I’m in this picture. AND I DEFINITELY DO NOT LIKE IT!!!
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@thatinvisibleauthor
I’m in this picture. AND I DEFINITELY DO NOT LIKE IT!!!
I'm gonna say this, and it's gonna spark a defensive reaction within some of you, but I need you to listen to me and let it sit for a moment before I explain further. It is not a personal stain against your morality.
From both my experience reading works by white writers, and my experience running this blog, I have come to the conclusion that many white writers are too used to relying on Whiteness being understood as the default experience of both your characters and your readers, and it makes you weaker writers with weaker technique overall.
One thought I find myself having often is "well, what do you do for your white characters?" I've grown to understand... Many of you don't 😅 you don't actually understand or apply character design techniques because it is Assumed™ that the reader understands- that the reader has the white gaze. It doesn't need to be Said that your character is white, and will do familiar white things. It is Assumed™ that white characters fall under the Magicking It Away rules automatically, while Black characters have to have reality applied to them first. You don't actually have to... Well, write.
The brilliant Toni Morrison explained this in an interview of hers (here's another; watch her doc!!!) that there's this assumption that one's readers are white. So when she would purposefully- and there's a difference!- write stories for the Black gaze, that certain things didn't have to be explained because we Understood, it would get frustrating for white readers. They felt left out, unappealed to, hurt.
And yet, that's standard fare- and everyone's not writing such specific stories like Toni! To be "fair", we did understand y'all. We had to. But those same techniques, both in writing and in media consumption, I believe are atrophied from white viewers ("I don't watch this because I don't relate!" Or projection of ones own identity into Black characters to be "relatable") because it's not Socially Required for you to apply them.
It's why I'm always telling y'all to study Black creations about Black people. Writing is a craft, and a craft has to be honed!! You have to practice!! I had a whole lesson on this and I feel like everyone glossed over it lmao. I promise it'll make your writing of EVERY character better overall. 🙏🏾
Superhero team as a metaphor for online friendship
I've known you for years, but don't know your name. I trust you with my biggest fears, but you'll never even know how I look. I wish I could take you to my favourite coffee shop or park, but I'll never be able. If something were to happen to you I would never know. You are one of most important people in my life, I wish I could introduce you to others
It's good and cool to give your characters a single simple, straightforward, non-urgent, super-achievable goal that shouldn't really cost anything or hurt anyone, make that the driving factor for most of their decisions, and then have the Plot do everything in its power to stop them.
Goals include but are not limited to:
Wanting to go home
Wanting people out of your house who shouldn't be there
Trying to find a reliable babysitter
Trying to deliver a letter or package
Trying to do a favor for someone
Wanting to see a specific thing, place, or kind of animal
Wanting to collect the money somebody owes you (the lower the debt the better)
Trying to win a bet
Wanting to punch a specific person in the face
Quick tips for writing Sleep Deprivation
☽ Memory becomes absolute garbage. Like “why am I in the kitchen?” garbage. “What was I saying?” garbage. Their brain is running on buffering screens and regret.
☽ Fine motor skills? Ha. They’re dropping everything. Pens. Phones. Entire moral compass. They’re basically a malfunctioning claw machine.
☽ Hallucinations creep in. That jacket on the chair? Suddenly a person. That noise? Definitely doom. Everything becomes mildly haunted.
☽ Time gets weird. Five minutes feel like a year. A full hour disappears and they swear they blinked wrong.
☽ Irritation skyrockets. They get mad at chairs. At air. At gravity. At the audacity of other humans continuing to exist.
☽ Their voice sounds weird. Slow, scratchy, like they swallowed sand.
☽ They walk like a drunk baby giraffe. Walls suddenly jump closer. Floors rise unexpectedly. Coordination said: “I’m out.”
☽ Zoning out becomes a hobby. They stare at random objects like they’re trying to understand quantum mechanics.
☽ Vision blurs in and out. Like someone smeared Vaseline over their eyeballs out of spite.
☽ Their body just hurts. Not a dramatic pain, just the “why does my skeleton feel like it’s buzzing?” pain.
☽ Food cravings go feral. They’d fight someone for a stale cookie.
☽ Terrible choices. They will absolutely say “I’m fine” while making decisions that end in disaster.
☽ Random emotional implosions. Crying because their sock feels wrong? Yes.
☽ Cold hands. Cold feet. Cold heart. (Okay maybe not the last one, but it feels like it.)
Tips for Writing Injuries
✧ Broken ribs suck. You don’t just “walk it off.” Breathing hurts. Laughing hurts. Existing hurts. Characters with rib injuries won’t be doing heroic sprints.
✧ Concussions aren’t instant naps. Dazed vision, nausea, dizziness, maybe even personality changes, but they’re not going to collapse neatly like in the movies.
