Okay, I Made Some Hard Decisions, And We’re Down To 10 Wips. I Think This Is A Manageable Amount. Let’s

I find it frustrating and uncomfortable in fiction when children are used as props to make parent characters feel good about themselves, and as a reward for a romantic arc, rather than being characters with their own identity and agency.

And I think I feel that way because so often because in real life, many parents bring a child into the world simply as a reward for feeling successful in their romance, and to be props to make them feel good about themselves, rather than understanding that their children are full people with their own identity and agency that has to be respected.

hey jana, what could be some reasons that may hold the main character back from confessing to the person they've harbored feelings for? thank you :)

Hi :)

Here are your reasons:

Reasons for holding back from a confession

believing the feelings are not reciprocated

fearing that this would change their relationship negatively

not being ready to be in a relationship

fearing that they would not work out as a couple despite their attraction to and love for each other

fearing negative outside consequences

the other being in a relationship and not wanting to interfere with that

knowing that their friend is also interested in that person

knowing that they are an ex-partner of a friend

not being able to really express their feelings well in general, especially with actual words

Have fun with them!

- Jana

I’ve found that writing little scenes that don’t need to be in the story can help with this. Like writing the “they woke up, did their routine, went to work” scenes can help you get to know them, see them as any other person, which can help when trying to write their story. Obviously this would take forever to do with every side character, but with my main characters it helps a lot. And you can even write random interactions between side and main characters, which has also helped me.

Your characters aren’t just plot devices. They existed before the story started, and they’ll exist after it ends. Give them history, quirks, and contradictions. Maybe they always order the same coffee because it reminds them of home. Maybe they pick fights because it’s easier than being vulnerable. Maybe they love thunderstorms because they grew up listening to the rain through a broken window. The best characters feel alive because they have little pieces of reality stitched into them.

Reading a book: “Ah, yes, brilliant. That totally makes sense. How clever!”

Attempting to write a book: “I am a complete and utter fraud. Who gave me permission to wield words? Someone revoke my keyboard.”

Writing Tip - How To Make Fight Scenes Interesting

More writing tips

So, when it comes to writing fight scenes, as I have done quite a few of them, there's some things I keep in mind.

Ensure Consistent Character Abilities: Characters should fight consistently throughout the scene. They shouldn’t magically become stronger or weaker without a clear reason. Consistency in their abilities helps maintain believability.

Avoid Making Heroes Invincible: I prefer not to portray heroes as invulnerable, as seen in many 80s action movies. Instead, I include moments where the hero gets hit, shows visible injuries, and shows fatigue. This makes them feel more human and improves the significance of their victories. It’s hard to create a sense of urgency if the characters don’t seem to be in real danger.

Portray Antagonists as Competent: I avoid depicting random cannon fodder as foolish by having them attack one at a time or easily get knocked out. Instead, I show them employing smart tactics such as ganging up on the hero and even getting back up after being knocked down.

Incorporate the Environment: Don’t forget to include the surroundings. Whether the fight takes place in a cramped alley, on a rain-soaked rooftop, or in a collapsing building, use the environment creatively. Characters can use objects as weapons, find cover, or struggle against challenging terrain.

Highlight Self-Inflicted Pain: Characters can hurt themselves just as much as their opponents. For instance, after landing a powerful right hook, a character might need to pause and shake off their hand in pain. This not only adds realism but also highlights the toll that fighting takes on the body.

Show Consequences After the Fight: Consider what happens after the battle concludes. Do injuries slow the hero down and limit their abilities for the rest of the story?

These are just a few tips for now. I am planning to release more tips on how I write my fight scenes with some examples included. See you then!

And my goal is to do that to someone else

my kink is being forcefully slammed back into my hyperfixations by outstanding pieces of art

"I want to be a dragon."

Tragic indeed

Bad news, y'all

You really gotta write the damn book to become a published author

hi! i need help with writing descriptions, no matter they always feel very boring and repetitive, especially if it’s a one character scene, when i try to describe emotions and such — it just all feels very tell no show?

Hey anon!

So I'll divide your question into 2 parts :

a) the general description and b) describing emotions

GENERAL DESCRIPTIONS:

1. Describe With Purpose, Not Just for Filler:

Every description should do something—set the mood, reveal character, or add tension. Ask yourself:

Does this description tell us something about the character?

Does it affect the scene's mood?

Would the scene feel different without it?

Example: Instead of listing details about a room, show how a character interacts with it.

The room was small, with a wooden desk, a single chair, and a bookshelf in the corner. (Factual but lifeless.)

The room barely fit the essentials. The bookshelf leaned slightly to one side, stuffed past its limit, and the desk was clean—too clean, like someone had wiped it down one too many times. (Gives a sense of personality.)

note: this is not to say that simple doesn't work. Simple does work too. In fact in descriptions I prefer not to overload the reader with too much info. Sometimes tell not show is exactly what you want.

2. Use Comparisons, But Make Them Interesting

Instead of just saying something is big, small, cold, warm—compare it to something vivid. But avoid clichés like "as cold as ice" or "as dark as night."

Example:

(The house was huge.)

The house loomed over the street like it had been dropped there by mistake, too grand for the tiny patch of land it stood on.

3. Vary Sentence Structure & Rhythm

If every description is the same length, it starts feeling robotic. Mix short and long sentences to create flow.

Example:

The sky was dark. The streetlights flickered. The pavement was wet from the rain. (Too stiff, repetitive.)

