atomicgaycat

Latest Posts by atomicgaycat

Do you think Jesus came on the cross just a little bit

“I’m Pretending I Don’t Love You” Behaviors

(for that beautiful, painful flavor of self-denial that authors LIVE FOR)

✦ Making fun of everything they do...gently. Like it’s the only way you can touch them.

✦ Telling them to be careful, but saying it like an insult.

✦ Correcting people who get their name wrong, then pretending it didn’t matter.

✦ Staring just a little too long—and then making a sarcastic comment to cover the slip.

✦ Showing up to things “coincidentally” wherever they are. All the time.

✦ Knowing exactly what food they like, but acting like it was a random choice.

✦ Volunteering to be on their team, share their tent, go with them, whatever excuse works.

✦ Looking away fast when they laugh. Too fast. Like it hurts.

✦ Caring for them when they’re hurt, but muttering, “Don’t read into this.”

✦ Being furious when someone else flirts with them and not being able to explain why.

💀 Making Your Villain Make Sense (Without Making Them Right™)

("because if I see one more war criminal with a sad diary entry get a redemption arc, I’m gonna throw my laptop.")

Here’s the thing: your villain doesn’t need to be redeemable. But they do need to make sense.

And I mean sense beyond "they’re evil and they monologue about it." Or “they have a tragic past, so now they do murder <3.” Or “they were right all along, the hero just couldn’t see it 🥺.”

Let’s fix that.

─────── ✦ ───────

🧠 STEP ONE: BUILD A LOGIC SYSTEM THAT ISN’T OURS Your villain shouldn’t just be wrong, they should have their own internal system that works for them. Morally flawed? Absolutely. But coherent.

Ask yourself:

What do they value more than anything? (Power? Order? Loyalty? Vengeance?)

What do they believe about the world, and how did they get there?

What fear drives them? What future do they think they’re trying to prevent?

The villain doesn’t need to know they’re wrong. But you should.

Make their logic airtight. even if it’s awful. Give them cause and effect.

─────── ✦ ───────

👿 STEP TWO: STOP GIVING THEM THE BETTER IDEOLOGY Listen. I love a “morally gray” moment as much as anyone. But if your villain is making all the good points and the hero’s just like “no because that’s mean,” your arc is upside down.

If your villain is critiquing injustice, oppression, or inequality, make sure their methods are the problem, not their entire worldview.

✖︎ WRONG: Villain: “The ruling class is corrupt.” Hero: “That’s not nice.”

✔︎ RIGHT: Villain: “The ruling class is corrupt, so I’m burning the city and everyone in it.” Hero: “So you’re just… committing genocide now?”

Your villain can touch a real issue. Just don’t let them be the only one talking about it, or solving it with horror movie logic.

─────── ✦ ───────

🔪 STEP THREE: GIVE THEM POWER THAT COSTS THEM The best villains lose things too. They’re not just untouchable horror dolls in sexy coats. They make bad choices and pay for them. That’s where the drama lives.

Examples:

They isolate themselves.

They sacrifice people they love.

They get what they want, and it destroys them.

They know they’re the monster, and choose it anyway.

If your villain can kill a dozen people and feel nothing, that’s not scary. That’s boring. Let them bleed. Let them regret it. Let them double down anyway.

─────── ✦ ───────

🧱 STEP FOUR: MAKE THEM PART OF THE WORLD, NOT OUTSIDE IT Villains shouldn’t feel like they were patched in from another genre. They should be part of the world’s logic, culture, class system, history. They should reflect something about the setting.

Villains that slap:

The advisor who upheld the regime until they decided they deserved to rule.

The noble who’s using war to reclaim stolen legacy.

The ex-hero who thinks the system can’t be saved, only reset.

The priest who truly believes the gods demand blood.

They’re not just evil, they’re a product of the same world the hero is trying to save.

─────── ✦ ───────

👁 STEP FIVE: SHOW US THEIR SELF-JUSTIFICATION You don’t need a tragic backstory™. But you do need to show us why they think they’re right. Not just with exposition, through action.

Let us watch them:

Protect someone.

Choose their goal over safety.

Justify the unjustifiable to a character who loves them.

Refuse to change, even when given a chance.

A villain who looks into the mirror and goes “Yes. I’m correct.” is 1000x scarier than one who sobs into a journal and says “I’m so broken 🥺.”

─────── ✦ ───────

🧨 BONUS ROUND: DON’T MAKE THEM A HATRED MEGAPHONE Especially if you’re writing marginalized characters: don’t let your villain become a mouthpiece for slurs, abuse, or extremism just to make them “evil enough.” That’s lazy. And harmful.

You don’t need real-world hate speech to build a dark character. You need power, consequence, and intent.

─────── ✦ ───────

TL;DR: Good villains don’t need to be right. They need to be real. Not a vibe. Not a sad boy in a trench coat. Not a trauma monologue and then a sword fight. They need logic. They need cost. They need to scare you because you get them, and still want them to lose.

Make them dangerous. Not relatable. Make them whole. Not wholesome. Make them make sense.

—rin t. // thewriteadviceforwriters // villain critic. final boss consultant. licensed chaos goblin

P.S. I made a free mini eBook about the 5 biggest mistakes writers make in the first 10 pages 👀 you can grab it here for FREE:

Gumroad

5 Opening Pages Mistakes to Stop Making — A Mini eBook for Fiction Writers

✦ A free (and actually helpful) guide to leveling up your first 10 pages ✦If you're unsure whether your opening is ✨doing enough✨ to hook re

20 Subtle Ways a Character Shows They're Not Okay (But Won’t Say It)

(For the emotionally repressed, the quiet imploders, the “I’m fine” liars.)

✧ Cancels plans they were excited for.

✧ Sleeps too much—or barely at all.

✧ Snaps at tiny things, then immediately regrets it.

✧ Can’t stand silence, suddenly always has noise on.

✧ Dresses in oversized clothes to hide their body.

✧ Laughs too loudly. Smiles too tightly.

✧ Picks at their nails, lips, or skin.

✧ Constantly checks their phone, even though no one is texting.

✧ Stops answering messages altogether.

✧ Forgets to eat—or pretends they already did.

✧ Eyes scan the room like they’re waiting for something bad.

✧ Overcommits. Can’t say no. Burns out quietly.

✧ Stops doing the things they love “just because.”

✧ Apologizes too often.

✧ Avoids mirrors.

✧ Can’t sit still—but won’t go outside.

✧ Says “I’m tired” instead of “I’m hurting.”

✧ Tries to clean everything when their life feels out of control.

✧ Uses sarcasm as armor.

✧ Hugs people just a second too long—and then acts like nothing happened.

Sparking Chemistry Between Characters #1

⇢ Emotional Timing ( When One Opens Up and the Other Isn’t Ready, Yet)

There’s something so devastatingly real about when characters miss each other, not physically, but emotionally. One’s finally ready to be honest, to be seen… and the other? Still hiding. Still pretending. That emotional dissonance creates a whole different kind of electricity: one rooted in vulnerability, silence, and the ache of almost.

“I trust you,” she said, voice low, eyes steady. He looked at her, and for a second, he almost said it back. But then his smile cracked, soft and sad, and he looked away like the words were burning holes in his throat.

This isn’t the moment they fall into each other’s arms. This is the moment they could have. And those moments still haunt.

Use this when:

You want slow burn that hurts a little

Your characters are stubborn, scared, or emotionally constipated (bless them)

The closeness builds from not-quite-connecting, until one of them finally breaks

⇢  Silent Support ( When They Don’t Say It, But They Show It)

Sometimes the most romantic thing a character can do is just… be there. No speeches. No dramatic gestures. Just showing up, quiet, consistent, unwavering. The kind of person who notices when your laugh sounds tired.

