You Don’t Need To Say “She Was Sad.” Show Me The Untouched Coffee Gone Cold. The Half-written Text

An Overly Complicated Guide to Writing Hugs!

Here are some things I think about when writing hugs to try to make them fit with the characters and the current emotional tone of the story, as well as have anywhere near the same impact of hugs in visual mediums.

When? (Who?)

The frequency a character will hug is usually pretty dependent on the nature of the character. Are they emotionally or physically reticent to the point that a hug from them probably means the world is ending? Will they hug on special occasions (the college graduation or the 'we both just nearly died' depending on genre) Or are they more touchy-feely? Then there's more minutia, do they refrain from hugs because they just don't like them? Or because they don't want to cross others' boundaries? Were they raised in a household where spontaneous hugs were commonplace or where they could count them on one hand?

Why?

The "why" of a hug has a big impact on the energy of it and often how many details you write into it. Is it a happy hug? Sad? A complicated mix of emotions? Casual? This can also affect the "how" of the hug. If it's a "I thought you were dead!" hug it's unlikely to be a loose side-hug. If it's a "Oh, nice to see you :)" it's unlikely to be a strangling bear hug. Overall the emotions of both people involved should be your guide to writing it.

How?

First thing I consider is usually the initiator. Does one person initiate? Do both people equally initiate? Does someone open their arms and the other steps into the hug? Do they resist the hug? Do they melt into the hug? This typically links back into both the why of the hug, and who the characters are. I also try to think of the "motivation" of a hug which can be conscious or subconscious. Is the initiator hugging to provide comfort? Express gratitude? Reassure themself? Something else?

Arms! Placement is often influenced by height. Both arms over? Both arms under? One under/one over? Squeeze?

Hands! Actions: Clutching at clothes? Rubbing circles? Patting? Ruffling hair? Placement: Back of neck? Lower/mid/upper back? Hair/back of head? Wrap around to their side?

Tightness! Loose? Gentle? Tight? Suffocating? Are there injuries to be considerate of? Are they tired or energized? How conscientious are they of how tight they're holding?

Duration! Is it a quick hug then pull away? Does one awkwardly pull back after a few seconds? Do they both cling on for just a little too long? Does the initiator end the hug, does the receiver, or is it mutually done? Communicated by a loosening grip or back slap?

Head! Chin on the top of the head? Burying their face in the other person's shoulder/chest? Turning their head to the side? Looking up? Staring into the distance? Closing their eyes? Crying? Stoic? Smiling?

Stance/Big picture! Are they both standing? One standing one sitting? One lying down and the other crouched? Some sort of other awkward positioning? Do they rock side to side when they hug -- who is rocking? Does one pick up the other? Swing them around? Is it a run-into hug where they're both staggering/nearly falling with the impact? Is one standing stiffly with their arms sticking to the side? Are they relaxed? One leaning into the other, both leaning, neither?

Dynamism! Similar to big picture, but how much is the hug moving? Rocking side to side? moving hands/adjusting grip? Moving head? Staggering back? Standing as still as a statue for the whole duration? Are they talking during it? Quiet?

Alternate hug-ish stuff! One-armed hug, hugging an arm/leg, arm slung over the other's shoulder, hug for a practical purpose (stabilization, restraining, carrying, tackle), group hugs, unintentional proximity (trapped in enclosed space, tied up)

Hug Examples! Watch examples of hugs from shows, movies, etc and try to note the little details that can help feel more evocative, natural, or memorable. How did the body language of the actors convey how the characters were feeling? How did the hug feel to you?

(First 2 are from the Magnum PI reboot, next 4 Macgyver reboot, next 2 White Collar, last 2 Hercules: The Legendary Journeys. If you want to know a specific episode for any of them I will go and track it down for you)

Forgive the limited variety of shows, I only have so many images of people hugging on hand

Introductory character descriptions

Friendly reminder about introductory character descriptions, especially those at the beginning of the book: To avoid it sounding entirely like an exposition dump, give a reason to why the narrator is noticing what either they or another character is wearing.

For example, worked on this first draft last night: 

Iris hauls up her pack and smooths her clammy hands down her skirt. At the time, the pleated corduroy seemed both durable and multipurpose. Her boots, too, knee-high but thick-soled, and her leggings—warm, flexible, already scraped up at the knees. Clothes she could have hanging in her closet without her mother getting suspicious of why they were so different from the rest of her wardrobe. Clothes that are not sprinting-through-the-Sakartan-wilderness attire.

First draft, so, you know. But! Character isn’t just describing what she’s wearing, she’s describing it in relation to how impractical it now is for her environment. It’s motivated exposition.

Shortly thereafter, Iris meets a new person, and describes them as follows:

Did she stumble into an unassuming temple, whole house left in sacrifice and worship of some celestial she can’t begin to name? They don’t look Sakartan, not just in coloring, but in stature, too. Lithe, frightfully thin with gaunt cheeks, a discoloring across their nose like tiny yellow lesions, and Iris has never known a Sakartan with curls. They’re not even dressed like one, wearing something that kind of looks like a high-collared robe, except it’s split up both sides to a wide belt. Leggings, like hers, adorned with leafy lace, and more of it on the edges of the belled sleeves. The black and gold fabric only serve to make them look even more ethereal. Iris flies through her catalog of fashion across the realms, trying to find a home for this displaced god in vain…

I might still trim it down later but it’s 8am on a workday and this is an example post. It’s still a lot of description to throw at the reader, at least in my opinion, but all of it is anchored to the narrator trying to figure out who and what they are and if they’re a threat, not just taking an aside to describe their features unprompted.