The sky hung heavy, a sheet of unbroken black. The streetlights flickered—weak, sputtering ghosts against the dark. Rain pooled in the cracks of the pavement, reflecting the city in distorted, shattered pieces. (More dynamic and immersive.)

4. Make Mundane Actions More Engaging

Common actions—walking, drinking, sitting—can feel repetitive. Instead of always describing how someone moves, describe what their movement says about them.

Example: (She sat down on the chair and drank her coffee.)

The coffee was bitter, but she didn’t add sugar. She was too tired to care, or maybe just used to the taste of things that didn’t quite go down easy.

5. Use the Five Senses

Relying only on sight makes descriptions feel flat. Bring in sound, touch, smell, and taste to create depth.

Example: (The market was busy and full of stalls.)

The market was a riot of noise—fishmongers shouting deals, the metallic clang of knives against chopping boards. The air smelled of salt, spices, and the sharp tang of citrus from a freshly cut lemon.

6. Avoid “List” Descriptions

Instead of dumping all details in one go, weave them into the action.

Example:

The car was old. The paint was peeling. The tires were worn out. The seats were cracked. (Feels like a checklist.)

She ran a hand over the car’s hood. The paint peeled away in thin, brittle flakes, catching on her fingertips. One of the tires sagged, low on air. Inside, the leather seats were cracked, their stuffing exposed like old battle wounds. (More immersive.)

7. Change the ‘Camera Angle’

If descriptions feel stale, shift perspective. Zoom in on small details or pull back for a bigger picture.

Example: (The sky was blue and the trees were tall.)

(Zoom in) The sky stretched unbroken, a shade of blue so deep it looked painted on. A single cloud drifted by, lazy and indifferent.

(Zoom out) The valley lay sprawled below, a patchwork of green and gold, rivers carving silver veins through the earth.

DESCRIBING EMOTIONS:

1. Ditch the Label, Focus on the Reaction

Instead of saying "She was nervous," think about how that nervousness manifests. Does she tap her fingers against the table? Does she try to swallow, only to realize her throat is dry? Does she force a smile that doesn’t quite reach her eyes?

(She was scared.)

Her grip tightened around the mug, the warmth failing to chase away the cold in her hands.

The doorknob rattled. She flinched so hard her knee slammed into the desk, sending a sharp jolt up her thigh.

2. Use the Environment as a Mirror

Solo scenes can feel isolating if it’s just a character thinking in a void. Use the surroundings to echo their mood. If they’re anxious, maybe the room feels too still, the clock ticking just a little too loud. If they’re sad, maybe the sky outside is stubbornly blue and bright, like the world refuses to match their mood.

Example: The cold wind pushed against her back, and for a second, it felt like someone was there. But when she turned, it was just the empty street behind her.

3. Sensory Details Are Your Best Friend

People experience emotions with their whole body. What does fear taste like? What does joy feel like against the skin? Even a simple emotion like anger can be described in different ways—burning hot like a wildfire, or cold and simmering like a blade pressed to the throat.

Example:

Her jaw ached from clenching so hard. The words pressed against her teeth, sharp and bitter, demanding to be let out.

His vision blurred at the edges, not from tears, but from the heat rising in his skull. He could hear his own pulse, a steady drumbeat against his eardrums.

4. Using body language:

Example:

He smiled, but it was tight—too tight. Like if he let go, he might crack right down the middle.

5. Break the Inner Monologue Habit

If your descriptions feel like a constant stream of thoughts (I feel sad, I feel angry, I feel lonely), try breaking it up with actions.

Example:

She stared at the email, her fingers hovering over the keyboard. Then she backspaced everything she had typed, closed the tab, and shut the laptop. She’d try again later. Maybe.

His fingers found the bracelet at his wrist, the one she had given him years ago. He traced the worn-out engravings with his thumb, the metal warm against his skin.

She set two plates on the table before remembering. Staring at the extra one, she let out a breath and put it back in the cabinet. Old habits.

At the end of the day, writing descriptions is like learning to see the world through your character’s eyes. The more you practice, the more natural it’ll feel.

Hope this helps! 💛

Commonly misused phrases!

idioms or sayings that people say more often than they write, so when they write it it's usually wrong.

Once in a while, not 'once and a while.'

Per se, not 'per say.'

For all intents and purposes, not 'for all intensive purposes'

Irregardless is not a word, actually, it's either 'regardless' or 'in regards'. ir- as a prefix means 'without' but so does the suffix 'less'. So if you write 'irregardless' you are writing 'without a lack of regard' which means 'in regards to.' double negative, yeah?

By and large, not 'by in large'.

I could care less vs I couldn't care less. First one means 'yeah I don't mind it, it's whatever.' second one (correct) means "I fucking hate that thing my opinions are in the basement of hell."

"leaves much to be desired" correctly is "lacking in appearance/utility", not "beautiful." What it means is, "that thing is so bad, it does not satisfy my aesthetic/utilitarian needs for it and I desire something better." not, "I desire that thing so much because it's gorgeous."

"Leaving little to the imagination" means you can see/understand all of it. it does not mean 'modest', idk which one of you fucks started that but no. wrong. A sweater leaves a lot to the imagination because you can't see any of the person. Lingerie leaves 'little to the imagination' because you can see everything, you don't have to imagine it. in terms of understanding, 'little to the imagination' would be a very thorough explanation rather than a vague outline.

if you have any others you want me to include, lmk!

xox byeeee