He didn’t say anything when he found her curled up on the kitchen floor. He just sat next to her, their shoulders barely touching, and slid his hoodie off without a word. A minute later, she was wearing it. Five minutes later, she was breathing again.

This isn’t about grand declarations. It’s about the kind of love that doesn’t demand to be acknowledged. The kind that waits. That steadies. That speaks fluent silence.

Use this when:

You want to show love without “I love you”

You’re building intimacy through actions, not words

Your characters aren’t the touchy-feely, talk-it-out types

⇢ Emotional Whiplash (When Conflict Turns Intimate Too Fast)

This is the classic “We were fighting five seconds ago and now I want to kiss you” moment. Because nothing stirs up feelings like frustration mixed with closeness. When characters clash, especially if there’s emotional history or denial involved, it creates heat. They’re already fired up. Already in each other’s space. Now throw in a little vulnerability and BAM, you’ve got magnetic chaos.

“Why do you care what I do?” she snapped, stepping closer. “Because I...” He bit the word back, jaw tight. His fists clenched at his sides. She stared, breath caught in her throat. “Because I do,” he said finally, quieter this time. “More than I should.”

Enemies to lovers. Friends to what even are we. That line-blurring, heart-pounding tension where the air is thick and the truth almost slips out, that’s where this trope lives (I Love It).

Use this when:

You want chaos, angst, and chemistry all at once

Your characters are in denial and one good argument away from kissing

You want something to break open and then immediately regret it

When a Character Has a Crush and Is Absolutely, Pathetically, Hilariously in Denial

This is not slow burn. This is oh-no-I-accidentally-fell-for-you chaos with a side of emotional whiplash...

⭑ They suddenly become weirdly aware of everything that person does. Chews their pen? Heart attack.

⭑ They insist they’re “just friends” but act like they’ve been married for 40 years.

⭑ Their friends all know. The mailman probably knows. They don’t know.

⭑ They make fun of the other person flirting with people. Then sulk. Then deny they’re sulking.

⭑ They get flustered over the dumbest things. A smile. A shared drink. A hand on the shoulder.

⭑ They remember everything about them... dog’s name, birthday, and act like it’s totally casual.

⭑ Their voice gets weird around them. Higher. Quieter. Rougher. It’s never consistent.

⭑ They get competitive. They don’t know why. (It’s jealousy. Surprise.)

⭑ They notice new clothes. New hair. New earrings. And absolutely say nothing while staring too long.

⭑ They get mad when other people point it out. Mad and embarrassed. The “shut up” is always immediate.

Rage, Grief & Other Quiet Explosions

(Emotional meltdowns that don’t look like meltdowns, but absolutely are)

 The “Smiling Too Much” Grief Your character’s entire world is on fire, and they’re asking if anyone wants more wine. That’s not denial, it’s an effort to hold the damn pieces together. Smile like a glue gun. Watch them crack.

The “Not Crying At the Funeral” Breakdown They don't shed a tear. They organize everything. Perfect speech. Perfect outfit. But a week later, they scream into the laundry basket over a missing sock. That’s the moment. That’s the eulogy.

 The “Silent Dinner Table” Fight No yelling. No slamming doors. Just chewing. Clinking silverware. The kind of silence that tastes like metal. Let the reader feel the air shrink.

 The “Polite but Dead Inside” Apology They say “Sorry” because it’s expected, not because they’re ready. Their voice doesn’t crack. Their eyes don’t meet yours. This isn’t healing. This is a peace treaty with no peace.

The “I Don’t Want to Talk About It” Detour The one where they ask about your day mid-sob. Redirect. Deflect. “Let’s not talk about me.” That’s rage choked by shame. Write it like it’s shoving itself into a smaller box.

 The “Obsessively Productive” Meltdown New projects. New hobbies. Suddenly they’re running marathons, baking sourdough, fixing the garage door. Because if they sit still for one second, they’ll break. Keep the camera on them when they finally sit.

The “Unsent Letters” Grief They write it all down. Every damn emotion. Then burn it. Or delete it. Or hide it in a shoebox under their bed. It’s not for closure. It’s to let the ghosts know they were seen.

The “I’m Fine” That Echoes Delivered too fast. Too sharp. You could bounce a quarter off it. “I’m fine” isn’t fine. It’s the dam cracking. Listen to the echo. Let another character hear the hollowness.

The “Hyper-Logical Rant” Rage They argue with spreadsheets. With perfect bullet points. Cold rage—like ice, not fire. “I’m not mad, I’m just saying…” But that’s a lie. They’re volcanic under that clipboard.

 The “Laughing in the Middle of the Breakdown” Moment That bitter, hysterical laugh. The kind that sounds more like sobbing with teeth. Let it come at the worst time. Let it shock even them. That’s emotion refusing to stay boxed in.

When a Character Is Angry but Doesn’t Know Why

Not all rage is loud. Sometimes it simmers. Sometimes it sneaks in. Especially for characters who aren’t used to feeling things or grew up in environments where anger wasn’t safe to express. So when it starts showing up, they don’t even recognize it as anger. They just feel… off. Wrong. Tense.

✧ They get irritated by things that never used to bother them. The way someone chews. A clock ticking. The sound of their name. They can’t explain it, they just feel raw, like their skin doesn’t fit.

✧ They isolate, but don’t call it that. Suddenly, they’re “too tired” to go out. “Too busy” to reply. But really, they don’t trust themselves to be around people without snapping.

✧ They pick fights over things that don’t matter. Because it’s easier to yell about the dishes than admit they feel powerless, unworthy, or invisible.

✧ They can’t sit still. Pacing. Fidgeting. Restlessness that feels like there’s a wasp trapped under their skin and they can’t get it out.

✧ They joke, but it stings. Sarcasm that cuts a little too deep. “Just teasing” that leaves bruises. Humor becomes a weapon they don’t even realize they’re using.

✧ They blame themselves for feeling bad. Instead of thinking something is wrong, they think I’m wrong for feeling this way. The anger turns inward. Self-criticism sharpens.

✧ They can’t cry, and it scares them. They want to break. To feel something clean. But all they feel is the pressure building, and it doesn’t go anywhere.

✧ They eventually explode, and hate themselves for it. One wrong word and suddenly it’s fire. And after? Shame. Guilt. Confusion. Like, What was that? What’s wrong with me?

✧ Their anger isn’t just anger. It’s grief in disguise. That’s the twist. Most of the time, the anger is covering up a heartbreak they haven’t admitted yet.

✧ They’re not “bad” for being angry. They’re human. Write that. Let them be messy and let them feel without always knowing why.

20 Ways Your Character Might Self-Sabotage

(Because sometimes the biggest threat to them… is them.)

➵ Pushing people away before they can leave.

➵ Saying “I’m fine” when they’re not, and getting mad when no one sees through it.

➵ Pretending not to care so they don’t get hurt.

➵ Quitting things they love when they start to go well.

➵ Staying in bad situations because at least it’s familiar.

➵ Ghosting when things get too emotionally intimate.

➵ Joking about real pain so people don’t take it seriously.

➵ Falling for people who are emotionally unavailable.

➵ Making plans they know they’ll cancel.

➵ Overcommitting to avoid dealing with themselves.

➵ Getting angry instead of being honest about fear.

➵ Comparing themselves constantly, to everyone.

➵ Never celebrating wins, only fixating on flaws.

➵ Sabotaging good relationships because they don’t think they deserve them.

➵ Chasing chaos because peace feels boring (or unsafe).

➵ Apologizing too often or never at all.

