD
Posttraumatic Stress Disorder (PTSD)
in DSM–IV–TR, a disorder that may result when an individual lives through or witnesses an event in which they believe that there is a threat to life or physical integrity and safety and experiences fear, terror, or helplessness.
The symptoms are characterized by:
reexperiencing the trauma in painful recollections, flashbacks, or recurrent dreams or nightmares;
avoidance of activities or places that recall the traumatic event, as well as diminished responsiveness (emotional anesthesia or numbing), with disinterest in significant activities and with feelings of detachment and estrangement from others; and
chronic physiological arousal, leading to such symptoms as an exaggerated startle response, disturbed sleep, difficulty in concentrating or remembering, and guilt about surviving the trauma when others did not.
Subtypes are chronic posttraumatic stress disorder and delayed posttraumatic stress disorder.
When the symptoms do not last longer than 4 weeks, a diagnosis of acute stress disorder is given instead.
Changes in PTSD criteria from DSM–IV–TR to DSM–5 and DSM-5-TR include the following:
Exposure to the traumatic event may be secondhand if the event happens to a loved one or if there is repeated exposure to aversive details (e.g., as with first responders cleaning up after a disaster);
the subjective criterion requiring that the person feel fear, terror, or helplessness has been eliminated;
symptom clusters have been recategorized, with additional symptoms; and
separate criteria have been developed for children age 6 years or younger.
Who Develops PTSD?
Anyone can develop PTSD at any age.
Some factors can increase the chance that someone will have PTSD, many of which are not under that person's control.
For example, having a very intense or long-lasting traumatic event or getting injured during the event can make it more likely that a person will develop PTSD.
PTSD is also more common after certain types of trauma, like combat and sexual assault.
Personal factors—like previous traumatic exposure, age and gender—can affect whether a person will develop PTSD.
What happens after the traumatic event is also important.
Stress can make PTSD more likely, while social support can make it less likely.
What Are the Symptoms of PTSD?
PTSD symptoms usually start soon after the traumatic event, but they may not appear until months or years later.
They also may come and go over many years.
If the symptoms last longer than 4 weeks, cause you great distress, or interfere with your work or home life, you might have PTSD.
There are 4 types of PTSD symptoms.
To be diagnosed with PTSD, you need to have each type.
That said, everyone experiences symptoms in their own way.
Reliving the event (also called re-experiencing symptoms).
Memories of the traumatic event can come back at any time.
They can feel very real and scary. For example:
You may have nightmares.
You may feel like you are going through the event again. This is called a flashback.
You may see, hear or smell something that causes you to relive the event. This is called a trauma reminder, cue or trigger. News reports, seeing an accident, or hearing fireworks are examples of trauma reminders.
Avoiding things that remind you of the event.
You may try to avoid situations or people remind you of the trauma event.
You may even avoid talking or thinking about the event. For example:
You may avoid crowds because they feel dangerous.
You may avoid driving if you were in a car accident or if your military convoy was bombed.
If you were in an earthquake, you may avoid watching movies about earthquakes.
You may keep very busy or avoid getting help so you don't have to think or talk about the event.
Having more negative thoughts and feelings than before the event.
The way you think about yourself and others may become more negative because of the trauma.
For example:
You may feel numb—unable to have positive or loving feelings toward other people—and lose interest in things you used to enjoy.
You may forget about parts of the traumatic event or not be able to talk about them.
You may think the world is completely dangerous, and no one can be trusted.
You may feel guilt or shame about the event, wishing you had done more to keep it from happening.
Feeling on edge or keyed up (also called hyperarousal).
You may be jittery, or always alert and on the lookout for danger.
You might suddenly become angry or irritable. For example:
You may have a hard time sleeping.
You may find it hard to concentrate.
You may be startled by a loud noise or surprise.
You might act in unhealthy ways, like smoking, abusing drugs or alcohol, or driving aggressively.
What Are the Symptoms of PTSD in Children?
