#for writers

[oneandocey]

To be seen is not to be loved. But to be loved is to be seen and understood completely.

[esmeraythewriter]

Me, writing something at 1 am: Omg I'm literally a genius this words sound amazing I ate totally whith this one omfg

The writing:

[bbseraph]

ʾʿ ⬞ ∿ underwritten sensitive places , for 𝔰𝔪𝔲𝔱

ᴏᴏꜰ .bb𝑙𝑜𝑣𝑒𝑠 -prmpts ﹅﹒

ִ 𓏼 ears ; everyone enjoys being talked through it. but listening and aural reception aren't the only thing ears are good for. earlobes have hundreds of of sensory receptors on the outside. so if your character is looking to pleasure another, write them kissing, licking or nibbling an ear.

ִ 𓏼 inner wrists ; the inner wrist is highly sensitive due to a high amount of nerve endings and the position of major nerves. caressing the skin there can be great for foreplay. for sexual tension, have your character kiss their partner's inner wrist while holding eye contact.

ִ 𓏼 behind knees ; the curve behind the knees is an often neglected area despite the area being very sensitive to any kind of touch, from kissing to kneading to especially biting. many are even ticklish there. this small detail can work well with all kinds of positions, certainly when the character's face is near the other's legs or knees.

ִ 𓏼 scalp ; seriously, who doesn't love a good head massage. everyone knows the feeling when your eyes roll back and your ears start blocking out other noise, it's heaven. and severely underrated in the bedroom. pulling har is the surface. have your character grasp, press, rub their partners head and add to the pleasure.

ִ 𓏼 lower stomach ; the mound between you belly button and public area is surprisingly arousing when triggered. for people of all genders. for females this can stimulate the g spot and nerves from the outside whereas for males this can stimulate blood flow to other pleasure zones nearby. write your character using their mouth here or even pressing down here during sex. for more pleasure, a warm or cold cloth pressed over the area is most definitely an option.

ִ 𓏼 armpits ; if you can get past the taboo, armpits are highly sensitive. you can tell because they are so ticklish. in the same way, intimacy and physical stimulation of the underarms and side of the chest changes the game. if you're tired of vanilla, make your character dedicate some time towards this area. pecks, biting, sucking and licking work well here. like imagine a vampire sinking its teeth into your underarm ... fuck.

ִ 𓏼 achilles tendon ; if you’re looking for erogenous zones that take you away from, naturally, breasts and genitalia and maybe downwards, then a spot worth exploring is this tendon. this stretch of tissue can lead to more heat and intimacy if it's gently toyed with. if your character is on their knees, maybe taking heels off, have them kiss the achilles. that's desperation.

© bbseraph ﹝ send in your requests for writing tips, inspo, prompts and whatever else you need. writer 2 writer. ﹞

[aethersea]

another thing fantasy writers should keep track of is how much of their worldbuilding is aesthetic-based. it's not unlike the sci-fi hardness scale, which measures how closely a story holds to known, real principles of science. The Martian is extremely hard sci-fi, with nearly every detail being grounded in realistic fact as we know it; Star Trek is extremely soft sci-fi, with a vaguely plausible "space travel and no resource scarcity" premise used as a foundation for the wildest ideas the writers' room could come up with. and much as Star Trek fuckin rules, there's nothing wrong with aesthetic-based fantasy worldbuilding!

(sidenote we're not calling this 'soft fantasy' bc there's already a hard/soft divide in fantasy: hard magic follows consistent rules, like "earthbenders can always and only bend earth", and soft magic follows vague rules that often just ~feel right~, like the Force. this frankly kinda maps, but I'm not talking about just the magic, I'm talking about the worldbuilding as a whole.

actually for the purposes of this post we're calling it grounded vs airy fantasy, bc that's succinct and sounds cool.)

a great example of grounded fantasy is Dungeon Meshi: the dungeon ecosystem is meticulously thought out, the plot is driven by the very realistic need to eat well while adventuring, the story touches on both social and psychological effects of the whole 'no one dies forever down here' situation, the list goes on. the worldbuilding wants to be engaged with on a mechanical level and it rewards that engagement.