➵ Giving up halfway just to say “See? I told you I’d fail.”

➵ Playing the therapist friend but never talking about their own pain.

➵ Procrastinating until it's impossible to succeed.

➵ Acting like they don’t care about something they actually desperately want.

Body Language Cheat Sheet For Writers 

╰ Facial expressions

These are your micro-signals, like the blinking neon signs of the soul. But they’re small, quick, and often lie harder than words.

Raised eyebrows — This can mean surprise or disbelief, sure. But it can also be a full-on, silent “Are you serious right now?” when someone’s being ridiculous. Or even curiosity when someone’s too emotionally repressed to askthe damn question.

Furrowed brow — That face people make when they’re doing long division in their head or trying to emotionally process a compliment. It’s thinking, yes—but also confusion, deep frustration, or quiet simmering rage.

Smiling — Can be happiness… or total fake-it-till-you-make-it energy. Some smiles are stiff. Some don’t reach the eyes. Show that.

Frowning — Sure, sadness. But also: disappointment, judgment, or the universal “I’m about to say something blunt, brace yourself.”

Lip biting — It’s not just nervousness, it’s pressure. Self-control. Anticipation. It’s the thing people do when they want to say something and decide, at the last second, not to.

╰ Eye movement

The window to the soul? Yeah. But also the window to when someone’s lying, flirting, or deeply trying not to cry in public.

Eye contact — Confidence or challenge. Eye contact can be gentle, curious, sharp like a blade. Sometimes it’s desperate: “Please understand me.”

Avoiding eye contact — Not always guilt. Sometimes it’s protectiveness. Sometimes it’s “I’m afraid if I look at you, you’ll see everything I’m trying to hide.”

Narrowed eyes — Calculating. Suspicious. The look someone gives when their brain’s saying “hmmm...” and it’s not a good hmm.

Wide eyes — Surprise, yes. But also sudden fear. The oh-God-it’s-happening look. Or when someone just found out they’re not as in control as they thought.

Eye roll — Classic. But try using it with tension, like when someone’s annoyed and trying very hard not to lose it in public.

╰ Gestures

This is where characters’ emotions go when their mouths are lying.

Crossing arms — Not just defensive. Sometimes it’s comfort. A self-hug. A barrier when the conversation is getting too personal.

Fidgeting — This is nervous energy with nowhere to go. Watch fingers tapping, rings spinning, sleeves tugged. It says: I’m not okay, but I’m trying not to show it.

Pointing — It’s a stab in the air. Aggressive, usually. But sometimes a desperate plea: Look. Understand this.

Open palms — Vulnerability. Honesty. Or a gesture that says, “I have nothing left to hide.”

Hand on chin — Not just thinking. It’s stalling. It’s delaying. It’s “I’m about to say something that might get me in trouble.”

╰ Posture and movement

These are your vibes. How someone occupies space says everything.

Slumped shoulders — Exhaustion. Defeat. Or someone trying to take up less space because they feel small.

Upright posture — Not always confidence. Sometimes it’s forced. Sometimes it’s a character trying really, really hard to look like they’re fine.

Pacing — Inner chaos externalized. Thinking so loudly it needs movement. Waiting for something. Running from your own thoughts.

Tapping foot — Tension. Irritation. Sometimes a buildup to an explosion.

Leaning in — Intimacy. Interest. Or subtle manipulation. (You matter to me. I’m listening. Let’s get closer.)

╰ Touch

This is intimacy in all its forms, comforting, protective, romantic, or invasive.

Hugging — Doesn’t always mean closeness. Could be a goodbye. Could be an apology they can’t say out loud. Could be awkward as hell.

Handshake — Stiff or crushing or slippery. How someone shakes hands says more than their words do.

Back patting — Casual warmth. Bro culture. Awkward emotional support when someone doesn’t know how to comfort but wants to try.

Clenched fists — Holding something in. Rage, tears, restraint. Fists mean tension that needs somewhere to go.

Hair tuck — Sure, flirtation or nerves. But also a subtle shield. A way to hide. A habit from childhood when someone didn’t want to be seen.

╰ Mirroring:

If two characters start syncing their body language, something is happening. Empathy. Chemistry. Shared grief. If someone shifts their body when the other does? Take notice. Other human bits that say everything without words...

Nodding — Not just yes. Could be an “I hear you,” even if they don’t agree. Could be the “keep going” nod. Could be patronizing if done too slow.

Crossed legs — Chill. Casual. Or closed-off, depending on context. Especially if their arms are crossed too.

Finger tapping — Time is ticking. Brain is pacing. Something’s coming.

Hand to chest — Sincerity, yes. But also shock. Or grounding—a subconscious attempt to stay present when everything feels like too much.

Tilting the head — Curiosity. Playfulness. Or someone listening so hard they forget to hide it.

Temple rub — “I can’t deal.” Could be physical pain. Could be stress. Could be emotional overload in disguise.

Chin stroking — Your classic “I’m judging you politely.” Often used in arguments between characters pretending to be calm.

Hands behind the back — Authority. Control. Or rigid fear masked as control.

Leaning body — This is the body betraying the brain. A tilt toward someone means they care—even if their words are cold.

Nail biting — Classic anxiety. But also habit. Something learned. Sometimes people bite because that’s how they self-soothe.

Squinting — Focusing. Doubting. Suspicion without confrontation.

Shifting weight — Uncomfortable. Unsure. Someone who wants to leave but doesn’t.

Covering the mouth — Guilt. Hesitation. The “should I say this?” moment before something big drops.

Body language is more honest than dialogue. If you really want to show your character’s internal world, don’t just give them lines. Give them a hand that won’t stop shaking. Give them a foot that won’t stop bouncing. Give them a mouth that smiles when their eyes don’t. And if you’re not sure what your character would do in a moment of fear, or love, or heartbreak, try acting it out yourself. Seriously. Get weird. Feel what your body does. Then write that down.

Moral Dilemmas That Will Mess Up Your Character

» They witness a crime but helping the victim means exposing a secret that could ruin someone they love.

» They could save someone’s life… but only by hurting someone else.

» They’re offered everything they’ve ever wanted, by the worst person they know.

» They have to lie to protect someone, but the lie costs someone else dearly.

» They can bring justice, but only by breaking a promise.

» They’re given power, but to keep it, they have to become what they hate.

» They have the chance to take revenge, and it would be so easy. So satisfying.

» They’re the only one who knows the truth, but telling it would destroy someone’s faith.

» They could protect the many, by sacrificing the one. And the one matters to them.

» They promised not to get involved, but walking away would haunt them forever.

» They were wrong  and admitting it now will shatter their credibility.

» They’re asked to forgive, and they know the person doesn’t deserve it.

» They have to pick a side, but both sides are flawed. Both will cost them something.

» They want to help, but they’re not sure it’s their place.

» They said they’d never become their parent and now they’re staring in the mirror, wondering if they already have.

» They catch their friend doing something terrible, but they owe them everything.

» They can’t tell if they’re protecting someone, or controlling them.

» They get what they want, but someone else suffers for it.

» They promised to keep a secret, but now someone innocent is getting hurt.

» They fall in love and realize it compromises everything they believe in.

How a Character’s Anger Can Show Up Quietly

Anger doesn’t always slam doors. Sometimes it simmers. Sometimes it cuts.

╰ They go still. Not calm... still. Like something is pulling tight inside them.

╰ They smile, but their eyes? Cold. Flat. Done.

╰ Their voice gets quieter, not louder. Controlled. Measured. Weaponized.

╰ They ask questions they already know the answers to, just to watch someone squirm.

╰ Their words are clipped. Polite. But razor-sharp.

╰ They laugh once. Without humor. You know the one.