Children may have symptoms like those above or other symptoms.
As children get older, their symptoms are more like those of adults.
Here are some examples of PTSD symptoms in children and teens:
Children under 6 may get upset if their parents are not close by, have trouble sleeping, or act out the trauma in their play.
Children ages 7 to 11 may also act out the trauma through play, drawings or stories. Some have nightmares or become more irritable or aggressive. They may also want to avoid school or have trouble with schoolwork or friends.
Children ages 12 to 18 have symptoms more similar to adults: depression, anxiety, withdrawal, or reckless behavior like substance abuse or running away.
Vietnam War Veterans
Post-Traumatic Stress Disorder (PTSD) has a long and complicated history.
During the Civil War it was call DaCostas Syndrome, named for the doctor who published about the troubling symptoms he was seeing in soldiers from both sides of battle. They suffered:
shortness of breath,
rapid pulse, and
fatigue during times of stress, and especially when recalling certain aspects of battle.
Shell shock,
Battle Fatigue, and
Post Vietnam Syndrome were all names given to symptoms of PTSD before it was officially added to the DSM (Diagnostic and Statistical Manual of Mental Disorders) as an anxiety disorder in 1980. It has since been changed to a trauma and stressor related disorder.
Military service and PTSD are often linked because of the danger men and women in the armed forces face.
Their ability to show grace and present calm after traumatic experiences in life threatening situations can often be misinterpreted by those around them as being “fine”.
The reality of war zones often forces them to march forward without the opportunity to process the trauma as other civilians might be able to.
A flash of light, a noise, or unexpected movement can trigger a jarring memory for service members thus causing them to experience PTSD.
Symptoms can be distressing to daily life and create daily traumatic experiences.
In the past, the image of the brave soldier made acknowledging, discussing and getting help for PTSD nearly impossible for many veterans.
Alcohol abuse, addiction, depression, muscoskeleton pain and other illnesses are frequently linked with PTSD and can cause problems in family and work life creating distress for veterans and the people who care most about them.
A major difference during the Vietnam War and previous wars was the homecoming experience.
While their fathers had come home from World War II to ticker-tape parades and national adulation, Vietnam veterans were often told to hide their military service or encouraged to not share it with others.
Many were maligned and mistreated.
This compounded the trauma that they experienced in Southeast Asia.
Vietnam veterans worked to change the narrative around PTSD. Men like Max Cleland, Lewis Puller Jr., and Hal Moore openly spoke about their struggles adjusting to civilian life.
Do People With PTSD Get Better?
After a traumatic event, it's normal to think, act, and feel differently than usual--but most people start to feel better after a few weeks.
Talk to a doctor or mental health care provider (like a psychiatrist, psychologist, counselor or social worker) if your symptoms:
Last longer than a month
Are very upsetting
Disrupt your daily life
"Getting better" means different things for different people.
There are treatment options for PTSD. For many people, these treatments can get rid of symptoms altogether. Others find they have fewer symptoms or feel that their symptoms are less intense.
Your symptoms don't have to interfere with your everyday activities and relationships.
What Treatments are Available?
Both trauma-focused psychotherapy (sometimes called counseling or talk therapy) and medication are proven to treat PTSD.
Sometimes people combine psychotherapy and medication.
Trauma-focused psychotherapy
A few trauma-focused psychotherapies are the most highly recommended treatments for PTSD.
"Trauma-focused" means that the therapy focuses on the memory of the traumatic event or its meaning.
The 3 most effective types of trauma-focused psychotherapy are:
Cognitive Processing Therapy (CPT) where you learn skills to understand how trauma changed your thoughts and feelings. Changing how you think about the trauma can change how you feel.
Prolonged Exposure (PE) where you talk about your trauma repeatedly until memories are no longer upsetting. This will help you get more control over your thoughts and feelings about the trauma. You also go to places or do things that are safe, but that you have been staying away from because they remind you of the trauma.
