Brink Tries to Write

Hello world I'm Brey. I'm from The US, Specifically Virginia. I'm an Aries ♈, a Fake adult trying to Blend in. I Love the Avengers, Loki, all things BatFam I LOVE To Write.

[sofikochalvari]

The Snowflake Method by Randy Ingermanson

The American writer came up with an elegant solution for authors who don't know where to start. He compared the planning process to the growth of a snowflake — from a tiny crystal to a complex structure.

Here are 7 steps to turn a single phrase into a full-fledged synopsis:

1. One sentence (the core)

Try to condense your entire plot into a single sentence of 15–20 words. No names, no details. Just: protagonist + their problem + antagonist.

Example: "A conservative professor makes a bet that he can live by Victorian etiquette for a week, but fails miserably because of a modern feminist."

2. Three paragraphs (expand to 5 pages)

Each paragraph represents an act of your drama:

а. The beginning (25% of the book): What makes the protagonist act?

b. The middle (50%): The conflict escalates, a false resolution occurs.

c. The ending (25%): Catastrophe (or success) and the protagonist's new life.

Plus a final sentence — the "moral" of the story.

3. Character questionnaire (from discomfort to drama)

Every hero must have a sore spot.

Answer these 4 questions:

What does the hero want to achieve (goal)?

Why do they want it (motivation)?

Who or what stands in the way (conflict)?

What will they learn by the end (arc)? This is the most important.

4. Expand the snowflake (from 3 to 10 paragraphs)

Take each of the three paragraphs from step two and break them into 3–4 smaller ones. Now you have a list of scenes (for example, 15 total). Each scene is a small story with its own micro-conflict.

5. Write from the character's perspective (1 page)

Take a sheet of paper and describe the novel from the main character's first-person point of view. Then do the same from the antagonist's perspective.

6. Expand the scene list (to 100–150 scenes)

Now you know what will happen in each chapter. Each scene is described in a single phrase: "Where? Who? What goes wrong?"

Example: "At the opera house, the heroine accidentally spills wine on an important witness who knows her husband's secret."

7. Write the first draft

Now you have a map where conflict is already embedded in every scene.

[starvulture]

Collecting these rn

[luna-azzurra]

Character Movements (Eyes) Part 3

Gazing: The character's eyes move slowly across a scene or object, taking in the details. This movement can indicate curiosity, interest, or observation.

Darting: The character's eyes quickly shift from one point to another, often indicating nervousness, suspicion, or alertness.

Winking: One eye briefly closes while the other remains open, often used to convey playfulness, flirtation, or a shared secret.

Rolling eyes: The character's eyes move upward or to the side, indicating annoyance, disbelief, or sarcasm.

Narrowing eyes: The character's eyes become slits or squinted, suggesting suspicion, scrutiny, or concentration.

Widening eyes: The character's eyes open wider than usual, indicating surprise, shock, or fear.

Glancing: The character's eyes quickly move in a specific direction, often used to check for danger or to communicate a message without words.

Staring: The character's eyes fixate on a specific point or person for an extended period, often indicating intensity, fascination, or intimidation.

Flickering eyes: The character's eyes flicker rapidly between different objects or individuals, suggesting indecisiveness, confusion, or distraction.

Blinking: The character's eyes momentarily close and open, mimicking a natural blinking pattern. This movement helps to convey realism and prevent the eyes from appearing static.

[felixfeliccis]

Art challenge where you have to finish what you're making

[felixfeliccis]

Obssesed with this comment

[teashoesandhair]

Dear everyone who is currently working on a Thing, whatever that Thing may be,

Good luck with the Thing. You can do the Thing. You will do the Thing. You just have to do the Thing.

