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@daydreamingoncloud9
Happy Pride!
Every pride, you must reblog this. No exceptions
I love that four different people on my feed scheduled this joyous person to reblog by 8am on June 1. I look forward to seeing this a dozen more times today.
Something Iām finding a bit frustrating is how Twilightās emotional stunting around love and sex is seen as something inherent to him and not something trained into him by WISE, and how many people seem to have blinders on when it comes to WISEās stated goals and what they really stand for.
Twilight was a minor when he was scouted by WISE. They knew he was a minor; they were able to blackmail him because he was impersonating someone else and they knew that. They impressed upon him straight away that his work will preserve the tenuous peace between Ostania and Westalis, and his work directly impacts the continuation of that peace. They put that weight on him, straight away, as an impressionable young man, little more than a child.
Now fully grown, we can see how that pressure invades every part of Twilightās psyche; every action, every choice he makes is given over-inflated importance because of the years and years and *years* of conditioning he has been given by WISE, Handler in particular, who as nice a person as she has seemed at times, relished in ripping Twilightās psyche apart and building him into a tool for Westalisās use.
This gets even darker when we look at Twilightās relationships. Iād be comfortable speculating that Twilight has never had a relationship other than those he needed to have for a mission. In other words, relationships he was coerced into having by his employer. Coerced as in forced. Forced as in not his choice. I feel like I need to underline this point because I have seen takes blaming Twilight for tricking the women he had relationships with, as if these relationships were wholly his idea. He was told to find a wife and child at the beginning of Operation Strix with the usual āthe world will blow up if you donāt succeed Twilightā bs, so itās way more likely he was told to forge relationships with women close to particular targets, and he was emotionally blackmailed with the āfor the missionā mantra that they bred into him as a weakness. In my opinion, WISE have acted very similar to traffickers when it comes to blithely commanding Twilight to share intimacy with women for their own benefit.
So what does that do to a person, when every instance of intimacy, of romance, of closeness with the opposite sex, has been for false reasons? What does it do to a person when every relationship youāve ever had is not by your own choice, and on top of that you were told to āloveā this person and make it convincing otherwise oopsie, we might get into a war again, kids are going to be orphaned or die and itās all your fault!
I donāt know whether itās because Twilight is a man or what but most people can recognise that what Garden did to Yor is deeply unethical at best, and they only required her to kill; not torture, not lie to, not steal from, not have sex with, just kill her targets. Twilight is required to do all the above by WISE, and from the time he was a minor or close to a minor as well, but people donāt seem to recognise the deep harm he has suffered at the hands of WISE.
I have a theory that this is because we donāt see what Westalis is like currently and we only have Handler as a representative of Westalis, the majority of the audience take what she says at face value because they, like Twilight, trust her implicitly. Iād say this is a wildly incorrect reading simply because everyone reading this manga should understand the real-world parallels of Spy x Family enough to realise that WISE is the CIA. And like the CIA or really any covert operation operating in foreign territory, world peace is not a priority, the furthering of their own countryās interests is the priority.
The only reason why WISE and Ostania have their interests aligned *now* is because Westalis and Ostania both have governments that want peace. Operation Strix is basically a play at undermining a sovereign nation changing governments to one that doesnāt align with Westalisās interests at this time, which is incredibly problematic even if the (stated) intention of preserving world peace is a good one. Itās completely in the realm of possibility that if Westalisās government changes and their interests change, they can command Twilight and the other operatives to foment unrest and undermine the current Ostanian government, because thatās exactly what the CIA did in many parts of the world in the time period Spy X Family is set. Weāre supposed to know this and distrust WISE accordingly. And when we distrust WISE we can see the cruel evil with which they have treated Twilight.
WISE took a boy who was deeply traumatised by the war, who had lost everything and used all the best parts of him to forge him into a weapon for their own interests. They straight up abused him, and we see the scars of that abuse *everywhere*; they deliberately made him into a person that cannot function normally, through emotional coercion and conditioning. That he has done horrible things for WISE and to other people in the name of WISEās interests only binds him closer to them; he is not blameless of course but assigning full blame to him for his instances of deception especially is to absolve WISE of their blame, which I think is counter to Spy X Familyās broader point; that people wherever they come from are inherently good, but systems and governments are to be distrusted
Trope Discussion: Blind Characters Covering Their Eyes
The majority of the projects I am asked to beta include blind characters who cover their eyes. Modern characters wear sunglasses. Other characters wear blindfolds for older settings. The story usually justifies the decision in some way, but I always ask: why?
I also neglected to include this in my post on Things I Want to See More of / Less of in Blind Characters. I donāt think I considered it at the time. However, unlike my post on blind seers, I think this trope actually causes some harm in subtle ways and I usually encourage avoiding it. Iāll discuss why in this post.
Whatās Wrong With Blind Characters Covering Their Eyes?