—

So whether you’re describing the narrator or someone the narrator is observing, giving the narrator a reason to give this description at this time and some reaction to it pulls double duty: You’re giving exposition, but still telling the story as you tell it. She’s not just describing clothing, she’s describing why it matters right this second and how both serve to hinder the conflicts of the scene.

It's not just clothing, it's impractical clothing, or it's far too bougie for this side of town, or far too fancy for an average school day, or it's all stained and ripped, which reflects the wearer as either destitute or on the run, perhaps. It's motivated.

ultimate character development template

basics

name: meaning of name: nicknames/titles: age: gender: location: birthday: strengths + example where it's shown: weaknesses + example where it's shown: how it affects others:

emotional depth

attachment style + how it manifests in the story: physical fear: emotional/abstract fear: happy memory: sad memory: object of significance: philosophical outlook/belief: what characters are ignorant about themselves: how confident are they: goal: long-term dreams: what they're embarrassed/ashamed to tell others about: regrets: source of pride: source of misery: what they admire above all else: do they believe in fate:

personality

mbti: enneagram: big five: character archetype: star sign: who they pretend to be on the outside: who they actually are/how they feel towards the mask: mental health conditions: how it manifests for them: iq: eq: humour: reputation:

habits

bad habits: mannerisms when stressed: mannerisms when content: mannerisms when scared: mannerisms normally: verbal mannerisms/distinctive speaking style: how do they move across a room: what do they say and what remains unsaid: how they express love: hobbies:

appearance

defining features: eye shape + colour: hair texture + colour: skin texture + tone: vibe: height: build: clothing: any bodily disfigurement (scars, etc.): overall attractiveness: their opinion on their appearance: appeals to:

relationships

who they trust most: what they wish they could do for them: what's holding them back: who they hate most: what they wish they could do to them: what's holding them back: relationship with the protagonist: relationship with the antagonist: siblings: relationship with them: parents/step-parents: relationship with them: previous broken relationships: why did it break: what others expect of them: who believes in them: their mentor character/who they look up to: political/religious/other affiliations: what makes them different from every other character: non-human relationships + why: romantic "type" + why: relationship dynamics:

backstory/background

primary emotion towards their past: primary feelings while in their past: where did they grow up: defining incidents: earliest childhood memory: saddest memory: happiest memory: major accomplishments: their opinion on it: notable people in their backstory: effect on them today: trauma: what have they already lost: financial circumstance:

progression

why are they important (eg. why're they the only one able to do something?): what do they learn about themselves throughout the story: what do they learn about the world: how do they feel towards their newfound knowledge: character arc (positive, negative, neutral): how relationships change because of their actions: what mistakes do they make: what scene is their character highlighted: do they get what they want: why or why not: what happens to them after the story ends:

How to make your writing sound less stiff part 2

Part 1

Again, just suggestions that shouldn’t have to compromise your author voice, as I sit here doing my own edits for a WIP.

1. Crutch words

Specifically when you have your narrator taking an action instead of just… writing that action. Examples:

Character wonders/imagines/thinks/realizes

Character sees/smells/feels

Now not all of these need to be cut. There’s a difference between:

Elias stops. He realizes they’re going in the wrong direction.

And

Elias takes far too long to realize that it’s not horribly dark wherever they are

Crutch words are words that don’t add anything to the sentence and the sentence can carry on with the exact same meaning even if you delete it. Thus:

Elias stops. They’re going in the wrong direction.

I need a word in the second example, whether it’s realizes, understands, or notices, unless I rework the entire sentence. The “realization” is implied by the hard cut to the next sentence in the first example.

2. Creating your own “author voice”

Unless the tone of the scene demands otherwise, my writing style is very conversational. I have a lot of sentence fragments to reflect my characters’ scatterbrained thoughts. I let them be sarcastic and sassy within the narration. I leave in instances of “just” (another crutch word) when I think it helps the sentence. Example:

…but it’s just another cave to Elias.

Deleting the “just” wouldn’t hit as hard or read as dismissive and resigned.

I may be writing in 3rd person limited, but I still let the personalities of my characters flavor everything from the syntax to metaphor choices. It’s up to you how you want to write your “voice”.

I’ll let dialogue cut off narration, like:

Not that he wouldn’t. However, “You can’t expect me to believe that.”

Sure it’s ~grammatically incorrect~ but you get more leeway in fiction. This isn’t an essay written in MLA or APA format. It’s okay to break a few rules, they’re more like guidelines anyway.

3. Metaphor, allegory, and simile

There is a time and a place to abandon this and shoot straight because oftentimes you might not realize you’re using these at all. It’s the difference between:

Blinding sunlight reflects off the window sill

And

Sunlight bounces like high-beams off the window sill

It’s up to you and what best fits the scene.