Best wishes,

Someone who is also doing a Thing

[write-on-world]

[for-the-freaks-and-geeks]

[luna-azzurra]

Symbolism in Writing

Weather Symbolism

Rain: cleansing, sadness, renewal, obstacles

Sunshine: happiness, hope, clarity, energy

Storms: conflict, turmoil, dramatic change

Snow: purity, stillness, coldness, isolation

Fog: confusion, mystery, uncertainty

Wind: change, freedom, unrest, communication

Animal Symbolism

Eagle: freedom, vision, strength, courage

Lion: bravery, power, leadership, pride

Dove: peace, love, innocence, spirituality

Wolf: loyalty, cunning, survival, community

Snake: transformation, danger, temptation, wisdom

Butterfly: transformation, beauty, impermanence

Plant Symbolism

Rose: love, beauty, passion, secrecy

Oak Tree: strength, endurance, wisdom

Willow Tree: sadness, flexibility, resilience

Lotus Flower: purity, enlightenment, rebirth

Ivy: friendship, fidelity, eternity

Cactus: endurance, protection, warmth

Object Symbolism

Mirror: self-reflection, truth, illusion

Key: opportunity, secrets, freedom

Bridge: connection, transition, overcoming obstacles

Candle: hope, spirituality, life, guidance

Clock: time, mortality, urgency

Mask: disguise, deception, concealment

Number Symbolism

One: beginnings, unity, individuality

Two: partnership, balance, duality

Three: creativity, growth, completeness

Four: stability, order, foundation

Five: change, adventure, unpredictability

Seven: mystery, spirituality, luck

Season Symbolism

Spring: renewal, birth, growth, hope

Summer: vitality, abundance, joy, freedom

Autumn: change, maturity, decline, reflection

Winter: death, stillness, introspection, endurance

Light and Darkness Symbolism

Light: knowledge, purity, safety, enlightenment

Darkness: ignorance, evil, mystery, fear

Shadow: the unconscious, secrets, mystery

Twilight: ambiguity, transition, mystery

Element Symbolism

Fire: passion, destruction, energy, transformation

Water: emotion, intuition, life, change

Earth: stability, grounding, fertility, growth

Air: intellect, communication, freedom, change

[luna-azzurra]

How to Create A Villain

The best villains? They don’t even see themselves as the bad guys. They’re 100% convinced that what they’re doing is right, even if it’s messed up. Maybe they’re trying to “save the world” by doing something super questionable, or they think enforcing strict rules is the only way to keep society in check. They truly believe they’re the hero of their own story, which makes them way more interesting and real.

And Yeah, your villain might want power, but the real question is: Why? Were they humiliated in the past and now want control? Did they grow up powerless and now crave it to avoid being vulnerable again? When you dig into their backstory and show us why they’re doing horrible things, it makes them a lot more relatable—even if they’re totally wrong.

Flat, one-note villains are boring. If your antagonist is going to stick with people, they need depth. Show us what’s going on under the surface. Maybe they lie awake at night, doubting their choices, or they’re still haunted by a massive failure that’s pushing them toward their goal. A villain with personal struggles and vulnerabilities feels way more human and way harder to fully

A great Villain doesn’t just fight the hero, they reflect them. They might have totally different goals, but at their core, they share similar traits, maybe ambition, stubbornness, or a tragic backstory. When the hero looks at the villain, they should see a bit of themselves, and that’s what makes the conflict between them so intense.

When the villain finally goes down, it should feel big. Their defeat shouldn’t just be a fight, it should hit them emotionally. Ideally, their downfall comes from their own flaws, maybe they got too arrogant or made a mistake because of their obsessive goal. The best villain defeats leave the audience feeling a little sad or conflicted, not just happy for the hero’s win.