Keep in mind that blind characters are not so common. Because they arenāt very common and because not everyone in your audience knows a blind person in real life, the way the character is represented could lead audiences to believe that is how blind people are. This, coupled with a general lack of information given in everyday life, allows writers or artists to unintentionally influence how real life blind people are perceived.
Sure, blind people create blind characters as well. However, we donāt usually get as much exposure or opportunities. We could be held back by other barriers, such as poverty. This means it can be hard to counteract tropes we donāt like or that activity harm us.
Blind characters covering their eyes is potentially harmful for a few reasons.
One reason is that it is assumed that all blind people always cover their eyes. This means that in real life, blind people are not as easily recognized even when they have a cane. The white cane is supposed to be what alerts others that a person is blind. Instead, people get confused about why a blind person isnāt wearing sunglasses if theyāre blind. This leads to unnecessary explanations, lost time, refusal to help, and sometimes hostility. Wearing sunglasses helps some blind people communicate blindness more easily. They may feel forced to adopt the stereotype.
Another reason is that it unknowingly touches on the pressure some blind people face to cover their eyes. This could be because they are self-conscious about them or because of pressure to make other people feel more comfortable. This pressure could originate from the way their eyes look or move, or even due to lack of eye contact. Sometimes, stories present these ideas as normal for blind people, which increases the idea that blind people should be ashamed of their eyes or that they should prioritize the comfort of others for something superficial.
Where Did the Stereotype Come From?
While I am not sure about the exact origins, the stereotype probably comes from a few sources: shorthand symbolism and abled actors playing blind characters.
-Shorthand symbolism could be used in art or plays to indicate a characterās blindness.
-Because films and shows are so popular and more easily consumed, audiences are more often exposed to blind people on the screen. Actors who arenāt blind often wear sunglasses to make them appear blind to audiences who would perceive eye movements as breaking character. The actors in live-action material often wear sunglasses to hide their eyes. Why blind actors arenāt hired initially is another story.
This page discusses the sunglasses trope in films.
-Some blind people who wear sunglasses for any reason may also simply be more recognizable as a blind person as opposed to blind people who donāt wear sunglasses. This means others may not be aware that blind who donāt wear dark sunglasses exist.
The Sunglasses Stereotype
I should mention here that blind people are simultaneously expected to wear sunglasses as a signifier of blindness while also accused of faking for wearing them. The rationale is the idea that blind people canāt see the sun and therefore would never need sunglasses. This, of course, depends on the stereotypes that all blind people are totally blind, which is not true. Most sources I have found over my time writing this blog state that less than 10 to 15% of blind people are totally blind, which means about 85 to 90% of blind people have light perception or some residual vision.
When Should Our Characters Wear Sunglasses or a Blindfold?
Many writers have characters cover their eyes because it feels right. Some assume the character would feel uncomfortable with the way their eyes look and that they prefer to hide them. In order to write this trope well, you must understand your reason behind it.
Letās examine why blind people wear sunglasses in real life. This page is a good one to read and was very helpful in constructing this post.
Light sensitivity, or photophobia, occurs when people have sensitivity to light, usually sunlight. Blind people can also expirience this.
Sunglasses are used to shield their eyes from the sun when outdoors and from big windows when indoors. Some sources state synthetic lighting is not usually an issue and others state some people may want to wear their sunglasses indoors.
For characters who arenāt modern, the equivalent of sunglasses would probably be a blindfold or eye patch.
Blind people like fashion just as the next person. They might enjoy wearing sunglasses occasionally. However, they donāt wear them all the time.
Blind people might also want to protect their eyes from dust or injury, whether they can see or not. This can be accomplished with sunglasses or regular glasses.
How Do We Write Blind Characters Covering Their Eyes Respectfully?
This is one of those tropes I prefer people avoid. I say āavoidā because I want to come across it less which means way less people need to use it.
Think about why you want your blind character to cover their eyes.
Is it because it simply feels right to you? Is it because you believe it will help audiences understand or accept that your character is blind? Is it because you canāt imagine your character any other way? Is it because your feel deep down that your characterās eyes would make other characters uncomfortable?
Think about where this idea comes from and whether you really want to use it.
If you have decided it makes sense for your character to cover their eyes, here are some tips for you to do it well.
1. If they use sunglasses for fashion, have the blind character go without the accessory periodically throughout the story. Consider avoiding them covering their eyes when they are first introduced, as first impressions can be memorable. Your blind character should not be the only one who happens to wear sunglasses as part of their style.
2. If they are sensitive to light, do research on photophobia. Consider where the character is when covering their eyes. Do they mostly wear sunglasses outside and near big windows? Do screens bother them? Make it clear in the story.
3. I always suggest having more than one blind character in a story. This is important for moments such as this. Having a blind character who doesnāt cover their eyes shows that not all blind people cover their eyes. This, in addition to a writer understanding exactly why their character covers their eyes, will help immensely.