Eye Movement Desensitization and Reprocessing (EMDR), which involves focusing on sounds or hand movements while you talk about the trauma. This helps your brain work through the traumatic memories.
Sources: 1 2 3 ⚜ More: Notes ⚜ Character Development (Tips & Notes) ⚜ PDFs
Consider the above notes, and then the following tips & advice to further develop your character:
Writing about Mental Health Conditions
Character Development
Thanks for telling me, I'm glad to hear that! You can find more information in the links. If you can, speaking with a person/s with PTSD would provide valuable insight into your story, as well as doing further research on media portrayals of and by people with PTSD. All the best with your writing!
🧃 How to Develop a Vibe AND a Plot (aesthetic doesn’t cancel arcs. let’s balance them.)
hey you. yes, you. the one with the moody playlists, the 73-tab Pinterest board, and a half-written draft that just keeps…vibing in circles.
if you’ve ever written 10k of immaculate vibes but couldn’t tell anyone what your story is about, this post is for you.
because here’s the thing:
✨ aesthetic is not a substitute for stakes. ✨
let’s talk about how to keep your ✨vibes✨ and actually have a plot that moves. no ✧ fluff ✧ just structure, character arcs, and some lovingly blunt advice from your local writeblr gremlin (me).
🌊 1. aesthetic is a result, not a premise
the most common mistake i see is starting with a vibe as the story. like:
“sad girls on the beach in 1996”
“a cursed forest full of dead gods”
“a pastel academic rivalry with secrets and sexual tension”
cool. great. love that for you. but… what’s the story? what’s happening?
your aesthetic can inspire the story (please keep making playlists. i love them). but don’t confuse the feel of your world with the function of your plot. start with tension. stakes. character flaws. emotional damage. that’s the engine. the aesthetic is the paint job.
🎯 2. define your “emotional throughline”
okay, so you’ve got an aesthetic. what’s the emotional core of it?
your plot should orbit a single emotional question, like:
will this character ever let themselves be known?
what does it take to unlearn loyalty?
is love worth destroying something sacred?
start with that. then attach aesthetic scenes to it.
🧩 pro tip: aesthetic scenes are more powerful when they contradict or complicate your emotional throughline.
ex: your story’s about loneliness? show them at the loudest, busiest party.
story’s about grief? show them smiling in photos while everything breaks behind the lens.
aesthetic is stronger with irony. contrast. juxtapositions. don’t just bathe the reader in vibes. weaponize them.
💥 3. let your aesthetic hurt your characters
whatever your aesthetic is--soft academia, vaporwave horror, regency witchcore, don’t make it just a backdrop. make it an obstacle.
your setting should create problems. friction. conflict.
if it’s a sleepy coastal town: what’s festering beneath the quiet?
if it’s a hauntingly beautiful forest: what does it take from people?
if it’s a cursed mansion: what happens to the girls who stay too long?
every time you design a pretty place or moody visual, ask:
❓ how does this setting test my characters’ beliefs or desires?
because then your aesthetic drives the story forward instead of just decorating it.
📚 4. develop plot like a playlist: structure the escalation
your aesthetic playlist has structure, right? (don’t lie. i know you’ve got a specific song for act 3 heartbreak.)
plot works the same way. it’s not a mystery. it’s escalation.
you want a structure? here’s a dead-simple one:
give your main character a desire (internal & external)
give them a reason they can’t have it (flaw, fear, lie)
make them try anyway (rising stakes)
make it cost them something (midpoint shift)
force them to change or break (climax)
let that change play out (falling action / resolution)
that’s it. apply that structure to your vibey little story and suddenly it’s a book.
👁🗨 5. plot is what they do - vibe is how it feels
don’t choose one. you can have both.
you can have a soft lighting scene on a rooftop and the secret betrayal reveal.
you can have dreamy prose and broken character dynamics.
you can give me worldbuilding so lush it smells like petrichor and rot and still give me a plot twist that leaves me feral.
you just need to be intentional.
every scene = a purpose.
every aesthetic = an angle.
every image = tied to stakes, desire, or change.