[luna-azzurra]

Describe your Main Character sheet

Skin

Tone: Pale, Rosy, Olive, Dark, Tanned, Alabaster, Ebony, Bronze, Golden, Fair

Texture: Smooth, Rough, Silky, Coarse, Flaky, Supple, Wrinkled, Calloused, Bumpy

Condition: Moles, Acne, Dry, Greasy, Freckled, Scars, Birthmarks, Bruised, Sunburned, Flawless

Complexion: Clear, Ruddy, Sallow, Glowing, Dull, Even-toned, Blotchy

Eyes

Size: Small, Large, Average, Tiny, Bulging, Narrow

Color: Grey, Brown, Blue, Violet, Pink, Green, Gold, Hazel, Crimson, Amber, Turquoise, Sapphire, Onyx

Shape: Doe-eyed, Almond, Close-set, Wide-set, Round, Oval, Hooded, Monolid

Expression: Deep-set, Squinty, Monolid, Heavy eyelids, Upturned, Downturned, Piercing, Gentle, Sparkling, Steely

Other: Glassy, Bloodshot, Tear-filled, Clear, Glinting, Shiny

Hair

Thickness: Thin, Thick, Fine, Normal

Texture: Greasy, Dry, Soft, Shiny, Curly, Frizzy, Wild, Unruly, Straight, Smooth, Wavy, Floppy

Length: Cropped, Pixie-cut, Afro, Shoulder length, Back length, Waist length, Past hip-length, Buzz cut, Bald

Styles: Weave, Hair extensions, Jaw length, Layered, Mohawk, Dreadlocks, Box braids, Faux locks, Braid, Ponytail, Bun, Updo

Color: White, Salt and pepper, Platinum blonde, Golden blonde, Dirty blonde, Blonde, Strawberry blonde, Ash brown, Mouse brown, Chestnut brown, Golden brown, Chocolate brown, Dark brown, Jet black, Ginger, Red, Auburn, Dyed, Highlights, Low-lights, Ombre

Eyebrows: Thin eyebrows, Average eyebrows, Thick eyebrows, Plucked eyebrows, Bushy eyebrows, Arched eyebrows, Straight eyebrows

Lips

Shape: Full, Thin, Heart-shaped, Bow-shaped, Wide, Small

Texture: Chapped, Smooth, Cracked, Soft, Rough

Color: Pale, Pink, Red, Crimson, Brown, Purple, Nude

Expression: Smiling, Frowning, Pursed, Pouting, Curved, Neutral, Tight-lipped, Parted

Nose

Shape: Button, Roman, Hooked, Aquiline, Flat, Pointed, Wide, Narrow, Crooked, Upturned, Snub

Size: Small, Large, Average, Long, Short

Condition: Freckled, Sunburned, Smooth, Bumpy

Build

Frame: Petite, Slim, Athletic, Muscular, Average, Stocky, Large, Lean, Stout, Bony, Broad-shouldered, Narrow-shouldered

Height: Short, Tall, Average, Petite, Giant

Posture: Upright, Slouched, Rigid, Relaxed, Graceful, Awkward, Stiff, Hunched

Hands

Size: Small, Large, Average, Delicate, Strong

Texture: Smooth, Rough, Calloused, Soft, Firm

Condition: Clean, Dirty, Manicured, Scarred, Wrinkled

Nails: Short, Long, Polished, Chipped, Clean, Dirty, Painted, Natural

Voice

Tone: Deep, High, Soft, Loud, Raspy, Melodic, Monotonous, Hoarse, Clear, Gentle

Volume: Loud, Soft, Whispery, Booming, Muted

Pace: Fast, Slow, Steady, Hasty, Measured

Expression: Cheerful, Sad, Angry, Calm, Anxious, Confident, Nervous, Excited, Bored

[luna-azzurra]

Quick Tips for Writing Emotional Tension

They act like they don’t care, but we all know they’re just avoiding a massive emotional explosion.

One of them starts to spill their feelings, then clams up like, “Uh, never mind…” Cue the frustration.

One character throws out something super personal like it’s no big deal, but you can tell the other one’s like, “Wait, what?”

They let something slip that they were totally not ready to share, and then they freeze like, “Did I just say that?”

The “I’m fine” smile (but they’re not). One gives this shaky smile that doesn’t fool anyone, especially the other character.

They almost grab each other’s hand or hug, then they hesitate, and the moment passes. UGH, so frustrating!