This trope is a problem when no reference to the alternative is made, usually because the writer doesnāt understand what theyāre writing about. They havenāt considered the reasons blind people cover their eyes and therefore arenāt aware that not all blind people do so. Having more than one blind character in the story shows more than one experience, including covering or not covering eyes. Showing different experiences eliminates the idea that blind people ājust doā certain things. It makes people think.
If you want audiences to think, you first need to ask: why?
When writing marginalized characters, remember that their marginalization decreases the amount of accurate information available about them. Audiences donāt have as many resources to check. They may even lack the inclination to do so at all. This could be because of a desire to maintain biases or simply because they donāt consider blind people much outside of entertainment or pity. Surprisingly, some people are even actively resistant or hostile to the idea of taking time to learn about the experiences of blind people.
This means your story could be more impactful than you realize.
When youāre writing, ask yourself the question: why? You might realize that it makes for a richer, more informed story.
the natural lifespan of a fandom is unlimited. when well tended a fandom can be functionally immortal. and yet everywhere you look you see newly bred fandoms withering and dying when theyāre barely a year old. barely even six months old. fans are looking at their six month old fandoms and saying i think itās on its last legs, should i euthanise it? when with the proper care that fandom could outlive them for decades. itās sad. sad state of affairs weāre in.
The thing about pedophilia that no one is talking about is that itās just baked into society and it goes hand in hand with racism and misogyny
Why do you think the beauty standard for feminized people is being thin, hairless, small, soft featured (but not fat!!!) and generally clueless around sex and ergo easily manipulated
Writing Romantic Tension: The Art of Almost
One of the most common misconceptions about romance is that tension simply means two attractive people standing very close to each other. It doesnāt. Romantic tension is not proximity. It is not constant bickering. It is not even inherently sexual. Romantic tension is desire under constraint. It is what happens when two people want something (consciously or unconsciously) and something stands in the way. If there is no obstacle, there is no tension. If there is no cost, there is no charge. Letās break down the different kinds of tension that operate inside a romantic narrative, and how to build each one intentionally.
1. emotional tension: wanting and withholding
At its most foundational level, romantic tension is emotional. Before there is sexual heat, before there is physical closeness, there must be awareness. Emotional tension begins the moment one character realizes they care more than they should.
This might look like:
Staying in a conversation longer than necessary
Remembering small details they pretend not to care about
Becoming irritated by the idea of the other person being with someone else
Example:
āYouāre seeing him again?ā āWhy do you care?ā āI donāt.ā
That final line is where the tension lives. The contradiction between what is said and what is felt creates friction. Emotional tension works best when at least one character is afraid of what their feelings might mean. Fear of vulnerability is far more powerful than simple attraction.
2. sexual tension: proximity and awareness
Sexual tension is often misunderstood as explicitness. In reality, it thrives on restraint. It lives in hyper-awareness. The way someone notices the freckles on a face, the cupids bow of someone's lips. The way they hesitate before stepping back. The way it feels electric when they touch.
Example:
He reached past her for the glass on the counter and his hand brushed hers. Neither of them moved away.
Nothing explicit happened and yet the scene shifts.
Sexual tension depends on two things:
Mutual awareness.
Delay.
If you resolve the moment immediately perhaps through a kiss, confession, or escalation, then you collapse the charge. Tension is sustained by the possibility of action, not the action itself.
3. situational tension: external stakes
Sometimes the obstacle is not internal but external.
They work together. They are on opposite sides of a war. One is engaged. One is leaving.
When external stakes complicate attraction, tension becomes layered. The reader understands that desire carries consequences.
Example:
āThis is a mistake,ā she said. āProbably.ā āIf anyone finds outāā āThey wonāt.ā
The scene doesnāt need explicit heat because the stakes do the work.
External tension strengthens romance because it makes the relationship feel earned rather than convenient.
4. power tension: who holds control?
Chemistry often emerges from imbalance.
Who wants more? Who knows more? Who is pretending not to care?
If one character is emotionally exposed while the other remains composed, tension builds. But hereās the key: that balance should shift over time.
If one character is always the vulnerable one, the dynamic becomes static. Real tension evolves as control shifts back and forth.
Example:
Scene one:
He leans in first. She pulls away.
Scene five:
She steps closer. He hesitates.
That shift is growth and it keeps the charge alive.
5. the build-up: slow burn as escalation
Slow burn is not about delaying everything indefinitely. Itās about escalation. Each interaction should raise the emotional temperature slightly higher than the last.
First: irritation.
Then: reluctant interest.
Then: jealousy.
Then: protectiveness.
Then: longing.
The key is progression. If chapter one and chapter ten feel emotionally identical, the tension has stalled.
A useful question to ask yourself while writing: What is different between them now that wasnāt true before?
Tension builds when the answer keeps changing.