✧ Blood loss is sneaky. It’s not just about dramatic pools of blood. It’s dizziness, confusion, and the body getting cold as circulation tanks.
✧ Adrenaline lies. Someone can take a serious injury and not feel it until the fight’s over. That “I didn’t realize I was bleeding until later” trope? Very real.
✧ Twisted ankles are brutal. One bad step and suddenly running is off the table. Even walking hurts like hell. Perfect way to ground a chase scene.
✧ Burns linger. Even small burns hurt more than most people expect. Blisters, infection risk, constant pain, it’s not just a cool scar later.
✧ Dislocated shoulders = useless arm. Characters can’t keep swinging a sword or firing a gun. They’re basically fighting one-armed until it’s fixed.
✧ Shock is a thing. Pale skin, trembling, rapid heartbeat, and eventually disorientation. A character might not even realize how bad their wound is.
✧ Stitches aren’t magic. Getting sewn up is painful and recovery takes time. They’re not instantly battle-ready after a needle and thread.
✧ Scars tell stories. Some fade, some don’t. Some stay sensitive forever. Don’t forget the aftermath when the wound becomes part of the character.
Underrated character development question: what is their phone like? (Or would be like?)
Is it beaten up and shattered? Clean and new? Does it have a case on it? What's their background? Lock screen? Are they running out of storage? What's taking up the bulk of that space?
For something as personal and customizable as modern smartphones, they seem really underutilized as a characterization tool
Y'know I wonder why an ADHD, probably autistic, former gifted kid with people pleasing issues such as myself would keep writing about werewolf!Nightwing?
Like what is it about a perpetual-giver, eldest child, golden boy who has something monstrous inside him that has the potential to hurt or terrify the people he cares about - a monster that also gives him impulses he struggles to explain even to himself and makes the world at large overwhelming and forces him to retreat from it and from the grandiose life he expected to have - that appeals to me?
What a mystery
Do you think Slenderman and Batman would fist fight eachother for an edgy orphan?
Slenderman's proxys are just his Robins if you think about it.
This reminded me of a crossover story someone wrote on ff.net!
Quick tips for writing kisses
⇰ the pause. THE PAUSE. like “are we doing this? oh god we’re doing this.”
⇰ looking at each other’s mouths like it’s a life-or-death decision
⇰ someone whispering “can I?” or “just once” before going for it and RUINING ME EMOTIONALLY
⇰ hands. gripping shirts. cupping faces. hovering like “do I touch?? I WANNA TOUCH”
⇰ breath hitching?? yes. shakiness?? absolutely.
⇰ that stupid moment where one of them pulls back a few inches like “wait are you sure” and the other just goes for it again
⇰ kissing like they’re scared it’ll be the last time
⇰ kissing like they’ve been waiting ten goddamn years
⇰ teeth clashing awkwardly and both laughing about it but STILL FEELING IT
⇰ one of them freezing for a second mid-kiss because the feelings just hit
⇰ the post-kiss moment of “uh. so. yeah.” where neither knows what the hell just happened
⇰ OR the post-kiss forehead touch. destroy me.
weary and wary are not the same word and have very different meanings and if i see one more person use wearily when they mean warily I’m gonna combust
weary: tired, worn-out, beaten down, exhausted, in need of rest. they were weary after their long journey. wearily, she sat down on the couch and kicked off her shoes. he had grown weary of this conversation.
wary: guarded, cautious, on-edge, careful. they were wary of the approaching stranger. warily, she poked at the dark shape in the corner of her room. he paused, wary, but nodded anyway.
thank you for this reply you get the funny crown today with bonus points for accuracy
Writing Grief Without Romanticizing It
Grief is raw, messy, and deeply personal. It doesn’t follow a neat arc or fit into tidy narrative beats. While stories often use grief as a dramatic device, romanticizing it can cheapen the emotional reality. Writing grief authentically means embracing its discomfort and unpredictability, not sanitizing or idealizing it.
What Romanticizing Grief Looks Like
Characters who seem emotionally wrecked but always manage to look graceful in their suffering.
Overly articulate monologues that sound more like a eulogy than a real moment of loss.
Depictions of grief as a singular, cathartic event instead of a long, jagged process.
Romanticized Grief:
“Every day without you is like a piece of me fading away into a tragic, beautiful void. I’ll carry this pain forever, for it’s all I have left of you.”
This might be poetic, but it lacks the authenticity of how most people actually process grief.
Realistic Grief:
“I forgot your birthday. I didn’t mean to, but when I remembered, it was already too late. And then I hated myself because forgetting felt like erasing you.”