╰ They leave the room without explanation, and when they come back? Different energy. Ice where fire was.

Habits That Reveal Deep Character

(A.K.A. the quiet stuff that says everything without screaming it)

❥ The “I Always Sit Facing the Exit” Quirk They don’t talk about their childhood much, but they always know where the exits are. Every restaurant. Every train. Trauma has muscle memory. Your job is to notice what it’s saying without needing a monologue about it.

❥ The “I Can’t Sleep Until I Hear You Lock the Door” Habit It's not controlling. It's care shaped like paranoia. They say “Goodnight” like it’s casual, but they’re counting the clicks of the lock like a lullaby. Let that show more than “I love you.”

❥ The “I Keep Everything You’ve Ever Given Me” Thing Not just gifts. Receipts with your doodles. The crumpled note you wrote when you were mad. Every bit of you that felt real. It’s borderline hoarder behavior, but also? It’s devotion.

❥ The “I Cook When I’m Sad” Pattern Their world’s falling apart, but suddenly everyone has banana bread. It’s not about food—it’s about control, about creating something warm when everything else is cold. And they won’t say it out loud, but they're asking, “Will you stay?”

❥ The “I Practice Conversations in the Mirror” Secret Before big moments, hard talks, or just answering the phone. They're rehearsing being okay. They're trying to be the version of themselves people expect. That’s not weakness—it’s survival wrapped in performance art.

❥ The “I Fix Other People’s Problems to Ignore My Own” Reflex Everyone calls them “strong,” but no one notices how fast they redirect. “How are you doing though?” they ask, one heartbeat after breaking down. Let your reader see how exhaustion wears a smile.

❥ The “I Never Miss A Birthday” Rule Even for people who forgot theirs. Even for exes. It’s not about being remembered—it’s about being someone who remembers. That’s character.

❥ The “I Clean When I Feel Powerless” Mechanism That sparkling sink? Not about hygiene. That’s grief control. That’s despair in a Clorox wipe. Let it speak volumes in the silence of a spotless room.

❥ The “I Pretend I Don’t Need Help” Lie They say, “I’m fine” like it’s a full stop. But their hands shake when they think no one’s looking. Let your other characters notice. Let someone care, even when they don’t ask for it.

❥ The “I Watch People When They’re Not Watching Me” Curiosity Not in a creepy way. In a poet’s way. In a “who are you when no one’s clapping” way. They love the in-between moments: laughter in elevators, fidgeting before speeches. That's who they are—observers, not performers.

When a Character Feels Like They’re Losing Control

(Emotionally. Mentally. Internally. Completely.)

There’s a quiet kind of horror that comes with realizing you’re not okay and can’t fix it. When a character starts unraveling, it doesn’t always look like screaming or smashing things. Sometimes it’s the slow, subtle slipping of the reins...

╰ They overcompensate. Suddenly everything needs to be spotless, perfect, hyper-organized. Their planner is full, their schedule is packed, their smile is pinned on too tight. It’s not control, it’s panic dressed up in structure.

╰ They talk faster, louder or stop talking at all. They dominate conversations so they don’t have to think. Or they fall silent because words feel too risky. Either way, their voice is no longer safe territory.

╰ They get weird about small decisions. Choosing a sandwich becomes a full-body crisis. What should be easy isn’t, because nothing feels certain. It’s not about the sandwich. It’s about everything spinning too fast.

╰ They feel detached. Like they’re watching their life from a distance. They float above the room, disconnected from themselves, and laugh at things they don’t really find funny.

╰ They lash out in ways that don’t fit the moment. It’s never really about what triggered them. They explode over the dishes, or cry because someone asked if they’re okay. Their emotions are no longer matching the moment.

╰ They start avoiding mirrors. They don’t want to look at themselves, because they know. They know something’s off. They know their smile doesn’t reach their eyes. And they can’t face that truth yet.

╰ They apologize too much or not at all. They either spiral into guilt, overexplaining everything. Or they shut off and go stone-cold, too afraid that acknowledging the damage will make it real.

╰ They miss things. Conversations. Appointments. Easy tasks. Their brain is overwhelmed, trying to hold it together, and things slip through the cracks. And when they realize it, they panic more.

╰ They crave control but trust no one. They don’t delegate, don’t ask for help, because what if that help makes it worse? Trusting someone means letting go, and that’s the scariest thing of all right now.

╰ They feel like a passenger in their own life. There’s a version of them who used to be present. Who felt joy. Who wasn’t this… numb, terrified shell. And they don’t know where that person went, or how to bring them back.

✏️ Writing Dialogue That Sounds Like Real People, Not Theater Kids on Red Bull

(a crash course in vibes, verbal economy, and making your characters shut up already)

Okay. We need to talk about dialogue. Specifically: why everyone in your draft sounds like they’re in a high school improv group doing a dramatic reading of Riverdale fanfiction.

Before you panic, this is normal. Early dialogue is almost always too much. Too polished. Too "scripted." So if yours feels off? You’re not failing. You’re just doing Draft Zero Dialogue, and it’s time to revise it like a boss.

Here’s how to fix it.

─────── ✦ ───────

🎭 STEP ONE: DETOX THEATER ENERGY I say this with love: your characters are not all quippy geniuses. They do not need to deliver emotional monologues at every plot beat. They can just say things. Weird, half-finished, awkward things.

Real people:

interrupt each other

trail off mid-thought

dodge questions

contradict themselves

repeat stuff

change the subject randomly

Let your characters sound messy. Not every line needs to sparkle. In fact, the more effort you put into making dialogue ✨perfect✨, the more fake it sounds. Cut 30% of your clever lines and see what happens.

─────── ✦ ───────

🎤 STEP TWO: GIVE EACH CHARACTER A VERBAL FINGERPRINT The fastest way to make dialogue feel alive? Make everyone speak differently. Think rhythm, grammar, vocabulary, tone.

Some dials you can twist:

Long-winded vs. clipped

Formal vs. casual

Emojis of speech: sarcasm, filler words, expletives, slang

Sentence structure: do they talk in fragments? Run-ons? Spirals?

Emotion control: are they blunt, diplomatic, avoidant, performative?

Here’s a shortcut: imagine what your character sounds like over text. Are they the “lol okay” type or the “okie dokie artichokie 🌈✨” one? Now translate that into speech.

─────── ✦ ───────

🧠 STEP THREE: FUNCTION > FILLER Every line of dialogue should do something. Reveal something. Move something. Change something.

Ask:

Does this line push the plot forward?

Does it show character motivation/conflict/dynamic?

Does it create tension, add context, or raise a question?

If it’s just noise? It’s dead air. Cut it. Replace it with a glance. A gesture. A silence that says more.

TIP: look at a dialogue scene and remove every third line. Does the scene still work? Probably better.

─────── ✦ ───────

💥 STEP FOUR: REACTIVITY IS THE GOLD STANDARD Characters don’t talk into a void. They respond. And how they respond = the real juice.

Don’t just write back-and-forth ping pong. Write conflict, dodge, misunderstanding. If one character says something vulnerable, the other might joke. Or ignore it. Or say something cruel. That’s tension.

Dialogue is not just information exchange. It’s emotional strategy.

Try this exercise: A says something revealing. B lies. A notices, but pretends they don’t. B changes the subject. Now you’ve got a real scene.

─────── ✦ ───────

🔍 STEP FIVE: PAY ATTENTION TO POWER Every convo has a power dynamic, even if it’s tiny. Who’s steering? Who’s withholding? Who’s deflecting, chasing, challenging?

Power can shift line to line. That shift = tension. And tension = narrative fuel.

Write conversations like chess matches, not ping pong.