6. the art of not resolving it
One of the fastest ways to kill tension is to resolve it the moment it appears.
They argue and immediately kiss. They confess and itās instantly reciprocated.
Relief is satisfying, but if it comes too soon, there is no narrative propulsion. Let scenes end slightly unfinished. Let someone walk away first. Let the almost-kiss stay almost.
Anticipation is often more powerful than consummation.
Bonus: Romantic tension is not about how many times characters touch. It's about how much it costs them to want to. If there is something to lose (pride, safety, reputation, control, friendship) the reader will feel the stakes. If there is nothing standing in the way, it may be romance, but it will not be tension.
And tension is what makes readers turn the page.
Any chance you have any for writing, uh, adult scenes? They're really difficult to implement I feel
writing adult scenes that arenāt cringe, soulless, or weirdly mechanical
first of all, SORRY for the delay responding to this!! i've had this sitting in my inbox like a cryptid under a tarp because i wanted to actually give you something thoughtful and helpful (and not just go "lol same" and vanish into the mist). so. letās talk āØwriting adult scenes⨠in a way that actually works for the story, not just for shock or spice or vibes.
the biggest challenge with adult scenes (and what makes them feel awkward to write) is that they canāt be written in isolation. they need to grow out of character dynamics, narrative tension, pacing, and tone. otherwise, they feel dropped-in or even emotionally hollow. so hereās a breakdown of how i approach them:
š 1. what does the scene do for the story? before writing any intimate moment, ask why this scene needs to happen here. is it a turning point in their relationship? a power shift? a moment of vulnerability? a manipulation? a step toward something breaking or healing? ā if the only answer is āitās time for a sexy scene,ā pause and reassess. the strongest scenes usually have subtextual contradiction or tension. two characters who want different things. one character who's lying. one who thinks this will fix something. one who wants to feel nothing but feels too much. etc.
šÆļø 2. tone over terminology. you donāt need to use graphic terms to make a scene powerful. and you donāt need to fade to black to keep it tasteful either. itās all about what suits your voice + genre + POV. ā are you going clinical, detached, raw, euphemistic, poetic, awkward, sensory, or restrained? for example, if your POV character is repressed or emotionally numb, describing the absence of feeling can be more impactful than heat. if your POV is hyperfocused or obsessive, then focus in with close detail on one or two things (the way the other person breathes, touches, reacts). use sensory anchoring to make it immersive: temperature shifts, breath patterns, pressure, skin texture, muscle tension, silence vs noise. this doesnāt mean just listing body parts, it means grounding every action in how itās being experienced.
š 3. stay in character. your characters donāt become blank slates just because the clothes are off. this is a moment where everything about them should heighten, their pasts, fears, walls, wants, emotional limits. ā how do they usually communicate (or avoid communication)? how do they handle vulnerability or control? if one of them is more experienced and the other is nervous, thatāll shape their pacing, their responses, even their internal monologue. if itās two people with history (or tension or resentment), that should bleed through too. even breath can be laced with emotional weight if you write it in character.
š„ 4. skip the step-by-step. you do not need to narrate every movement or article of clothing. thatās where scenes start to feel mechanical or awkward. ā instead: zoom in on a few potent, emotionally-loaded actions or lines of dialogue. linger on what those moments mean to the character. youāre not writing a how-to manual, youāre writing a turning point in intimacy, trust, conflict, or emotional unraveling. if you need to, write the whole thing once clinically just to get the beats down. then go back and revise it for tone and feeling.
š”final notes from me:
if you're writing in 1st person, filter everything through that characterās emotional lens. if they're overwhelmed or dissociating, show that. if they're hyperaware, describe what draws their eye.
awkwardness isnāt bad! sex can be weird or fumbly or vulnerable or funny. donāt sand down the edges unless your characters are perfect robots.
donāt try to make it universal. make it specific. what does this character notice? how do these two people move around each other? what are they afraid to say out loud?
i hope this helps!! and if you ever want examples, writing exercises, or scene critiques, feel free to send more asks š¤
Romantic Tension
As a romance writer and reader, here are the four things I love that authors add to their work (and that I add to mine as well) to increase Romantic Tension!
ā¢ā¢ā¢ Sensory Details ā¢ā¢ā¢
You should be putting sensory details into your writing already but this is ubber important when it comes to romance. So much of our understanding of how a character feels comes from how their body reacts and how they address things emotionally.
Use the senses when writing your characters together! Does one character notice the otherās cologne? Does one of them remember the feeling of the otherās sweater beneath their fingertips? Do they start to question everything theyāve thought about love and this person because of it? Does their face get hot when they hear the other characters voice? Keep in mind how your character is thinking and feeling about the potential love interest. Saying āshe thought he was hot so she wanted to bang himā isnāt very interesting. Give your characters specificity. Maybe they rub their neck when theyāre nervous and the other character notices! It shows they get flustered when the other person is around.