Writing Grief Authentically
1. Show the Physical Toll
Grief isn’t just emotional—it’s physical. Insomnia, headaches, exhaustion, or even the inability to move can be part of the experience.
“She woke up in the middle of the night again, choking on the air. Her chest felt like a cinderblock had been wedged inside, heavy and unmoving. It was three days since the funeral, and she still hadn’t slept longer than an hour.”
2. Let Grief Be Messy
Grief isn’t a perfectly linear journey. There’s no logical progression from denial to acceptance—there are setbacks, breakdowns, and even moments of denial long after healing has started.
“He yelled at his mother for throwing out the cereal box. ‘It was his favorite,’ he said. She didn’t remind him that it had been expired for months. She just handed him the trash bag and walked away.”
3. Avoid Glossy Sentimentality
Sometimes grief isn’t poetic; it’s ugly, blunt, and devoid of grandeur. Characters might lash out, shut down, or isolate themselves.
Romanticized: “I’ll cry every day, but I’ll keep going because you’d want me to.”
Realistic: “They said time would heal it. But it didn’t. Time just put more space between me and the life I knew before.”
4. Let Grief Manifest in Small, Unexpected Ways
Grief isn’t always about sobbing—it can show up in mundane moments: hesitating to delete a voicemail, holding onto an old sweater, or instinctively setting the table for someone who’s gone.
“She turned to tell him the joke, the one about the broken lamp, and stopped halfway through. The silence hit harder than the punchline ever would.”
5. Highlight the Absurdity of It
Grief can be absurd and disorienting. Characters might laugh inappropriately, obsess over trivial details, or feel disconnected from reality.
“At the funeral, all she could focus on was how crooked the flowers were arranged. She kept wanting to fix them. If she didn’t, she thought, none of this would feel real.”
6. Explore How Grief Changes Relationships
Grief doesn’t happen in isolation—it affects relationships, often in unexpected ways. Some people pull closer, others drift apart.
“Her friends stopped asking how she was doing after the first few weeks. She didn’t blame them; she didn’t have an answer. ‘Fine’ wasn’t a lie—it was just easier than saying, ‘I still can’t breathe when I see his empty chair.’”
7. Show the Longevity of Grief
Grief doesn’t end when the funeral does. Let it linger in your story, showing how it ebbs and flows over time.
“It had been five years, but she still called his number when something exciting happened. She didn’t know why. Maybe it was just habit. Or maybe it was hope.”
8. Allow for Moments of Respite
Grief isn’t constant agony. People still laugh, find joy, and go about their lives—sometimes feeling guilty for it.
“She smiled for the first time in weeks, and then immediately hated herself for it. It felt like betrayal, like forgetting.”
i wish i could remember who made the recommendation to "make a list of all the different ways someone could feel about a topic in your fictional setting and then make each of them a character" because it is a great technique and is also extremely fun
Tired of stories where the author worldbuilds a whole religion only to chicken out at the last moment by making the main character a skeptic. You mean to tell me that there’s all this richness in lore and culture, but you’ve trapped me with the one person in this society who doesn’t care about it? So bland. I could meet an agnostic easily enough by walking down the street, but your story is my one chance to hear the perspective of someone who follows whatever religion you’ve contrived. You made this whole world; convince me that your character really is from there.
>Broke MC is skeptic of main religion
>Woke MC is skeptic of part of main religion's doctrine and affirms an alternate interpretation that fell out of popularity 500 years ago.
So, in a fantasy setting with provably-real gods, you have:
What the gods say or do on the rare occasions they can be asked about something
Official church doctrine
Backstage church doctrine
What followers of the church actually believe
What secular authorities report about those same events
What forms of worship are allowed or encouraged
All of the above, repeated for each individual god, pantheon, splinter faction of heretics, cult of personality, cult of personality(minor demon edition), alternate form because of ancient enmity between those who worship the Volcano God and live on the north face vs those who worship the Volcano God and live on the south face, and people worshipping based on the poorly-translated Ancient Wisdom of the Cuniform Shopping List
Given all that, you can easily imagine how someone could know the gods are real and yet have some...odd...beliefs compared to the rest of their hamlet. Relationships with religion your character can have, a short list:
Major holidays only worshipper. Yes the gods exist and influence the world, so you show up to church because you're supposed to, but the absolute minimum times required because you usually have stuff to do on the rest day.
Anti-theist. The gods are real, they have measurable influence on the world, and they're also assholes who don't deserve worship. This is where your Reddit teen character ends up. Whether they have a point or not is up to you.
Believer in the gods but not the Church. Blessed X is real but the guy speaking in front of the crowd each week is just some dude and probably a politics-focused jerk. Again, whether the character has a point, and/or why the gods allow this to happen, is up to you.