─────── ✦ ───────

✂️ STEP SIX: SCISSORS ARE YOUR BEST FRIEND The best dialogue is often the second draft. Or third. Or fourth. First drafts are just you figuring out what everyone wants to say. Later drafts figure out what they actually would say.

Things to cut:

Greetings/closings ("Hi!" "Bye!"--skip it unless it serves tone)

Exposition disguised as chat

Obvious thoughts spoken aloud

Explaining jokes

Repeating what we already know

Readers are smart. Let them fill in blanks.

─────── ✦ ───────

🎧 STEP SEVEN: READ IT OUT LOUD (YES, REALLY) If you hate this step: too bad. It works. Read it. Mumbling is fine. Cringe is part of the ritual.

Ask yourself:

Would someone actually say this?

Does this sound like one person speaking, or a puppet show with one hand?

Where does the rhythm trip? Where’s the breath?

If you can’t say it out loud without wincing, the reader won’t make it either. Respect the vibe.

─────── ✦ ───────

🏁 TL;DR: If you want your dialogue to sound like real people, let your characters be real. Messy. Annoying. Human. Let them interrupt and lie and joke badly and say the wrong thing at the worst time.

Cut the improv class energy. Kill the urge to be ✨brilliant✨. And listen to how people talk when they’re scared, tired, pissed off, in love, or trying not to say what they mean.

That’s where the good stuff is.

—rin t. // thewriteadviceforwriters // official advocate of awkward silences and one-word replies

P.S. I made a free mini eBook about the 5 biggest mistakes writers make in the first 10 pages 👀 you can grab it here for FREE:

Gumroad

5 Opening Pages Mistakes to Stop Making — A Mini eBook for Fiction Writers

✦ A free (and actually helpful) guide to leveling up your first 10 pages ✦If you're unsure whether your opening is ✨doing enough✨ to hook re

Every light fantasy story needs

a talking teacup that gives terrible advice

a forest that hums lullabies

a bakery that bakes memories into tea cakes

a prince who turns into a frog on purpose

a moonbeam that you can fold into origami

a pond that reflects your happiest memories

a rainbow that you can climb into the clouds

a scarf that changes colour based on nearby magic

a rocking chair that tells stories from your childhood

a bookshop where book characters sometimes step out for a cuppa

a sleepy coastal town where the sea leaves gifts on your doorstep

Every dark fantasy story needs

a cloak that hides your emotions, not your body

a library where the books whisper secrets and the bookshelves reassemble themselves into a maze the more you want to seek a book

a map that leads you to a different foe every time

a lantern that only lights when someone tells the truth

a door that only opens if you promise never to return

a throne that turns its user into what the kingdom truly deserves

a river that flows with memories instead of water

a sword that hungers, not for blood, but for guilt

a child’s lullaby that summons something watching from the woods

Every academia story needs

all nighters fuelled by caffeine

a rumour about a professor who disappeared halfway through a semester

fighting for the last copy of a textbook

racing each other to find the best supervisor

verbal sparring on question sets

whispered debates in libraries

a mentor who’s either wildly inspiring or borderline unhinged

one student who always sits in the same spot until one day, they don’t

a group project that goes horrifically wrong

philosophising at 3 a.m. in corridors and staircases

the sudden realisation you’ve been working in the library for 12 hours straight and haven’t eaten

a changing quote written daily on the whiteboard that no one claims

Every romance story needs

a lapse of judgement, then an apology

a pet that goes astray--they go find it together

a shared umbrella in the rain

an fight in a kitchen that turns into dancing

a letter never meant to be opened--but it is

a late-night walk where neither wants to say goodbye

a borrowed sweater that still smells like them

a plant they raise together

a reunion at a train station or airport terminal

Every horror story needs

the ghost of your enemy

bloody footprints that lead into a desolate building

a voice that mimics your own, but whispers from another room

a knock at the door when no one should know you’re there

a journal that ends mid-sentence

a smell of rot with no source

a shadow that lingers long after the person is gone

a warning scrawled on the ceiling in your own handwriting

a room that’s colder than the rest of the house, no matter the season

Every historical story needs

a letter that never reached its destination, until now

a secret stitched into the lining of a coat

a forbidden romance

a family heirloom with a history only the family knows about

a moment where history happens in the background while the characters live their quiet lives

an encounter with a real historical figure

an ordinary object that survives through generations

a meal shared between enemies during a truce

give me a protagonist who dreams in perfume and static. who wanders into the sea fully clothed. who falls in love with ghosts and calls it character development.

Write Characters with Deep Emotional Wounds

(Without Making Them Walking Tragedies)

╰ Start with the scar, not the stabbing. Everyone talks about what happened to your character (The Big Trauma) but honestly? It’s the aftermath that matters. Show me the limp, not the bullet wound. Show me the way they flinch at kindness or double-check locks three times. The wound shapes them more than the event ever did.

╰ Don't make them "Sad All The Time" People with deep hurts aren’t just dramatic sob machines. They make bad jokes. They find weird hobbies. They have good days and then get wrecked by a song in a grocery store. Layers, my friend. Pain is complex and it sure as hell isn’t aesthetic.

╰ Let them almost heal and then backslide. Real healing isn’t linear. One good conversation doesn’t erase ten years of bottled-up grief. Your character might think they’re over it, and then one tiny thing, a smell, a phrase, a look, knocks them right back into the hole. Make them earn their healing. Make us ache for them.

╰ Give them armor and show the cracks. Maybe it’s sarcasm. Maybe it’s perfectionism. Maybe it’s taking care of everyone else so no one notices they're broken. Whatever mask they wear, show us the hairline fractures. Let us catch the moments where they almost drop the act.

╰ Don’t turn their trauma into their only personality trait. Yes, they’ve been through hell. But they also love spicy chips and bad reality TV. They have dumb crushes and secret dreams. A tragic backstory isn’t a substitute for a full human being. Let them be more than the worst thing that ever happened to them.

╰ Let their wound warp their decisions. People protect their wounds. Even badly. Especially badly. They might sabotage good relationships. Or push away help. Or cling too tightly. Make their past live in their choices, not just their flashbacks.

╰ Don’t make the world validate them for existing. Not everyone is going to understand your wounded character. Some people will misunderstand them. Blame them. Get frustrated. And honestly? That’s real. Let your character find their people, after facing the ones who don’t get it. It’s so much sweeter that way.

╰ Wounds can make them kinder—or crueler. Pain changes people. Some become protectors. Some become destroyers. Some do both, depending on the day. Let your character’s hurt make them complicated. Unpredictable. Human.

╰ Don’t heal them just to tie a neat bow on your story Sometimes the best ending is messy. Sometimes the healing is just starting. Sometimes it’s just hope, not a full recovery montage. That’s okay. Healing is a lifelong, terrifying, brave process—and readers feel it when you respect that.

Hidden Things

There are stories which hide beneath the stars.

You will not find them, nor will your scars

People ask where they came from,

You don’t know from where they come.

Nobody understands,

You can only clench your hands.

Roads are quite the fair

though, earth doesn’t blink, nor care.

Not even bother to stare.

But why would it bother?

It’d be odder,

Say it the Earth did care.

(A-A-B-B-C-C-D-D-D-E-E-F)

(Kinda random but oh well)

Description!!

(I’m sorry that I keep making these, but I seriously have trouble with it.)

Kinda a long post

————————————————————————

HE/HIM - 💚🥞 Hiya! I’m Atlas, and I’m the host of this DID system! I’m quite the neat freak, and I’ve got a list of things I do that normally ppl don’t!:

-DEPRESSION✨✨ (I have therapy, along with all the alters)

-Anxiety (more therapy)

-REALLY bad panic attacks when I’m yelled at (by people who’s opinion I care about (my moms))

-Isn’t it obvious? DID!!!