Tips for creating romantic tension:
Whether your couple starts off as enemies or friends, you need to know how to write romantic tension.
1- Build up
The most rewarding part of seeing two characters end up together, is knowing that their love and attraction for each other happened gradually instead of suddenly. The best connections are always naturally gradual, neither side is pushing too hard or too desperate to get close, and this especially applies to romantic relationships.
Let your character think of what they really want to say, then let them decide it's too much now, and settle for something smaller. So that when they really say what they want to, it can feel less rushed and manufactured, more natural and relatable.
2- Stolen glances
As someone who has had a crush before I can tell you I couldn't keep my eyes off him most times.
Make your characters look at each other, make them laugh and smile together even from across a room, even worlds apart. Make them worry and overthink, are they looking at me too or do I like them more than they like me?
3- Anxiety
No not the Doechii song.
Anxiety is often a sign of liking, or even love, butterflies in your stomach literally means you're extra nervous around this person because you want to behave a certain way that makes them accept you.
Allow both your characters to be visibly anxious around one another but never confront it, their smiles can sometimes be awkward, they'll constantly overthink every word.
This extra thought they put into their words and actions lets your reader know that they like each other, without ever explicitly stating it.
4- Touch
One of my fondest memories is when I was walking with my crush and she held my hand. She was probably straight, probably meant nothing to her, but I couldn't stop smiling when I got back home.
Let your characters feel each other and analyze the feel of the others body against theirs, not in a sexual way.
What does this person's hand feel like in yours? What does it feel like when they brush against you?
Let them overthink touch as well, maybe one character is a hugger, the other is not. The not hugger thinks the hug is a big deal, and the hugger makes it a big deal by making it last a little longer, or standing just a little closer.
5- Details
The best way to show and not tell your reader about a romantic relationship between two characters is to show you, through the minds of the characters, what details they're noticing about each other.
I don't mean just a haircut, I mean let them notice different perfumes, different food/drink orders, clothes they've never seen before.
More importantly, let them remember details, recall details that your reader wouldn't, so that your reader can really see how deep in liking - or loving - these two characters are. Let them see, don't tell them, how much attention your characters pay to each other.
6- Gifts.
Your characters will try to court each other with gifts of sorts, whether it be quality time or literal material gifts, your characters will try to advertise themselves to each other.
If one character can cook well, they'll probably cook for the other.
If one character has money, they'll probably buy the other a gift.
If one character is really good at making Spotify playlists, that's probably what they'll do.
As you can see, so much of romantic tension is just in the details, which is why I'll be ending this tip post here.
Because there's not more advice I can give you other than just showing details, that's all romantic tension is, that they notice when their hands are touching, they know each other's perfumes, they know each other's quirks.
Let it be gradual, let it be natural, let it be unique.
I literally cannot dive deeper into this topic if I tried, because there are too many options, everything after these basic tips is determined by your character's personality.
I'll dedicate this post to possibly the only two people I've had crushes on, Cassandra and Leopold.
Cassandra, you were probably straight, but I really liked you, I just didn't quite fit into your life, but I'll always cherish our little date and how you held my hand, I spent my whole allowance on that frog plush you really liked, I hope you're still drawing.
Leopold, you were sweet, it was nice running into you again years later, and that time you gave me your hoodie almost made my fourteen year old mind explode, and yes I did let you win, I hope you're enjoying acting.
Maybe some of this advice will help, maybe it won't, either way, I hope this feline has enlightened you!
How I learned to write smarter, not harder
(aka, how to write when you're hella ADHD lol)
A reader commented on my current long fic asking how I write so well. I replied with an essay of my honestly pretty non-standard writing advice (that they probably didn't actually want lol) Now I'm gonna share it with you guys and hopefully there's a few of you out there who will benefit from my past mistakes and find some useful advice in here. XD Since I started doing this stuff, which are all pretty easy changes to absorb into your process if you want to try them, I now almost never get writer's block.
The text of the original reply is indented, and I've added some additional commentary to expand upon and clarify some of the concepts.
As for writing well, I usually attribute it to the fact that I spent roughly four years in my late teens/early 20s writing text roleplay with a friend for hours every single day. Aside from the constant practice that provided, having a live audience immediately reacting to everything I wrote made me think a lot about how to make as many sentences as possible have maximum impact so that I could get that kind of fun reaction. (Which is another reason why comments like yours are so valuable to fanfic writers! <3) The other factors that have improved my writing are thus: 1. Writing nonlinearly. I used to write a whole story in order, from the first sentence onward. If there was a part I was excited to write, I slogged through everything to get there, thinking that it would be my reward once I finished everything that led up to that. It never worked. XD It was miserable. By the time I got to the part I wanted to write, I had beaten the scene to death in my head imagining all the ways I could write it, and it a) no longer interested me and b) could not live up to my expectations because I couldn't remember all my ideas I'd had for writing it. The scene came out mediocre and so did everything leading up to it. Since then, I learned through working on VN writing (I co-own a game studio and we have some visual novels that I write for) that I don't have to write linearly. If I'm inspired to write a scene, I just write it immediately. It usually comes out pretty good even in a first draft! But then I also have it for if I get more ideas for that scene later, and I can just edit them in. The scenes come out MUCH stronger because of this. And you know what else I discovered? Those scenes I slogged through before weren't scenes I had no inspiration for, I just didn't have any inspiration for them in that moment! I can't tell you how many times there was a scene I had no interest in writing, and then a week later I'd get struck by the perfect inspiration for it! Those are scenes I would have done a very mediocre job on, and now they can be some of the most powerful scenes because I gave them time to marinate. Inspiration isn't always linear, so writing doesn't have to be either!