deliberately airy fantasy is less common, because in a funny way it's much harder to do. people tend to like explanations. it takes skill to pull off "the world is this way because I said so." Narnia manages: these kids fall into a magic world through the back of a wardrobe, befriend talking beavers who drink tea, get weapons from Santa Claus, dance with Bacchus and his maenads, and sail to the edge of the world, without ever breaking suspension of disbelief. it works because every new thing that happens fits the vibes. it's all just vibes! engaging with the worldbuilding on a mechanical level wouldn't just be futile, it'd be missing the point entirely.

the reason I started off calling this aesthetic-based is that an airy story will usually lean hard on an existing aesthetic, ideally one that's widely known by the target audience. Lewis was drawing on fables, fairy tales, myths, children's stories, and the vague idea of ~medieval europe~ that is to this day our most generic fantasy setting. when a prince falls in love with a fallen star, when there are giants who welcome lost children warmly and fatten them up for the feast, it all fits because these are things we'd expect to find in this story. none of this jars against what we've already seen.

and the point of it is to be wondrous and whimsical, to set the tone for the story Lewis wants to tell. and it does a great job! the airy worldbuilding serves the purposes of the story, and it's no less elegant than Ryōko Kui's elaborately grounded dungeon. neither kind of worldbuilding is better than the other.

however.

you do have to know which one you're doing.

the whole reason I'm writing this is that I saw yet another long, entertaining post dragging GRRM for absolute filth. asoiaf is a fun one because on some axes it's pretty grounded (political fuck-around-and-find-out, rumors spread farther than fact, fastest way to lose a war is to let your people starve, etc), but on others it's entirely airy (some people have magic Just Cause, the various peoples are each based on an aesthetic/stereotype/cliché with no real thought to how they influence each other as neighbors, the super-long seasons have no effect on ecology, etc).

and again! none of this is actually bad! (well ok some of those stereotypes are quite bigoted. but other than that this isn't bad.) there's nothing wrong with the season thing being there to highlight how the nobles are focused on short-sighted wars for power instead of storing up resources for the extremely dangerous and inevitable winter, that's a nice allegory, and the looming threat of many harsh years set the narrative tone. and you can always mix and match airy and grounded worldbuilding – everyone does it, frankly it's a necessity, because sooner or later the answer to every worldbuilding question is "because the author wanted it to be that way." the only completely grounded writing is nonfiction.

the problem is when you pretend that your entirely airy worldbuilding is actually super duper grounded. like, for instance, claiming that your vibes-based depiction of Medieval Europe (Gritty Edition) is completely historical, and then never even showing anyone spinning. or sniffing dismissively at Tolkien for not detailing Aragorn's tax policy, and then never addressing how a pre-industrial grain-based agricultural society is going years without harvesting any crops. (stored grain goes bad! you can't even mouse-proof your silos, how are you going to deal with mold?) and the list goes on.

the man went up on national television and invited us to engage with his worldbuilding mechanically, and then if you actually do that, it shatters like spun sugar under the pressure. doesn't he realize that's not the part of the story that's load-bearing! he should've directed our focus to the political machinations and extensive trope deconstruction, not the handwavey bit.

point is, as a fantasy writer there will always be some amount of your worldbuilding that boils down to 'because I said so,' and there's nothing wrong with that. nor is there anything wrong with making that your whole thing – airy worldbuilding can be beautiful and inspiring. but you have to be aware of what you're doing, because if you ask your readers to engage with the worldbuilding in gritty mechanical detail, you had better have some actual mechanics to show them.