Devout true believer. Fairly obvious, but you can have a lot of fun with taking this char and putting them in Situations, especially ones where their faith is pointing them in 3 different directions depending on what part of the Church matters most to them.
Person who thinks the Church has it wrong. ALSO a place for Reddit Teens. They've read the holy books, and the secular books, and the banned ravings of the Prophet Loony Lynne, and they're pretty sure the Church is full of it and the gods actually require X.
Member of a niche cult who is seeking converts
Member of a niche cult who is pretending to be ostentatiously devout so the church doesn't murder them
Member of a niche cult, running away
Non-worshipping quasi-believer. Think the average person's relationship with the Theory of Relativity, or an ancient Roman peasant who lived a continent away from the Roman Emperor. Yes, sure, their teachers taught them about the gods, and they believed the teachers, but also they have work to do and it's not like the gods are going to be showing up here affecting the stew so who cares?
Non-believer. The D&D equivalent of a flat-earther.
Formerly devout lapsed member. They used to be 100% down with the god AND the church, and then something happened, and now they refuse to acknowledge either without cursing.
Person with beliefs so odd no one can figure out if they're heresy or not. Blessed X is real, and the god of agriculture, and thus bans the eating of fish because fish aren't farmed, and will speak sometimes if you are on the brink of death so it's righteous to have your wife choke you every night until you lose consciousness in case Blessed X wants to talk to you.
Person who learned about the faith at age 5 and never updated any of their understanding of anything. Incredibly devout, but to a version of the faith that isn't actually practiced anywhere.
Person who acknowledges the gods are real, but refuses to worship because why would you worship some rando mage that happens to be powerful?
ETC. Take the pantheon(s) you developed, build a human system around them, then add 1000 years of internal politics, external politics, games of telephone with important beliefs, and lay worshippers who only moderately care. It's easy to end up with 50 ways of worshipping 5 gods and 50 more ways of worshipping other stuff that's just hanging around. And then each individual group is going to have the most insane person from your local Nextdoor participating in the discussion. Shake well, and you've got a lot of interesting stuff to dig into.
Small fantasy worldbuilding elements you might want to think about:
A currency that isn’t gold-standard/having gold be as valuable as tin
A currency that runs entirely on a perishable resource, like cocoa beans
A clock that isn’t 24-hours
More or less than four seasons/seasons other than the ones we know
Fantastical weather patterns like irregular cloud formations, iridescent rain
Multiple moons/no moon
Planetary rings
A northern lights effect, but near the equator
Roads that aren’t brown or grey/black, like San Juan’s blue bricks
Jewelry beyond precious gems and metals
Marriage signifiers other than wedding bands
The husband taking the wife's name / newlyweds inventing a new surname upon marriage
No concept of virginity or bastardry
More than 2 genders/no concept of gender
Monotheism, but not creationism
Gods that don’t look like people
Domesticated pets that aren’t re-skinned dogs and cats
Some normalized supernatural element that has nothing to do with the plot
Magical communication that isn’t Fantasy Zoom
“Books” that aren’t bound or scrolls
A nonverbal means of communicating, like sign language
A race of people who are obligate carnivores/ vegetarians/ vegans/ pescatarians (not religious, biological imperative)
I’ve done about half of these myself in one WIP or another and a little detail here or there goes a long way in reminding the audience that this isn’t Kansas anymore.
Tips from a Beta Reading Writer
This one's for the scenes with multiple characters, and you're not sure how to keep everyone involved.
Writing group scenes is chaos. Someone’s talking, someone’s interrupting, someone’s zoning out thinking about breadsticks. And if you’re not careful, half your cast fades into the background like NPCs in a video game. I used to struggle with this so much—my characters would just exist in the scene without actually affecting it. But here’s what I've learned and have started implementing:
✨ Give everyone a job in the scene ✨
Not their literal job—like, not everyone needs to be solving a crime or casting spells. I mean: Why are they in this moment? What’s their role in the conversation?
My favourite examples are:
The Driver: Moves the convo forward. They have an agenda, they’re pushing the action.
The Instigator: Pokes the bear. Asks the messy questions. Stirring the pot like a chef on a mission.
The Voice of Reason: "Guys, maybe we don’t commit arson today?"
The Distracted One: Completely in their own world. Tuning out, doodling on a napkin, thinking about their ex.
The Observer: Not saying much, but noticing everything. (Quiet characters still have presence!)
The Wild Card: Who knows what they’ll do? Certainly not them. Probably about to make things worse.
If a character has no function, they’ll disappear. Give them something—even if it’s just a side comment, a reaction, or stealing fries off someone’s plate. Keep them interesting, and your readers will stay interested too.
Writing tool for your fight scenes.