✨ that’s the difference between “ooh pretty” and “oh my god i can’t stop thinking about this story.” ✨
💌 so in conclusion:
start with an emotional arc
let your aesthetic scenes earn their place
make your world fight your characters
escalate, escalate, escalate
and stop hiding a lack of plot under “vibe” like a glittery throw blanket over a broken chair
you’ve got this.
now go write the beautifully messy, aesthetic and emotionally devastating story you were meant to.
i believe in you.
🧃rin t.
P.S. I made a free mini eBook about the 5 biggest mistakes writers make in the first 10 pages 👀 you can grab it here for FREE:
✦ A free (and actually helpful) guide to leveling up your first 10 pages ✦If you're unsure whether your opening is ✨doing enough✨ to hook re
📌 new substack drop: HOW TO END A CHAPTER SO READERS ACTUALLY TURN THE PAGE
hey writer friends 🖤 do your chapters kinda… just end?
👉 like they don't suck, but they don’t pull either?
👉 like you’re not sure if it's a scene break or a full stop?
👉 like you're writing good stuff but readers keep putting it down?
i just dropped a brand new newsletter post that’s gonna fix that:
✶ “How to End a Chapter So Readers Actually Want to Turn the Page”
this isn’t your basic “end on a cliffhanger lol” advice. this is about:
→ micro-cliffhangers
→ emotional punches
→ character choices
→ momentum > resolution
→ the ✨ satisfying unsettlement ✨ that keeps readers up til 3am
plus a bonus trick i use in my own WIPs that makes chapters feel seamless (even when they’re not)
🖤 it’s an easy read, fast and smart, and you’ll leave with like 3 new techniques to try immediately
📩 read it here:
cliffhangers are cool but not a personality
💌 and follow the newsletter if you want more gritty, smart, non-aesthetic writing advice that actually helps you write better books.:
I'm Rin T, and I'm OBSESSED with helping writers like you break ALL the boring rules and find your unique magic. My writing journey? Started
🪞reblogs are v loved. so are comments if it helped 💬
🖇️ if you’re a writer, i’d love to follow you too
📚 and yes, i’m building a little writers’ library over on substack, come hang out
how to go about writing autistic characters please
Writing Notes: Autism
Autism – (also referred to as autism spectrum disorder) constitutes a diverse group of conditions related to development of the brain
A neurodevelopmental disorder
Characterized by:
markedly impaired social interactions and verbal and nonverbal communication;
narrow interests; and
repetitive behavior.
Manifestations and features of the disorder appear before age 3 but vary greatly across children according to:
developmental level,
language skills, and
chronological age.
They may include:
a lack of awareness of the feelings of others,
impaired ability to imitate,
absence of social play,
abnormal speech,
abnormal nonverbal communication, and
a preference for maintaining environmental sameness.
Autism was integrated into autism spectrum disorder in DSM–5 and DSM-5-TR and is no longer considered a distinct diagnosis.
It is called a "spectrum" disorder because people with ASD can have a range of symptoms.
People with ASD might have problems talking with you, or they might not look you in the eye when you talk to them.
They may also have restricted interests and repetitive behaviors.
They may spend a lot of time putting things in order, or they may say the same sentence again and again.
They may often seem to be in their "own world."
Terminology
Prior to 2013, subtypes of autism, such as Asperger’s syndrome, autism and childhood disintegrative disorder, were classified as distinct conditions. The 5th edition of the American Psychiatric Association’s Diagnostic and Statistical Manual of Mental Disorders consolidates all autism conditions under the larger autism spectrum disorder diagnosis.
Opinions vary on how to refer to someone with autism.
Some people with autism prefer being referred to as “autistic” or an “autistic person.”
Others object to using autistic as an adjective.
The Autism Self Advocacy Network details this debate.
NCDJ Recommendation
Refer to someone as having autistic spectrum disorder only if the information is relevant to the story and if you are confident there is a medical diagnosis.