[boxoftheskyking]

Oh and quick note for writers:

One difference between this strike and the last one is that there are a lot more fellowships targeted at early career tv writers than there used to be (there have always been some, but the fellowship model is way more commonplace these days)

Studios are about to make a ton more of these opportunities and advertise them widely as a way to break into the industry, and they will be very specific about the fellowship not technically counting as a writers room or a tv job

THIS IS A TRICK TO GET YOU TO SCAB

Sharing any written content with a studio (even if they route it through a 3rd party "foundation" or development org or something) IS SCABBING

What you do in regards to the strike is your business, but the WGA has been very clear that anyone who scabs will be BANNED FROM JOINING THE UNION FOR LIFE. That means even if you get hired, that's no health & pension and no union protections for your entire career. This shit is serious

So please please double check and dig into any new submission opportunities you see in the next weeks. Playwrights especially be careful - many studios are finding their writers through play scripts these days so be very careful about how and where your work is being shared

No writing going to the studios means NO WRITING of any kind

(if you see suspicious fellowship stuff being passed around let me know, I'd love to keep an eye on that for my peeps)

[kestalsblog]

Tips for Writing Characters in Recovery from Addiction

I've encountered several portrayals of characters in recovery from addiction, both in fanfiction and published writing, that are clearly somewhat under-researched or leaning into stereotypes. Additionally, writing advice posts on the subject often feel detached and cite statistics rather than express humanity.

As a result, I decided to put together what I believe to be some characteristics and shared experiences of people in recovery that aren't just about withdrawal and might be less familiar to the general public. Perhaps they can be useful to writers aiming to write thoughtful and accurate portrayals of characters in similar situations.

Please note, of course, that both addiction and recovery are very unique, personalized experiences, so no one list will ever apply 100% to a single person—fictional or real.

Dreams of relapse. I personally experience these dreams at least 4-5 times a month, and they're unlike any other other dreams I have because they're so vivid and lifelike that I wake from them completely convinced for a moment that I did, in fact, relapse. These dreams do NOT mean you want to relapse. In fact, they are often a sign of extreme fear of relapse. The possibility of it is so nightmarish that your mind can only translate it into a literal night terror.

Adding to the previous point, the fear of relapse is seriously underestimated. Some people assume recovered addicts are always thinking about relapsing in a tempting way, but lots of these thoughts stem from the absolute, paralyzing terror of the past repeating itself—not an alluring urge to return to it.

Paranoia that everyone is looking at you thinking "they know the truth about my past. They know I was an addict." These beliefs are, of course, unfounded.

Constantly categorizing everything as "before addiction," "during addiction," and "after addiction." Even something as simple as looking at photographs can elicit thoughts like, "I was so happy in this picture. I had no idea what was coming for me in six months."

Counting recovery days nonstop to the point that it can even become debilitating. Your sense of time is forever altered because you're always trying to "catch up" on all the time you "wasted."

If people know, they will constantly make snide or condescending remarks, no matter how far along in recovery you are. "An addict is always an addict." "Well, I can see you're doing better than you used to be!" "I would never do something like that."

People will relentlessly assume you are less intelligent and talk to you like you're a child, especially if you're in the early stages of recovery.

Everyone knows addicts lose friends and/or family, and sometimes for good reasons, but the sheer number of people who leave for no apparent reason when you're actively trying to get better is surprising. The stigma surrounding addiction is so intensely negative that most people don't even want to be tangentially associated with it.

Addicts and recovered addicts are fetishized in unexpected ways— sometimes because of the obviously sickly appearance, the assumption that they will do anything to feed their addiction, the false belief that they are "fun" or "exciting," or maybe even that they just seem pathetic. Random people in public will approach you and straight-up ask for the most disrespectful sexual acts you can imagine. (After my addiction became common knowledge, people I thought were good people suddenly started trying like mad to sleep with me and then ditched me entirely. That's probably one of the most painful learning moments I had).

Physical symptoms can appear months, even years, after recovery starts. I know some who have noticed their hands suddenly becoming shakier, their hair thinner, and unusual chest pains.

You often become so angry and guilty with your past self that it prevents you from seeing how extraordinary your progress really is.