-I’m smart, but I get burnt out VERY easy

So, I might add more to this, but that’s all I have for now! I’m transgender, pansexual, and polygamous. I have two partners, one of which is also on tumblr (HII BABBYYY!!).

————————————————————

SHE/HER - 🌸🍬 IM CANDI!!! IM CHILD ALTER AND IS PROBABLY CRAZY!! I LOVE CANDY AND CATZ AND DOGGIES AND AGHHHHH!!! I HAS INSOMNIA!!

————————————————————

HE/IT - 💥💔 (Rex refuses to front so he doesn’t get a section)

————————————————————

ANY - 🌊💙 Hi. I’m Percy. I think I’m the protecter. I’m usually the most calm (Rex is kinda, he just tends to get angry fast). I love the ocean, and sea creatures!

————————————————————

SHE/HIM-🦈🦅

Hi! I’m Finn, I’m the memory holder. I love oceans, and I’m told I’m really similar to Percy! Actually, funny story, Atlas didn’t know I was here for a while cuz he thought I was Percy!

————————————————————

FANDOMS:

Gravity falls (Occasionally we’ll reblog stuff, but we’re not an avid fan)

FNAF (Oh dear, how I loved the aggressive Afton family phase)

Spongebob

Buffy the Vampire Slayer (Very aggressively)

Others that I hit can’t think of rn-

————————————————————

Alter Ages:

Atlas: 18

Rex: 19

Candi: 7

Percy: 17

Finn: 18

My other alters vary, and some don’t have ages. If any of them become more prominent I’ll get them to make a section in this.

————————————————————

By the way, these are my alters that front more than twice a month. I probably have over ten alters, they just prefer to not front. I might get them to make little things when they do front, but I’ll say, don’t expect much.

————————————————————

I might add on to this later, but that’s for now!

BYE!!!!!!!

Official Dates

We're happy to announce the dates for this year's writing event‼️

Prompts will be released on the 1st of July

The event officially opens on the 1st of August and will run until the 30th of September.

Special Note

While the event runs between August and September, it will remain open for any late submissions. But note, any work submitted after the 30th of September might not be featured here on this page, and will not be included in the round up that follows immediately after. It will, however, be included in future round ups or "Favourite Pick" events.

In the following weeks leading up to the 1st of July, we'll be reminding everyone of the event rules. All important information will be available on this page or the AO3 Collection.

Any further questions don't hesitate to pop us an ASK, and either @guin-ramble or @thecrazyknight will get back to you.

FIC!!!

(I wrote an entire fic, posted it, and it DIDNT POST!! So this is a remake, so it might be worse quality. I’m just rlly pissed cause I wrote a decent sized fic and now it’s lost in space!)

(semi gore warning)

As many people may know, there is such a thing as a slayer. She stands against the forces of evil, and is practically the only reason the world isn’t overrun with vampires and demons.

Now you may think, “how can one measly girl protect the world?”, and to that I say, she’s a slayer! It may not be explainable, but she has all the power of the slayers before her, and it’s just the way it works. Now, I’m no longer taking questions. It’s time to get to the story!

Olive kicked the vampire, knocking it to the floor with a crack, presumably from its bones. The vampire hissed, trying to get back to its feet. Olive put her foot on its chest, keeping it down before she sunk a stake into its heart. The vampire exploded into a cloud of dust before even the dust went away. Marcus, her watcher, walked over. “Better than last time, but you really need to stop making a show of it. All you need to do is stab it. Not knock it down or anything.” Marcus spoke with a British accent, and he pronounced the letters carefully as if messing up was illegal.

Olive rolled her eyes, clenching her jaw. “Yeah yeah, whatever.” she muttered beneath her breath, and grabbed her bag off the ground. She stuffed the stake into her bag, and slung the bag over her shoulder. Marcus walked with her, out of the graveyard and to her house. He might be a pain in Olives a- (NO!!), but he was at least a gentleman.

“Goodbye, and I hope you get bit by a vampire.” Olive turned and said, and stepped inside before Marcus could reply. Marcus snorted, a d started walking home.

The next morning, Olives mother called from downstairs. “Olive, come downstairs. You can’t be late for school!” Olive sighed, and sat up. She swung her legs over to the floor, whispering “Oh no, that’d be terrible…” Beneath her breath and then getting up. She got ready, and went downstairs. She grabbed her school bag, walking to the kitchen.

Olives mom turned, handing her a plate of pancakes. Olive took the pancakes, scarfing them down and heading to leave. “Bye.” Her mother said, annoyed. Olive nodded, leaving. She walked to school, but once she entered her math class…

Everything got blurry, and then it turned black…

(Idk if I wanna continue this, so reactions wanted :3)

10 Traits That Make a Character Secretly Dangerous

❥ Disarming Humor. They’re the life of the party. Everyone’s laughing. No one’s noticing how much they aren’tsaying.

❥ Laser-Sharp Observation. They see everything. Who’s nervous. Who’s lying. Who would be easiest to break. And they don’t miss.

❥ Unsettling Calm. Even in chaos, they stay still. Smiling. Thinking. Calculating.

❥ Weaponized Empathy. They know how to make people trust them. Because they know exactly what people want to hear.

❥ Compartmentalization. They can do something brutal, then eat lunch like nothing happened.

❥ Controlling Niceness. The kind of kindness that’s sharp-edged. You feel guilty for not loving them.

❥ Mirroring Behavior. They become whatever the person in front of them needs. It's not flattery. It’s survival—or manipulation.

❥ Selective Vulnerability. They know how to spill just enough pain to make you drop your guard.

❥ History of “Bad Luck”. Ex-friends, ex-lovers, ex-colleagues… they all left under “unfortunate” circumstances. But the pattern says otherwise.

❥ Unshakeable Confidence in Their Morality. They don’t think they’re the villain. That makes them scarier.

Unhealed Wounds Your Character Pretends Are Just “Personality Traits”

These are the things your character claims are just “how they are” but really, they’re bleeding all over everyone and calling it a vibe.

╰ They say they're "independent." Translation: They don’t trust anyone to stay. They learned early that needing people = disappointment. So now they call it “being self-sufficient” like it’s some shiny badge of honor. (Mostly to cover up how lonely they are.)

╰ They say they're "laid-back." Translation: They stopped believing their wants mattered. They'll eat anywhere. Do anything. Agree with everyone. Not because they're chill, but because the fight got beaten out of them a long time ago.

╰ They say they're "a perfectionist." Translation: They believe mistakes make them unlovable. Every typo. Every bad hair day. Every misstep feels like proof that they’re worthless. So they polish and polish and polish... until there’s nothing real left.

╰ They say they're "private." Translation: They’re terrified of being judged—or worse, pitied. Walls on walls on walls. They joke about being “mysterious” while desperately hoping no one gets close enough to see the mess behind the curtain.

╰ They say they're "ambitious." Translation: They think achieving enough will finally make the emptiness go away. If they can just get the promotion, the award, the validation—then maybe they’ll finally outrun the feeling that they’re fundamentally broken. (It never works.)

╰ They say they're "good at moving on." Translation: They’re world-class at repression. They’ll cut people out. Bury heartbreak. Pretend it never happened. And then wonder why they wake up at 3 a.m. feeling like they're suffocating.

╰ They say they're "logical." Translation: They’re terrified of their own feelings. Emotions? Messy. Dangerous. Uncontrollable. So they intellectualize everything to avoid feeling anything real. They call it rationality. (It's fear.)