Ask individuals how they prefer to be described.
Many prefer to be described as “autistic,” while others prefer “an autistic person” or a “person with autism.”
AP style
The stylebook states that it’s acceptable to use the word “autism” as “an umbrella term for a group of developmental disorders.”
It also says it is acceptable to use the word autism in stories.
It does not address the use of autistic as an adjective.
Possible Causes
Available scientific evidence suggests that there are probably many factors that make a child more likely to have autism, including environmental and genetic factors.
Extensive research using a variety of different methods and conducted over many years has demonstrated that the measles, mumps and rubella vaccine does not cause autism.
Studies that were interpreted as indicating any such link were flawed, and some of the authors had undeclared biases that influenced what they reported about their research.
Evidence shows that other childhood vaccines do not increase the risk of autism.
Extensive research into the preservative thiomersal and the additive aluminium that are contained in some inactivated vaccines strongly concluded that these constituents in childhood vaccines do not increase the risk of autism.
Diagnosis
No single medical test can diagnose ASD.
Early signs of this condition can be noticed by parents/caregivers or pediatricians before a child reaches 1 year of age.
However, the need for services and supports typically become more consistently visible by the time a child is 2 or 3 years old.
In some cases, the problems related to autism may be mild and not apparent until the child starts school, after which their deficits may be pronounced when amongst their peers.
Social communication deficits may include:
Decreased sharing of interests with others.
Difficulty appreciating their own & others' emotions.
Aversion to maintaining eye contact.
Lack of proficiency with use of non-verbal gestures.
Stilted or scripted speech.
Interpreting abstract ideas literally.
Difficulty making friends or keeping them.
Restricted interests and repetitive behaviors may include:
Inflexibility of behavior, extreme difficulty coping with change.
Being overly focused on niche subjects to the exclusion of others.
Expecting others to be equally interested in those subjects.
Difficulty tolerating changes in routine and new experiences.
Sensory hypersensitivity, e.g., aversion to loud noises.
Stereotypical movements such as hand flapping, rocking, spinning.
Arranging things, in a very particular manner, often toys.
Parent/caregiver/teacher concerns about the child's behavior should lead to a specialized evaluation by a developmental pediatrician, pediatric psychologist, child neurologist and/or a child and adolescent psychiatrist.
This evaluation involves:
interviewing the parent/caregiver,
observing, and
interacting with the child in a structured manner, and
sometimes conducting additional tests to rule out other conditions.
In some ambiguous cases the diagnosis of autism may be deferred, but an early diagnosis can greatly improve a child's functioning by providing the family early access to supportive resources in the community.
Healthcare providers look for the following problems during well-child visits before age 2:
No babbling, pointing, or gesturing by age 12 months
No single words spoken by age 16 months
No two-word phrases by age 24 months, just repeating words or sounds of others
Loss of any language or social skills at any age
No eye contact at 3 to 4 months
If a child has any of the above problems, the healthcare provider will do more screening. This will help show if your child has ASD or another developmental disorder. Your child may need to see a healthcare provider with special training to diagnose and treat ASD. Your child may also need these screening tests:
Nervous system exam
Imaging tests such as CT scan, MRI, or PET scan
Mental health tests
Genetic tests to look for gene problems that cause ASD or other developmental disorders
The first step is seeking an evaluation. Most parents start with their pediatrician who is checking on developmental milestones.
If your child is under the age of 3 years, you can obtain an evaluation through your local early intervention system.
If your child is over the age of 3, you can get an evaluation through your local school (even if your child does not go there). Contact your local school's preschool special education team to request an evaluation.
Example: Tomás is a 6-year-old boy whose family is troubled by Tomás' intense love of trains. His interest in trains, in addition to giving him great pleasure and serving to communicate his preferences, can sometimes lead to unintended consequences. For example, he gets angry and upset if his old trains are thrown away, or if his parents can't hold his train while he eats breakfast and gets ready for school in the morning. Teachers report that at school he tends to be very quiet and only listens when the topic of trains is brought up.