You start to realize how far you've come and how liberated you are in the smallest of moments. One of the greatest accomplishments of mine was realizing one morning when I woke up that the last thought I'd had before going to bed had not been about my addiction. Throughout my entire years of addiction, it was literally always the first thing on my mind when I woke up, even if it was just getting up to go to the bathroom in the middle of the night. It was the last thing I thought of every single night before I fell asleep.

Speaking of sleep, a full night's sleep! Full meals! Not feeling sick 100% of the time. At first, it's almost like growing into a new body.

Your memory is not the same as before, whether you remember too much or there are big dark patches in your mind.

The appreciation. As difficult and painful as it is, a world in recovery is also so often a world of supreme beauty. You pay attention to life's details in ways you never could have imagined before. Things assume a gentle sincerity and sensitivity they never had previously.

Relapse does not always even happen. Some people quit and never look back. I decided to change my life in every way in February 2021 and spent all of that March relapsing. By April 1, I was ready and never went back once.

Addicts are always deemed selfish and narcissistic, even recovered addicts. Sometimes, ironically, recovery leads to increased empathy. It can take reaching a low point to understand another person's low point.

Recovery can be quiet. It's not always over-the-top constant relapses, breakdowns, etc. Sometimes it's just very private and silent attempts to make your life better.

Finally, a point I would like to emphasize is that addiction is a lonely, isolating experience, but often recovery is too. Yes, you can have rehab (if you're lucky to get into a good one), and, yes ,you might have a group or loved ones who help you (I hope). But every reason behind addiction and what you're actually addicted to is so individualized that no one will ever wholly share your experience. Finding a community can be challenging.

But, despite it all, recovery is a unique, beautiful, enlightening experience. If I were given the choice to go back and make it so I'd never had any of it happen, I would choose that option in a heartbeat. Still, I know in the depths of my soul, I'd be trading away some of the most raw, vulnerable, and profound lessons of my life in favor of blissful ignorance.

Above all else, I hope if you write a character in recovery, you try to portray them as you would anyone else—a nuanced and interesting human being 🫶

[the-most-humble-blog]

<div style="white-space:pre-wrap">

🧠 THE MANNEQUIN WITH POWERS — Why Character Comes Before Plot or Die in the Void A Blacksite Literature™ Transmission (If your protagonist couldn’t grip a reader’s soul in a blank room, you already failed.)

I. THE VOID YOU'RE WRITING INTO

Let’s get this out of the way first:

If your character can’t speak — not literally, but viscerally — to the reader’s insides without the crutch of explosions, lore dumps, or a “cool” outfit…

You are not writing a character. You’re dressing a mannequin. And no one gives a fuck what a mannequin does.

II. IF THEY FEEL NOTHING, YOU BUILT NOTHING

Who cares what city’s under attack? Who cares if they’re the Chosen One? Who cares about your twist, your map, your seven-act structure?

If the protagonist you’ve built:

Has no secret

Carries no weight

Evokes no response from a quiet, tired reader on a Tuesday night—

Then you wrote into the void.

Your reader wasn’t “dumb” or “impatient.” They felt nothing. And they left.

III. THE LIE OF “PLOT FIRST”

You’ve been sold a lie:

“Just make the story exciting and the characters will follow.”

No. Never. Backwards.

Character always precedes plot. Character is the plot.

Because if I don’t care who it’s happening to — Then nothing happening will ever matter.

A reader can forgive:

A slow start

A clunky scene

A cliché trope

But they will never forgive the crime of hollow company.

You gave them someone to follow —

And that someone had no soul.

IV. THE MANNEQUIN WITH POWERS

Let’s define the threat.

The Mannequin:

Has abilities

Has trauma

Has a goal

Has quips

Has a backstory

But no voice.

No contradiction. No shame. No private thing they would die to protect, not because it’s powerful — but because it’s theirs.

This mannequin does things. Big things. High stakes.

And no one cares. Because nothing human is bleeding through the plastic.

V. ESCAPISM ISN’T A LICENSE TO LIE

Yes, readers want to escape. But not from humanity.