╰ They say they're "loyal to a fault." Translation: They mistake abandonment for loyalty. They stay too long. Forgive too much. Invest in people who treat them like an afterthought, because they think walking away makes them "just as bad."

╰ They say they're "resilient." Translation: They don't know how to ask for help without feeling like a burden. They wear every bruise like a trophy. They survive things they should never have had to survive. And they call it strength. (But really? It's exhaustion wearing a cape.)

Emotional Walls Your Character Has Built (And What Might Finally Break Them)

(How your character defends their soft core and what could shatter it) Because protection becomes prison real fast.

✶ Sarcasm as armor. (Break it with someone who laughs gently, not mockingly.) ✶ Hyper-independence. (Break it with someone who shows up even when they’re told not to.) ✶ Stoicism. (Break it with a safe space to fall apart.) ✶ Flirting to avoid intimacy. (Break it with real vulnerability they didn’t see coming.) ✶ Ghosting everyone. (Break it with someone who won’t take silence as an answer.) ✶ Lying for convenience. (Break it with someone who sees through them but stays anyway.) ✶ Avoiding touch. (Break it with accidental, gentle contact that feels like home.) ✶ Oversharing meaningless things to hide real depth. (Break it with someone who asks the second question.) ✶ Overworking. (Break it with forced stillness and the terrifying sound of their own thoughts.) ✶ Pretending not to care. (Break it with a loss they can’t fake their way through.) ✶ Avoiding mirrors. (Break it with a quiet compliment that hits too hard.) ✶ Turning every conversation into a joke. (Break it with someone who doesn’t laugh.) ✶ Being everyone’s helper. (Break it when someone asks what they need, and waits for an answer.) ✶ Constantly saying “I’m fine.” (Break it when they finally scream that they’re not.) ✶ Running. Always running. (Break it with someone who doesn’t chase, but doesn’t leave, either.) ✶ Intellectualizing every feeling. (Break it with raw, messy emotion they can’t logic away.) ✶ Trying to be the strong one. (Break it when someone sees the weight they’re carrying, and offers to help.) ✶ Hiding behind success. (Break it when they succeed and still feel empty.) ✶ Avoiding conflict at all costs. (Break it when silence causes more pain than the truth.) ✶ Focusing on everyone else’s healing but their own. (Break it when they hit emotional burnout.)

🧃 How to Develop a Vibe AND a Plot (aesthetic doesn’t cancel arcs. let’s balance them.)

hey you. yes, you. the one with the moody playlists, the 73-tab Pinterest board, and a half-written draft that just keeps…vibing in circles.

if you’ve ever written 10k of immaculate vibes but couldn’t tell anyone what your story is about, this post is for you. because here’s the thing: ✨ aesthetic is not a substitute for stakes. ✨

let’s talk about how to keep your ✨vibes✨ and actually have a plot that moves. no ✧ fluff ✧ just structure, character arcs, and some lovingly blunt advice from your local writeblr gremlin (me).

🌊 1. aesthetic is a result, not a premise

the most common mistake i see is starting with a vibe as the story. like:

“sad girls on the beach in 1996”

“a cursed forest full of dead gods”

“a pastel academic rivalry with secrets and sexual tension”

cool. great. love that for you. but… what’s the story? what’s happening?

✨vibes = setting + mood + tone. ✨plot = choices + consequences + change.

your aesthetic can inspire the story (please keep making playlists. i love them). but don’t confuse the feel of your world with the function of your plot. start with tension. stakes. character flaws. emotional damage. that’s the engine. the aesthetic is the paint job.

🎯 2. define your “emotional throughline”

okay, so you’ve got an aesthetic. what’s the emotional core of it? your plot should orbit a single emotional question, like:

will this character ever let themselves be known?

what does it take to unlearn loyalty?

is love worth destroying something sacred?

start with that. then attach aesthetic scenes to it.

🧩 pro tip: aesthetic scenes are more powerful when they contradict or complicate your emotional throughline.

ex: your story’s about loneliness? show them at the loudest, busiest party. story’s about grief? show them smiling in photos while everything breaks behind the lens.

aesthetic is stronger with irony. contrast. juxtapositions. don’t just bathe the reader in vibes. weaponize them.

💥 3. let your aesthetic hurt your characters

whatever your aesthetic is--soft academia, vaporwave horror, regency witchcore, don’t make it just a backdrop. make it an obstacle.

your setting should create problems. friction. conflict.

if it’s a sleepy coastal town: what’s festering beneath the quiet?

if it’s a hauntingly beautiful forest: what does it take from people?

if it’s a cursed mansion: what happens to the girls who stay too long?

every time you design a pretty place or moody visual, ask: ❓ how does this setting test my characters’ beliefs or desires?

because then your aesthetic drives the story forward instead of just decorating it.

📚 4. develop plot like a playlist: structure the escalation

your aesthetic playlist has structure, right? (don’t lie. i know you’ve got a specific song for act 3 heartbreak.)

plot works the same way. it’s not a mystery. it’s escalation.

you want a structure? here’s a dead-simple one:

give your main character a desire (internal & external)

give them a reason they can’t have it (flaw, fear, lie)

make them try anyway (rising stakes)

make it cost them something (midpoint shift)

force them to change or break (climax)

let that change play out (falling action / resolution)

that’s it. apply that structure to your vibey little story and suddenly it’s a book.

👁‍🗨 5. plot is what they do - vibe is how it feels

don’t choose one. you can have both.

you can have a soft lighting scene on a rooftop and the secret betrayal reveal. you can have dreamy prose and broken character dynamics. you can give me worldbuilding so lush it smells like petrichor and rot and still give me a plot twist that leaves me feral.

you just need to be intentional.

every scene = a purpose. every aesthetic = an angle. every image = tied to stakes, desire, or change.

✨ that’s the difference between “ooh pretty” and “oh my god i can’t stop thinking about this story.” ✨

💌 so in conclusion:

start with an emotional arc

let your aesthetic scenes earn their place

make your world fight your characters

escalate, escalate, escalate

and stop hiding a lack of plot under “vibe” like a glittery throw blanket over a broken chair

you’ve got this. now go write the beautifully messy, aesthetic and emotionally devastating story you were meant to.

i believe in you.

🧃rin t.

P.S. I made a free mini eBook about the 5 biggest mistakes writers make in the first 10 pages 👀 you can grab it here for FREE:

Gumroad

5 Opening Pages Mistakes to Stop Making — A Mini eBook for Fiction Writers

✦ A free (and actually helpful) guide to leveling up your first 10 pages ✦If you're unsure whether your opening is ✨doing enough✨ to hook re

never forget how they gave you distance when u needed love

I refuse to stop posting these. They’re perfect!!!

✨ HOW TO ACTUALLY START A BOOK

(no ✨vibes✨, just structure, stakes, and first-sentence sweat)

hello writer friends 💌 so you opened a doc. you sat down. you cracked your knuckles. maybe you even made a playlist or moodboard. and then… you stared at the blinking cursor like it personally insulted your entire bloodline.

here’s your intervention. this post is for when you want to write chapter one, but all you have is aesthetic, maybe a plot bunny, maybe a world idea, maybe nothing at all. here’s how to actually start a book, from structure to sentence one.

—

🌶️ STEP 1: THE SPICE BASE ~ “WHAT’S CHANGING?”

start with this question:

what changes in the protagonist’s life in the first 5–10 pages?

doesn’t have to be earth-shattering. they could get a letter, lose a job, run late, break a rule, wake up hungover in the wrong house. what matters is disruption. the opening of your book should mark a shift. if their day starts normal, it shouldn’t end that way.