Some people are the type that joyfully write linearly. I have a friend like this--she picks up the characters and just continues playing out the next scene. Her story progresses through the entire day-by-day lives of the characters; it never timeskips more than a few hours. She started writing and posting just eight months ago, she's about an eighth of the way through her planned fic timeline, and the content she has so far posted to AO3 for it is already 450,000 words long. But most of us are normal humans. We're not, for the most part, wired to create linearly. We consume linearly, we experience linearly, so we assume we must also create linearly. But actually, a lot of us really suffer from trying to force ourselves to create this way, and we might not even realize it. If you're the kind of person who thinks you need to carrot-on-a-stick yourself into writing by saving the fun part for when you finally write everything that happens before it: Stop. You're probably not a linear writer. You're making yourself suffer for no reason and your writing is probably suffering for it. At least give nonlinear writing a try before you assume you can't write if you're not baiting or forcing yourself into it!! Remember: Writing is fun. You do this because it's fun, because it's your hobby. If you're miserable 80% of the time you're doing it, you're probably doing it wrong!
2. Rereading my own work. I used to hate reading my own work. I wouldn't even edit it usually. I would write it and slap it online and try not to look at it again. XD Writing nonlinearly forced me to start rereading because I needed to make sure scenes connected together naturally and it also made it easier to get into the headspace of the story to keep writing and fill in the blanks and get new inspiration. Doing this built the editing process into my writing process--I would read a scene to get back in the headspace, dislike what I had written, and just clean it up on the fly. I still never ever sit down to 'edit' my work. I just reread it to prep for writing and it ends up editing itself. Many many scenes in this fic I have read probably a dozen times or more! (And now, I can actually reread my own work for enjoyment!) Another thing I found from doing this that it became easy to see patterns and themes in my work and strengthen them. Foreshadowing became easy. Setting up for jokes or plot points became easy. I didn't have to plan out my story in advance or write an outline, because the scenes themselves because a sort of living outline on their own. (Yes, despite all the foreshadowing and recurring thematic elements and secret hidden meanings sprinkled throughout this story, it actually never had an outline or a plan for any of that. It's all a natural byproduct of writing nonlinearly and rereading.)
Unpopular writing opinion time: You don't need to make a detailed outline.
Some people thrive on having an outline and planning out every detail before they sit down to write. But I know for a lot of us, we don't know how to write an outline or how to use it once we've written it. The idea of making one is daunting, and the advice that it's the only way to write or beat writer's block is demoralizing. So let me explain how I approach "outlining" which isn't really outlining at all.
I write in a Notion table, where every scene is a separate table entry and the scene is written in the page inside that entry. I do this because it makes writing nonlinearly VASTLY more intuitive and straightforward than writing in a single document. (If you're familiar with Notion, this probably makes perfect sense to you. If you're not, imagine something a little like a more contained Google Sheets, but every row has a title cell that opens into a unique Google Doc when you click on it. And it's not as slow and clunky as the Google suite lol) (Edit from the future: I answered an ask with more explanation on how I use Notion for non-linear writing here.) When I sit down to begin a new fic idea, I make a quick entry in the table for every scene I already know I'll want or need, with the entries titled with a couple words or a sentence that describes what will be in that scene so I'll remember it later. Basically, it's the most absolute bare-bones skeleton of what I vaguely know will probably happen in the story.
Then I start writing, wherever I want in the list. As I write, ideas for new scenes and new connections and themes will emerge over time, and I'll just slot them in between the original entries wherever they naturally fit, rearranging as necessary, so that I won't forget about them later when I'm ready to write them. As an example, my current long fic started with a list of roughly 35 scenes that I knew I wanted or needed, for a fic that will probably be around 100k words (which I didn't know at the time haha). As of this writing, it has expanded to 129 scenes. And since I write them directly in the page entries for the table, the fic is actually its own outline, without any additional effort on my part. As I said in the comment reply--a living outline!