They want to escape into:

A place where flawed people matter.

A place where pain has context, not just screen time.

A place where characters don’t just “get better” — they get known.

Escape into fantasy all you want. But if you’re escaping the imperfections of the human condition, then you’re not writing fantasy. You’re writing propaganda for emotional disconnection.

And your reader knows it. Even if they don’t say it. Even if they reblog it. Even if they finish it.

They know.

VI. THE SECRET THEY DON’T BRAG ABOUT

Let me give you the fix.

Give your character one thing:

A secret they don’t brag about.

Something they hide not because it’s cool — but because it’s raw, vulnerable, humiliating, or sacred.

Examples:

She used to believe in God, and now she can’t even say “grace” over her food.

He kept a voicemail from his brother the day before he overdosed.

She has two daughters, and hasn’t seen them since the custody ruling.

He talks shit to villains but goes home and reads old love letters he never responded to.

Do not announce it. Do not reward it. Do not let them monologue it.

Let it live. Quietly. And watch your readers form emotional attachments like animals recognizing kin.

VII. PLOT WILL NEVER SAVE YOU

You can worldbuild forever. You can twist the timelines, deepen the lore, expand the pantheon.

But if your central figure could be replaced by anyone and the story still works?

You didn’t build a character. You built scenery in a cape.

Plot is what happens.

Character is who we blame, who we mourn, who we root for in spite of ourselves.

And if you skip that? You skip the anchor. You leave your reader floating — no matter how pretty the setting is.

VIII. THE READER DOESN’T OWE YOU A DAMN THING

Let’s be brutally honest:

Your reader doesn’t care how much time you spent.

They don’t care how much of your soul you “poured in.” They don’t care how important your themes are.

If they can’t connect to a being — not a puppet — then they leave.

Because they’re not in your head. They’re alone. Reading. Tired. Wanting to feel something.

And if your protagonist doesn’t show up with emotional currency in hand?

They’re gone.

IX. THE ONLY TEST THAT MATTERS

Write this down:

If your main character was in a blank white room for five pages — with no plot, no action, no powers — would I want to hear what they think?

If the answer is no?

Start over.

Not from page one. From soul one. You didn’t give them a person. You gave them a vessel to carry your story — and no one wants to be ferried by a stranger.

X. THE REALITY YOU’RE TOO SCARED TO ADMIT

You’re not scared of writing bad plots.

You’re scared of putting real, flawed, mirrored, shameful, holy you into your character — because if it fails, it’ll feel like you failed.

So you keep them clean. You keep them plastic. You keep them “relatable” in all the ways that mean nothing.

But the only thing that ever makes a reader stay?

Is the feeling that this character was carved from a place they weren’t supposed to see.

That’s what creates emotional loyalty. That’s what earns tears. That’s what builds cult followings, not just fandoms.

XI. SO FIX IT.

Kill the mannequin.

Bury the empty badass. Silence the sarcastic automaton. Throw the trauma plot in the fire.

Build a person. A person with shame. A person with weight. A person who reminds the reader of a truth they’ve never told anyone.

Then throw that person into your plot.

And watch the story ignite.

XII. CONCLUSION: YOU'RE NOT WRITING STORIES. YOU'RE WRITING PEOPLE.

You think you’re writing entertainment. You think you’re building scenes. You think you’re plotting arcs.

But you’re not.

You’re introducing human souls to strangers. And the ones who do it well? They become immortal.

Every good story is just a person you didn’t want to say goodbye to.

If you don’t have that?

Then what the fuck are we doing here. </div>

📌 If this made your spine straighten mid-sentence — reblog it. 🧠 If it exposed a hollow character you once thought was “done” — save it. ✍️ If it reminded you why we write at all — read it again.

And if it hurt? That means it’s time to start over.

Bonus:

🧠 FREE WRITING LESSON — THE MOST POWERFUL CHARACTER DEPTH TRICK YOU’LL EVER READ.