One of them’s on the verge of tears but is trying sooo hard not to lose it. You can feel how much it hurts.

They talk about literally everything except the thing that’s actually bothering them. So. Annoying.

They used to be shoulder to shoulder, but now they’re standing a whole three feet apart like something big changed.

One’s suddenly acting like they barely know the other, being all polite and formal, and you just know there’s more going on.

[pygmi-says-hi]

STOP DOING THIS IN INJURY FICS!!

Bleeding:

Blood is warm. if blood is cold, you’re really fucking feverish or the person is dead. it’s only sticky after it coagulates.

It smells! like iron, obv, but very metallic. heavy blood loss has a really potent smell, someone will notice.

Unless in a state of shock or fight-flight mode, a character will know they’re bleeding. stop with the ‘i didn’t even feel it’ yeah you did. drowsiness, confusion, pale complexion, nausea, clumsiness, and memory loss are symptoms to include.

blood flow ebbs. sometimes it’s really gushin’, other times it’s a trickle. could be the same wound at different points.

it’s slow. use this to your advantage! more sad writer times hehehe.

Stab wounds:

I have been mildly impaled with rebar on an occasion, so let me explain from experience. being stabbed is bizarre af. your body is soft. you can squish it, feel it jiggle when you move. whatever just stabbed you? not jiggly. it feels stiff and numb after the pain fades. often, stab wounds lead to nerve damage. hands, arms, feet, neck, all have more motor nerve clusters than the torso. fingers may go numb or useless if a tendon is nicked.

also, bleeding takes FOREVER to stop, as mentioned above.

if the wound has an exit wound, like a bullet clean through or a spear through the whole limb, DONT REMOVE THE OBJECT. character will die. leave it, bandage around it. could be a good opportunity for some touchy touchy :)

whump writers - good opportunity for caretaker angst and fluff w/ trying to manhandle whumpee into a good position to access both sites

Concussion:

despite the amnesia and confusion, people ain’t that articulate. even if they’re mumbling about how much they love (person) - if that’s ur trope - or a secret, it’s gonna make no sense. garbled nonsense, no full sentences, just a coupla words here and there.

if the concussion is mild, they’re gonna feel fine. until….bam! out like a light. kinda funny to witness, but also a good time for some caretaking fluff.

Fever:

you die at 110F. no 'oh no his fever is 120F!! ahhh!“ no his fever is 0F because he’s fucking dead. you lose consciousness around 103, sometimes less if it’s a child. brain damage occurs at over 104.

ACTUAL SYMPTOMS:

sluggishness

seizures (severe)

inability to speak clearly

feeling chilly/shivering

nausea

pain

delirium

symptoms increase as fever rises. slow build that secret sickness! feverish people can be irritable, maybe a bit of sass followed by some hurt/comfort. never hurt anybody.

ALSO about fevers - they absolutely can cause hallucinations. Sometimes these alter memory and future memory processing. they're scary shit guys.

fevers are a big deal! bad shit can happen! milk that till its dry (chill out) and get some good hurt/comfort whumpee shit.

keep writing u sadistic nerds xox love you

ALSO I FORGOT LEMME ADD ON:

YOU DIE AT 85F

sorry I forgot. at that point for a sustained period of time you're too cold to survive.

pt 2

[luna-azzurra]

How to Write a Ruthless Character

A ruthless character is all about the endgame. They don’t care how they get there, lying, cheating, using others, it’s all fair game as long as they win. When writing them, show how they can cut off any distractions or emotions, making decisions that others would hesitate over.

These characters don't let feelings get in the way. Compassion, guilt, regret? Nah, they don’t have time for that. Show how they can turn off their emotions and make choices purely based on logic. They’ll do things that seem heartless to everyone else, but for them, it’s just another part of the plan. It’s not that they don’t feel anything, they just choose not to.

Boundaries? What boundaries? A ruthless character doesn’t care about rules unless they can bend them to get ahead. They’ll do things no one else dares, crossing lines others are too scared to even approach. The more uncomfortable their actions make people, the more it emphasizes just how far they’re willing to go. For them, pushing limits is just another day.