This also made it easier to let go of the notion that I had to write something exactly right the first time. (People always say you should do this, but how many of us do? It's harder than it sounds! I didn't want to commit to editing later! I didn't want to reread my work! XD) I know I'm going to edit it naturally anyway, so I can feel okay giving myself permission to just write it approximately right and I can fix it later. And what I found from that was that sometimes what I believed was kind of meh when I wrote it was actually totally fine when I read it later! Sometimes the internal critic is actually wrong. 3. Marinating in the headspace of the story. For the first two months I worked on [fic], I did not consume any media other than [fandom the fic is in]. I didn't watch, read, or play anything else. Not even mobile games. (And there wasn't really much fan content for [fandom] to consume either. Still isn't, really. XD) This basically forced me to treat writing my story as my only source of entertainment, and kept me from getting distracted or inspired to write other ideas and abandon this one.
As an aside, I don't think this is a necessary step for writing, but if you really want to be productive in a short burst, I do highly recommend going on a media consumption hiatus. Not forever, obviously! Consuming media is a valuable tool for new inspiration, and reading other's work (both good and bad, as long as you think critically to identify the differences!) is an invaluable resource for improving your writing.
When I write, I usually lay down, close my eyes, and play the scene I'm interested in writing in my head. I even take a ten-minute nap now and then during this process. (I find being in a state of partial drowsiness, but not outright sleepiness, makes writing easier and better. Sleep helps the brain process and make connections!) Then I roll over to the laptop next to me and type up whatever I felt like worked for the scene. This may mean I write half a sentence at a time between intervals of closed-eye-time XD
People always say if you're stuck, you need to outline.
What they actually mean by that (whether they realize it or not) is that if you're stuck, you need to brainstorm. You need to marinate. You don't need to plan what you're doing, you just need to give yourself time to think about it!
What's another framing for brainstorming for your fic? Fantasizing about it! Planning is work, but fantasizing isn't.
You're already fantasizing about it, right? That's why you're writing it. Just direct that effort toward the scenes you're trying to write next! Close your eyes, lay back, and fantasize what the characters do and how they react.
And then quickly note down your inspirations so you don't forget, haha.
And if a scene is so boring to you that even fantasizing about it sucks--it's probably a bad scene.
If it's boring to write, it's going to be boring to read. Ask yourself why you wanted that scene. Is it even necessary? Can you cut it? Can you replace it with a different scene that serves the same purpose but approaches the problem from a different angle? If you can't remove the troublesome scene, what can you change about it that would make it interesting or exciting for you to write?
And I can't write sitting up to save my damn life. It's like my brain just stops working if I have to sit in a chair and stare at a computer screen. I need to be able to lie down, even if I don't use it! Talking walks and swinging in a hammock are also fantastic places to get scene ideas worked out, because the rhythmic motion also helps our brain process. It's just a little harder to work on a laptop in those scenarios. XD
In conclusion: Writing nonlinearly is an amazing tool for kicking writer's block to the curb. There's almost always some scene you'll want to write. If there isn't, you need to re-read or marinate.
Or you need to use the bathroom, eat something, or sleep. XD Seriously, if you're that stuck, assess your current physical condition. You might just be unable to focus because you're uncomfortable and you haven't realized it yet.
Anyway! I hope that was helpful, or at least interesting! XD Sorry again for the text wall. (I think this is the longest comment reply I've ever written!)
And same to you guys on tumblr--I hope this was helpful or at least interesting. XD Reblogs appreciated if so! (Maybe it'll help someone else!)
Fanfiction PSA:
New AO3 comment scam just dropped.
Remember: if it's vague, a solicitation, and could plausibly be commented on virtually any other fic, it's no good.
Writing Resources to use instead of AI
For coming up with character names:
Behind the name (my absolute fav)
Allows you to choose the origin of where you want the name to be from, whether you want a more feminine vs masculine vs androgenous name (as voted by users), random surname generator, and clicking on the name gives you important info like if there are any famous people with the same name, where itās from, how common it is, and how people tend to see it, etc.
You can also search their name database by letter or meaning or origin, so if you know you want a character who has a name/surname that starts with an A from Ireland, thereās a whole list for you to choose from.
Census sites
Especially useful if youāre looking for a name from a specific place and/or time period. Just search ā(country) census (year)ā and youāll find a database of real people who lived in that place at that time. No one can ever call your names unrealistic again.
For coming up with place names:
Fantasy name generator
This site can basically come up with any name for any person, place, or thing you might ever need. There are also specific generators for different fandoms if youāre looking to make an OC in an established world.
For finding that one word on the tip of your tongue:
One Look Thesaurus
This is my go-to. Not only can you find synonyms like a regular thesaurus, but you can also describe words like āunhappy smileā or āquiet laughā to find the more specific word youāre looking for.