In Children
ASD can keep a child from developing social skills. This is in part because a child with ASD may not be able to understand facial expressions or emotions in other people. A child with ASD may:
Not want to be touched
Want to play alone
Not want to change routines
Other signs:
A child with ASD may also repeat movements (flapping their hands, rocking).
They may also have abnormal attachments to objects.
But a child with ASD may also do certain mental tasks very well. For example, the child may be able to count or measure better than other children. They may do well in art or music, or be able to remember certain things very well.
Each child may have different symptoms. The most common symptoms of ASD:
Social Symptoms
Has problems making eye contact with others
Has problems making friends or interacting well with other children
Communication Symptoms
Does not communicate well with others
Starts speaking at a later age than other children or doesn’t speak at all
When the child is able to speak, doesn’t use speech in social settings
Repeats words or phrases (echolalia) or repeats parts of dialogue from TV/movies
Behavior Symptoms
Does repeated movements, such as rocking or flapping fingers or hands
May be too sensitive or less sensitive to certain things around them, such as lights, sounds, touch, or taste
Has rituals
Needs routines
The symptoms of ASD may look like other health conditions. Make sure your child sees their healthcare provider for a diagnosis.
Other Characteristics
Most people with ASD have other related characteristics. These might include:
Gastrointestinal issues (for example, constipation)
Unusual mood or emotional reactions
Anxiety, stress, or excessive worry
Lack of fear or more fear than expected
It is important to note that children with ASD may not have all or any of the behaviors listed as examples here.
Treatment
There is currently no one standard treatment for ASD.
There are many ways to increase your child's ability to grow and learn new skills. Current treatments for ASD seek to reduce symptoms that interfere with daily functioning and quality of life.
Starting them early can lead to better results.
ASD affects each person differently, meaning that people with ASD have unique strengths and challenges and different treatment needs.
Treatment plans usually involve multiple professionals and are catered to the individual.
Living with ASD
How ASD impacts everyday life. Living with a person with ASD affects the entire family. Meeting the complex needs of a person with ASD can put families under a great deal of stress—emotional, financial, and sometimes even physical. Respite care can give parents and other family caregivers a needed break and help maintain family well-being.
Transitions. The transition from high school to adulthood can be especially challenging for a person with ASD. There are many important, life-changing decisions to make, such as whether to go to college or a vocational school or whether to enter the workforce, and if so, how and where. It is important to begin thinking about this transition in childhood, so that educational transition plans are put in place—preferably by age 14, but no later than age 16—to make sure the individual has the skills he or she needs to begin the next phase of life. The transition of care from a pediatrician to a doctor who treats adults is another area that needs a plan. The American Academy of Pediatrics recommends transition planning for all adolescents starting at age 12 years that includes the healthcare provider speaking with the adolescent separate from family members, discussing the transition to adult care, and coaching the adolescent in taking charge of their own care.
Physical activity. To stay healthy, people with disabilities need the same basic health care as everyone else. They need to eat well, exercise, get enough rest and plenty of water, and have complete access to care, including regular physical and dental check-ups. It is important to find healthcare providers who are comfortable caring for people with ASD. Sometimes when people with disabilities have a behavioral change or behavioral issue, it may be because they have a medical problem they cannot describe. For instance, head banging could be related to a disability, or it could be due to a headache or toothache. For this reason, it is important to find out if there is a physical problem before making changes in a person's treatment or therapy.
Safety is important for everyone. We all need to be safe in order to live full and productive lives. People with disabilities can be at higher risk for injuries and abuse. It is important for parents and other family members to teach their loved one how to stay safe and what to do if they feel threatened or have been hurt in any way.
You can find more details I wasn't able to include in the sources. Speaking with someone with ASD would also provide valuable information you could incorporate in your story. All the best with your writing!
Writing about Mental Health Conditions
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