They don’t act on impulse. Every move they make is planned, and every risk they take is calculated. They weigh the pros and cons before acting, and they’re always three steps ahead of everyone else. Writing a ruthless character means showing that they’ve already figured out how to win while everyone else is still trying to figure out the rules.

Betrayal is their go-to move when things get tough. Friends, allies, even people who trust them, no one is safe. They’ll turn on anyone if it benefits them. And the best part? They’ll sleep just fine afterward. Show how others react to their betrayals, shocked, hurt, furious, while your ruthless character shrugs it off like, “It had to be done.”

[writing-with-sophia]

Poison list

While it's important to approach writing with creativity and imagination, it's crucial to prioritize responsible and ethical storytelling. That being said, if you're looking for information on poisons for the purpose of writing fiction, it's essential to handle the subject matter with care and accuracy. Here is a list of some common poisons that you can use in your stories:

Hemlock: Hemlock is a highly poisonous plant that has been used as a poison in various works of literature. It can cause paralysis and respiratory failure.

Arsenic: Arsenic is a toxic element that has been historically used as a poison. It can be lethal in high doses and can cause symptoms such as vomiting, abdominal pain, and organ failure.

Cyanide: Cyanide is a fast-acting poison that affects the body's ability to use oxygen. It can cause rapid loss of consciousness and cardiac arrest.

Nightshade: Nightshade plants, such as Belladonna or Deadly Nightshade, contain toxic compounds that can cause hallucinations, respiratory distress, blurred vision, dizziness, an increased heart rate, and even death when ingested.

Ricin: Ricin is a potent poison derived from the castor bean plant. It can cause organ failure and has been used as a plot device in various fictional works.

Strychnine: Strychnine is a highly toxic alkaloid that affects the nervous system, leading to muscle spasms, convulsions, and respiratory failure.

Snake Venom: Various snake venoms can be used in fiction as deadly poisons. Different snake species have different types of venom, each with its own effects on the body.

Digitalis: Digitalis, derived from the foxglove plant, contains cardiac glycosides. It has been historically used to treat heart conditions, but in high doses, it can be toxic. Overdosing on digitalis can cause irregular heart rhythms, nausea, vomiting, and visual disturbances.

Lead: Lead poisoning, often resulting from the ingestion or inhalation of lead-based substances, has been a concern throughout history. Lead is a heavy metal that can affect the nervous system, leading to symptoms such as abdominal pain, cognitive impairment, anemia, and developmental issues, particularly in children.

Mercury: Mercury is a toxic heavy metal that has been used in various forms throughout history. Ingesting or inhaling mercury vapors can lead to mercury poisoning, causing symptoms like neurological impairment, kidney damage, respiratory issues, and gastrointestinal problems.

Aconite: Also known as Wolfsbane or Monkshood, aconite is a highly toxic plant. Its roots and leaves contain aconitine alkaloids, which can affect the heart and nervous system. Ingesting aconite can lead to symptoms like numbness, tingling, paralysis, cardiac arrhythmias, and respiratory failure.

Thallium: Thallium is a toxic heavy metal that can cause severe poisoning. It has been used as a poison due to its tastelessness and ability to mimic other substances. Thallium poisoning can lead to symptoms like hair loss, neurological issues, gastrointestinal disturbances, and damage to the kidneys and liver.

When incorporating poisons into your writing, it is essential to research and accurately portray the effects and symptoms associated with them. Additionally, be mindful of the potential impact your writing may have on readers and the importance of providing appropriate context and warnings if necessary.

If you want to read more posts about writing, please click here and give me a follow!

[writingquestionsanswered]

after theoretically finishing my book, so i find an editor or agent first? does an agent provide and editor, or is that responsibility solely on me?

