Can't Be Sincerely Dark Without Being Called Edgy, Can't Be Sincerely Emotional Without Being Called

I feel called out and I don’t like it

Hey, stop scrolling and start writing. The book ain't gonna write itself.

In my main wip, I don’t think there’s even a moment where Everyone is happy. Like if I’m in a good mood I might actually add a happy ending, or at least a nice little epilogue.

My characters are so happy right now :) Should I... ruin... everything?

You can and should write fanfiction that isn't perfect. You can and should write whatever fanfiction you want. You can and should write fanfiction that brings you joy even if it's silly or goofy or weird.

Except for me. My fanfic has to be perfect and read like a novel and ruin at least one person's sleep schedule.

Write because you love it. Edit because you hate everything you wrote.

Biggest Mistakes I See While Editing

These aren't things that you should obsess over while writing your first draft, but if a scene feels flat, this could help:

Sentence length. Vary your sentence length, seriously; sometimes you can change a whole paragraph from flat to exciting by making one sentence only two or three words and by making another an extended sentence - a lot of people have a tendency, especially when editing, to make every sentence a first part, a comma, then a second part. Try changing it!

Dialogue tags. Have you perhaps obsessed over dialogue tags and now you have a hundred different ones? You don't need the word questioned. You really don't. Similarly, where someone might have used a hundred different dialogue tags, said can work better; sometimes you don't want a dialogue tag at all.

Vary paragraph lengths. Not every paragraph wants the exact same set of sentence lengths.

Take a hike. If it sounds terrible, sometimes it's not the sentence. Go on a walk, touch grass, read a book, watch a film; stop looking at the work and do something else. It will feel evil if you keep staring at it.

Wanting to be poetic to the point of being unreadable. Purple prose is real, but it's probably not the problem. Sometimes, however, you can say grass, and not "verdurous green malachite swayed like a dancer along the legs of the local children".

It's okay to tell the reader something. Often, the way to use telling instead of showing is a matter of pacing, so ask yourself is this action important? Opening a door to find a monster behind it can use suitably long retelling, that builds tension; opening a door to get to the other side mid conversation not so much.

Trust yourself. Don't go into editing thinking you're awful. Sometimes, you will know best. I'm not telling you to never take critique, but you don't have to take all of it. It's your story, and you know what you want to do with it.

Of course, there's no need to take my advice. Use what works for you and leave the rest. I hope this helps!

Something I'm fond of saying is "The villain drives the plot but the hero sets the tone." Something that's very important about this is that the resolution to the conflicts presented need to match the hero's tone. If your story doesn't believe problems can be solved the way the hero wants to solve them... why is this the hero?

If you want your problems to be solved with brutal catharsis, then your hero should be someone who believes in brutal catharsis.

If you want your problems to be solved with forgiveness and reconciliation, then your hero should be someone who believes in forgiveness and reconciliation.

They don't have to begin there. This can be something they come around to over the course of the story, as they grow and change per their character arc. But by the time of their ultimate encounter with the villain, their values should be the values that drive the story forward.

There's this thing in D&D that some DMs do. Where, when you roll enough damage to deplete the monster's hit points, they'll turn to you and say, "That's a kill. Describe for the group how you take the monster down." And you're allowed to come up with some cool maneuver or something that your character did in order to deliver the finishing blow.

The hero's ultimate triumph over the villain is a lot like this. More than any other part of the story, this moment is their apotheosis. It should be a celebration of everything they are and everything they stand for.

You have defeated the villain; Now describe for the group what form that victory takes.

"I don't want to read this" is totally valid.

"This is disgusting to me" is totally valid.

"I don't want to read this because it is disgusting to me" is totally valid.

"I don't think anyone should be allowed to read or write this because it is disgusting to me" is authoritarian.

Brainstorming at 3 AM: This will be an epic saga of love, betrayal, and redemption.

Drafting the next chapter: Uh...they eat soup, I guess?

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.

Romantic Writing Prompts (++Drama++)

She has two choices... the boy who makes her feel like art, or the man who can give her the world on a silver platter. Both love her. Both will ruin her in different ways. And she has to decide if she wants passion or security, because she cannot have both.

She thought she had found the love of her life on a dreamy vacation. The kind of love that makes you believe in fate. The kind of love that makes your bones hum. And then she comes home, walks into her best friend’s apartment, and sees him, wearing a ring, wrapping his arms around the person who’s been in her life longer than he has.

She’s built her career from nothing. Nothing. And now she’s finally on the verge of making it, rising in the world of high fashion, with a mentor who believes in her more than anyone ever has. But then she finds out the truth about him. And it’s not just bad. It’s the kind of truth that could end everything.

She has a plan. Stay in her tiny hometown. Marry the boy she’s known forever. Live a simple, happy life. But then the new guy moves in, brooding, devastatingly handsome, and everything she’s not supposed to want. Suddenly, her plan feels like a cage. And her childhood sweetheart can see it happening.

She knows he’s a mistake. She knows he’s all sharp edges and empty promises and that he kisses her like he’s daring her to regret it later. And still, she goes back to him. Again and again. Until she either saves him or loses herself completely.

She has a good boyfriend. A stable one. The kind of love that makes sense. Then, she meets him. The kind of love that is a disaster waiting to happen, that keeps her awake at night, that makes her question everything she thought she wanted. And suddenly, safe doesn’t feel so safe anymore.

She’s fine. She swears she is. It’s been years since she lost him. She moved on. She has a job, a life, someone else warming her bed. And then, she sees him again. Older. Wiser. Looking at her like she’s the only thing in the world that ever made sense. And suddenly, every lie she’s told herself comes crashing down.