🏁 opening chapters are about motion. forward movement. tension. momentum. if nothing is changing, your story isn’t starting, you’re just doing a prequel.

—

⚙️ STEP 2: THE CRUNCHY BITS - CHOOSE AN ENTRY POINT

there are 3 classic places to start a novel. each one works if you’re intentional:

The Day Everything Changes most popular. you drop us in right before or during the inciting incident. clean, fast, efficient.

pro: immediate stakes con: harder to sneak in worldbuilding or character grounding

The Calm Before the Storm starts slightly earlier. show the character’s “normal” life, then break it. useful if the change won’t make sense without context.

pro: space to introduce your character’s routine/flaws con: risky if it drags or feels like setup

The Aftermath drop us in after the big event and fill in gaps as we go. works well for thrillers, mysteries, or emotionally heavy plots.

pro: instant drama con: requires precision to avoid confusion

📝 pick one. commit. don’t blend them or you’ll write three intros at once and cry.

—

🧠 STEP 3: CHARACTER FIRST, ALWAYS

readers don’t care about your setting, your magic system, or your cool mafia politics unless they’re anchored in someone.

in the first scene, we need to know:

what this person wants

what’s bothering them (externally or internally)

one trait they lead with (bold, anxious, calculating, naive, etc.)

that’s it. just one want, one tension, one vibe. no bios. no monologues. no “they weren’t like other girls” essays. put them in a situation and show how they act.

—

⛓️ STEP 4: OPEN WITH FRICTION

first scenes should create questions, not answer them.

there should be tension between:

what the character wants vs. what they’re getting

what’s happening vs. what they expected

what’s being said vs. what’s being felt

you don’t need a gunshot or a car crash (unless you want one). you need conflict. tension = momentum = readers keep reading.

—

✏️ STEP 5: WRITE THE FIRST SENTENCE - THEN IGNORE IT

okay. now you write it.

no pressure. you’re not tattooing it on your soul. this isn’t the final line on the final page. you just need something.

tricks that work:

start in the middle of an action

start with a contradiction

start with something unexpected, funny, or sharp

start with a small lie or a weird detail

💬 examples:

“The body was exactly where she’d left it - rude.” “He was already two hours late to his own kidnapping.” “There was blood on the welcome mat. Again.” “They said don’t open the door. She opened it anyway.”

once you’ve got it? keep going. don’t revise yet. don’t edit. just build momentum.

you can come back and make it ✨iconic✨ later.

—

📦 BONUS: WHAT NOT TO DO IN YOUR OPENING

don’t start with a dream

don’t info-dump lore in paragraph one

don’t give me three pages of your OC making toast

don’t try to sound like a Victorian cryptid unless it’s on purpose

don’t introduce 7 named characters in one scene

don’t start with a quote unless you are 800% sure it slaps

be weird. be sharp. be specific. aim for interest, not perfection.

—

🏁 TL;DR (but make it ✨useful✨)

something in your MC’s life should change immediately

pick a structural entry point and stick to it

give us a person, not a setting

friction = good

first lines are disposable, just make them interesting

and if you needed a sign to just start the damn book, this is it.

💌 love, -rin t.

P.S. I made a free mini eBook about the 5 biggest mistakes writers make in the first 10 pages 👀 you can grab it here for FREE:

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🧩 How to Outline Without Feeling Like You’re Dying

(a non-suffering writer’s guide to structure, sanity, and staying mildly hydrated)

Hey besties. Let’s talk outlines. Specifically: how to do them without crawling into the floorboards and screaming like a Victorian ghost.

If just hearing the word “outline” sends your brain into chaos-mode, welcome. You’re not broken, you’re just a writer whose process has been hijacked by Very Serious Advice™ that doesn’t fit you. You don’t need to build a military-grade beat sheet. You don’t need a sixteen-tab spreadsheet. You don’t need to suffer to be legitimate. You just need a structure that feels like it’s helping you, not haunting you.

So. Here’s how to outline your book without losing your soul (or all your serotonin).

—

🍓 1. Stop thinking of it as “outlining.” That word is cursed. Try “story sketch.” “Narrative roadmap.” “Planning soup.” Whatever gets your brain to chill out. The goal here is to understand your story, not architect it to death.

Outlining isn’t predicting everything. It’s just building a scaffold so your plot doesn't fall over mid-draft.

—

🧠 2. Find your plot skeleton. There are lots of plot structures floating around: 3-Act. Save the Cat. Hero’s Journey. Take what helps, ignore the rest.

If all else fails, try this dirt-simple one I use when my brain is mush:

Act I: What’s the problem?

Act II: Why can’t we fix it?

Act III: What finally makes us change?

Ending: What does that change cost?

You don’t need to fill in every detail. You just need to know what’s driving your character, what’s blocking them, and what choices will change them.

—

🛒 3. Make a “scene bucket list.” Before you start plotting in order, write down a list of scenes you know you want: key vibes, emotional beats, dramatic reveals, whatever.

These are your anchors. Even if you don’t know where they go yet, they’re proof your story already exists, it just needs connecting tissue.

Bonus: when you inevitably get stuck later, one of these might be the scene that pulls you back in.

—

🧩 4. Start with 5 key scenes. That’s it. Here’s a minimalist approach that won’t kill your momentum:

Opening (what sucks about their world?)

Catalyst (what throws them off course?)

Midpoint (what makes them confront themselves?)

Climax (what breaks or remakes them?)

Ending (what’s changed?)

Plot the spaces between those after you’ve nailed these. Think of it like nailing down corners of a poster before smoothing the rest.

You’re not “doing it wrong” if you start messy. A messy start is a start.

—

🔧 5. Use the outline to ask questions, not just answer them. Every section of your outline should provoke a question that the scene must answer.

Instead of: — “Chapter 5: Sarah finds a journal.”

Try: — “Chapter 5: What truth does Sarah find that complicates her next move?”

This makes your story active, not just a list of stuff that happens. Outlines aren’t just there to record, they’re tools for curiosity.

—

🪤 6. Beware of the Perfectionist Trap™. You will not get the entire plot perfect before you write. Don’t stall your momentum waiting for a divine lightning bolt of Clarity. You get clarity by writing.

Think of your outline as a map drawn in pencil, not ink. It’s allowed to evolve. It should evolve.

You’re not building a museum exhibit. You’re making a prototype.

—

🧼 7. Clean up after you start drafting. Here’s the secret: the first draft will teach you what the story’s actually about. You can go back and revise the outline to fit that. It’s not wasted work, it’s evolving scaffolding.

You don’t have to build the house before you live in it. You can live in the mess while you figure out where the kitchen goes.

—

🛟 8. If you’re a discovery writer, hybrid it. A lot of “pantsers” aren’t anti-outline, they’re just anti-stiff-outline. That’s fair.

Try using “signposts,” not full scenes:

Here’s a secret someone’s hiding.

Here’s the emotional breakdown scene.

Here’s a betrayal. Maybe not sure by who yet.

Let the plot breathe. Let the characters argue with your outline. That tension is where the fun happens.

—

🪴 TL;DR but emotionally: You don’t need a flawless outline to write a good book. You just need a loose net of ideas, a couple of emotional anchors, and the willingness to pivot when your story teaches you something new.

Outlines should support you, not suffocate you.

Let yourself try. Let it be imperfect. That’s where the good stuff lives.

Go forth and outline like a gently chaotic legend 🧃

— written with snacks in hand by Rin T. @ thewriteadviceforwriters 🍓🧠✍️

Sometimes the problem isn’t your plot. It’s your first 5 pages. Fix it here → 🖤 Free eBook: 5 Opening Pages Mistakes to Stop Making:

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i'm still not very good at drawing stan but that's not gonna stop me