Most writers who pursue traditional publishing will find an agent first. Once you have an agent, they will do some light editing to help you get the manuscript where it needs to be to catch a publisher's interest. If a publisher offers you a book deal, they will have an in-house editor who will work with you on any remaining edits that need to be done.

Some writers who pursue traditional publishing do hire an editor ahead of querying agents or small publishers, however, this is a big financial outlay and it's unlikely to have a meaningful impact on whether or not you land an agent or publisher. If the agent loves the book, it doesn't matter if it isn't flawlessly edited. If the agent doesn't love the book, flawless editing won't help.

You can read my post Guide: A Quick Rundown on Publishing for more information about the publishing process.

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I’ve been writing seriously for over 30 years and love to share what I’ve learned. Have a writing question? My inbox is always open!

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[unboundprompts]

Different Ways to Describe Eye Colors

↳ a masterpost for writing prompts that describe eye colors

Brown Eyes

Blue Eyes

Green Eyes

Hazel Eyes

Unusual Eyes

Gray Eyes

Heterochromia Eyes

Black Eyes

White Eyes

Hazel Green Eyes

Gold/Yellow Eyes

Reddish-Brown Eyes

[luna-azzurra]

Types of side characters

1. Foil Characters: These side characters are designed to contrast with the main character, highlighting their qualities or flaws. Foil characters can provide a different perspective and challenge the main character's beliefs or actions.

2. Mentors or Guides: These side characters serve as mentors or guides to the main character, providing wisdom, guidance, and support. They often have more experience or knowledge in a specific area and help the main character navigate challenges or learn important lessons.

3. Comic Relief Characters: These side characters bring humor and levity to the story. They provide comedic relief during intense or serious moments and can help balance the overall tone of the narrative. Their wit, clumsiness, or unique personality traits make them enjoyable and entertaining.

4. Love Interests: Love interests are side characters who are romantically involved with the main character. They add a romantic subplot to the story and can contribute to the main character's personal growth and development. Love interests can be supportive, challenging, or even create conflict within the narrative.

5. Antagonists or Villains: Side characters can also take on the role of antagonists or villains. They oppose the main character's goals and create conflict and tension in the story. Antagonists can have their own motivations, complexities, and backstories, making them more than just one-dimensional obstacles.

6. Friends or Allies: These side characters are the main character's companions, friends, or allies. They provide emotional support, camaraderie, and assistance throughout the story. Friends or allies often share common goals and values, and their relationships can help showcase the main character's growth and strengths.

7. Family Members: Side characters who are family members of the main character can play significant roles in shaping their identity and backstory. They can provide emotional connections, conflict, and a sense of history within the narrative.

8. Background Characters: While not all side characters have to be highly developed, background characters help create a sense of realism and immersion in the story. They populate the world and add depth to the setting, even if they have minimal impact on the main plot.

9. Rivals or Competitors: These side characters compete with the main character, pushing them to improve, overcome obstacles, or achieve their goals. Rivals or competitors can be a source of conflict, motivation, and personal growth for the main character.

10. Witnesses or Observers: These side characters serve as witnesses or observers of the main events in the story. They may provide insights, commentary, or serve as a narrative device to convey information to the reader.

[personnotthestatue]

How To Write Better Characters

Give them flaws, not just any flaws, in depth, specific and understandable flaws.

Introduce them in a unique way, in a way that defines the start of their arc and well represents how they are to be perceived at the start of the story

Build empathy, make their issues relatable and make them generally likeable even if they're morally corrupt, make them fun to read

Give them a voice, they need a certain way of talking and common things that they talk about or a certain vibe of dialogue. It's not essential for you to work on it a ton but it is nice.

Create them till they feel real, when they feel real or feel solid to you, then you've pretty much made it

Create a playlist for them, it helps refresh the vibes and you can get to know your character in a different way, a different language so to speak

Create a moodboard, also helps refresh the vibes

Make their purpose clear, even if it's just a tiny action or word. Make sure they have some kind of impact in the story, or else there's not much reason for them to be there. The more time they're there, the more impact they should have.