WordHippo
Works as a thesaurus (very similar to One Look) but also includes search options for words that rhyme, words that contain a specific letter or are a specific length, different word forms, sentences with a specific word etc. etc. It's like Thesaurus++
For coming up with ideas:
Word cloud
When I need to inspire a new idea, I write down all the things Iām interested in (hauntings, academia, lesbians, etc.) and put them into a word cloud to shuffle them next to each other. Sometimes seeing a concept in a new context can spark new ideas!
WWF Discord
This is my discord channel (shameless plug) for when you need to brainstorm off other people but donāt have anyone irl to talk to. Weāre also happy to read and give feedback on writing, answer writing questions, or just chat!
For visualizing places and characters:
Pinterest can at times be a bit too sterile for my tastes, but if you use the right words, you can find more realistic photos of places. For example, adding āaestheticā after basically any word will bring up a more broad collection of photos to help you flesh out places.
This is also a great way to find photos of people and fashion to help visualize characters. Iām bad at describing clothes, so I usually collect photos of outfits to help me know what my characters are wearing. Searching up ācharacter inspirationā will collect more interesting photos and drawings of people who might not exactly be of our world.
(However, to make Pinterest not show you AI results, you have to go into your settings and check the āreduce AIā box. Luckily, it does mostly work.)
Death to Stock
Like pinterest but completely AI free (hooray!) Only drawback is that you have to pay a monthly subscription (about $20 CAD).
Cosmos
Very similar to pinterest but slightly more "artsy". I'm not super familiar with this one but I believe all the photos are human and you can save them and create collections with a free account.
Dupe Photos
Royalty-free stock image site with very Pinterest-core photos!
Minecraft
If you havenāt built your entire fictional city in Minecraft instead of writing, why not? Itās fun.
The Sims
This one is dual purpose because you can not only create your characters in Create a Sim, but you can design their houses. If you really want to go for it, you can bulldoze all the lots in your town and build your world from scratch.
Hero Forge
This character creator is intended for making D&D minis, so it has more fantasy-like options over the Sims if your characters are a bit out of this world.
House Plans.com
I was introduced to this resource through the comments on this post and it has quickly become one of my favourite things to use. If you struggle with the layout of buildings, this site lets you choose beds/baths/sq ft etc. and will show you house plans created by designers that most closely match your specs. You can also search by style instead if you're more interested in the aesthetics.
For checking grammar:
Grammar Girl
Easy to follow definitions and examples, and if you learn better by listening, every article comes with a podcast to follow along with instead.
Grammar Monster
This one is my favourite for checking grammar rules because thereās tons of examples in graphics that helps for any situation.
Reedsy
Among other things, reedsy can connect you to professional editors within your budget.
For writing advice:
One Stop for Writers
This one was recommended from my discord channel and has all sorts of tutorials and resources for the writing craft.
My Blog Directory
Another shameless plug, but if you need writing advice on something specific, you can search through my directory to see if itās there. If it isnāt, you can always send me an ask about it!
For an alternative to Google Docs:
Ellipsus
Think google docs but without AI. Yay!
Scrivener
A more comprehensive writing software created specifically for writers, however there is a one-time payment to use ($80 CAD).
(will update this list with any more suggestions or resources I discover š Thanks to everyone for your recs!)
Reblog if you will never. Ever. Use AI in your writing.
People with low spoons, someone just recommended this cookbook to me, so I thought Iād pass it on.
I always look at cookbooks for people who have no energy/time to do elaborate meal preparations, and roll my eyes. Like, you want me to stay on my feet for long enough to prepare 15 different ingredients from scratch, and use 5 different pots and pans, when I have chronic fatigue and no dishwasher?
These people seem to get it, though. Itās very simple in places. Itās basically the cookbook for people who think, āIām really bored of those same five low-spoons meals I eat, but I canāt think of anything else to cook that wonāt exhaust meā. And itās free!
by Rachel A. Rosen and Zilla Novikov || Food you can make so you don't die.
SPREAD THE WORD THIS IS FUCKING GOD TIER OH MY GOD, SOMETIMES I HAVE SPOONS SOMETIMES I DONāT BUT NO COOKBOOK OFFERS LEVELS IN THEIR RECIPES THIS ONE DOES!
also found here:
Life is hard. Some days are at the absolute limit of what we can manage. Some days are worse than that. Eatingāpicking a meal, making it, pu
the ebook is FREE here also
I WANT TO LOOK AT THINGS MADE BY HUMAN BEINGS
the internet has made people feel like their personal opinion on every topic is valuable and important and holds equal weight to everyone elseās but the truth is some spaces arenāt for you and some things you just canāt relate to or understand and thatās okay. learn when to stay quiet instead of inserting yourself into conversations that are actually nothing to do with you
choosing to have hobbies regardless of whether you are good at them or not is so important. you don't live to do things well. you live TO live. that is the joy of life, living, enjoying, experiencing. what does it matter if you can't draw the way others expect you to? what if you can't sing like the others or dance or move like them. so what if you don't look like them? you don't live for their opinion, you live for your own enjoyment