Sometimes there’s more power in not being poetic, just bluntly explicit. Situations like describing a character’s battle wounds (whatever kind of battle they might be from, whether it be war or abuse) don’t need flowery prose and if your manuscript is metaphor-heavy, suddenly dropping them in a serious situation will help with the mood and tonal shift, even if your readers can’t quite pick up on why immediately.

Whatever the case is, pick a metaphor that fits the narrator. If my narrator is comparing a shade of red to something, pick a comparison that makes sense.

Red like the clouds at sunset might make sense for a character that would appreciate sunsets. It’s romantic but not sensual, it’s warm and comforting.

Red like lipstick stains on a wine glass hints at a very different image and tone.

Metaphor can also either water down the impact of something, or make it so much worse so pay attention to what you want your reader to feel when they read it. Are you trying to shield them from the horror or dig it in deep?

4. Paragraph formatting

Nothing sticks out on a page quite like a line of narrative all by itself. Abusing this tactic will lessen its effect so save single sentence paragraphs for lines you want to hammer your audiences with. Lines like romantic revelations, or shocking twists, or characters giving up, giving in. Or just a badass line that deserves a whole paragraph to itself.

I do it all the time just like this.

Your writing style might not feature a bunch of chunky paragraphs to emphasize smaller lines of text (or if you’re writing a fic on A03, the size of the screen makes many paragraphs one line), but if yours does, slapping a zinger between two beefy paragraphs helps with immersion.

5. Polysyndeton and Asyndeton

Not gibberish! These, like single-sentence paragraphs, mix up the usual flow of the narrative that are lists of concepts with or without conjunctions.

Asyndeton: We came. We saw. We conquered. It was cold, grey, lifeless.

Polysyndeton: And the birds are out and the sun is shining and it might rain later but right now I am going to enjoy the blue sky and the puffy white clouds like cotton balls. They stand and they clap and they sing.

Both are for emphasis. Asyndeton tends to be "colder" and more blunt, because the sentence is blunt. Polysyntedon tends to be more exciting, overwhelming.

We came and we saw and we conquered.

The original is rather grim. This version is almost uplifting, like it's celebrating as opposed to taunting, depending on how you look at it.

—

All of these are highly situational, but if you’re stuck, maybe try some out and see what happens.

*italicized quotes are from ENNS, the rest I made up on the spot save for the Veni Vidi Vici.

more words for your fight scenes (pt. 3)

Argue

ado, altercation, argument, battle, bicker, cause célèbre, conflict, confrontation, contend, contest, contradiction, controversy, demur, dicker, difference, disagree, dispute, dissent, divide, double standard, expostulate, falling out, fight, friction, haggle, hue and cry, imbroglio, misunderstanding, object, protest, quibble, rebut, rift, row, run-in, sass, squabble, tiff, vendetta, wrangle

Punishment

blackmail, damage(s), dressing-down, fine, lesson, rap, reproach, sanction, whipping

Pursue

chase, dragnet, hound, shadow, tag, trace, track/track down, trail

Rip

claw, lacerate, snag, tear

Rub

bite, burnish, creak, erase, file, friction, glaze, grate, polish, smear

Search

comb, dig, explore, forage, grope, hunt, investigation, nose, plumb, prospect, quest, ransack, rummage, scout, snoop, track/track down

Squeeze

choke, clinch, constriction, crush, enfold, pinch, pulp, rumple, squash

Stab

claw, gore, impale, lacerate, perforate, prick, puncture, spike, stick, tap, transfix

Throw

buck, chuck, dash, disseminate, eject, extrude, fling, heave, intersperse, launch, lob, pelt, powder, propagate, scatter, sling, splatter, toss

To break

collide, crash, dash

To burn

arson, conflagration, flame, glow, incinerate, kindle, light, scorch, singe, smolder

Injury

abrasion, affliction, blister, boo boo, concussion, corrosion, damage, detriment, disadvantage, fracture, harm, inflammation, laceration, prick, rip, rust, shock, swelling, wound

Death

abort, curtains, decease, die, end, expire, mortician, pass away, perish, undertaker

Deathplace

boneyard, crypt, graveyard, monument, tomb

NOTE

The above are concepts classified according to subject and usage. It not only helps writers and thinkers to organize their ideas but leads them from those very ideas to the words that can best express them.

It was, in part, created to turn an idea into a specific word. By linking together the main entries that share similar concepts, the index makes possible creative semantic connections between words in our language, stimulating thought and broadening vocabulary. Writing Resources PDFs

Source ⚜ Writing Basics & Refreshers ⚜ On Vocabulary ⚜ Part 1 ⚜ Part 2 Writing Notes: Fight Scenes ⚜ Word Lists: Fight ⚜ Pain

Writing Worksheets & Templates

will update this every few weeks/months. alternatively, here are all my tagged Writing Worksheets & Templates

Chapter Outline ⚜ Character- or Plot-Driven Story

Death & Sacrifice ⚜ Magic & Rituals ⚜ Plot-Planning

Editing: Sentence Check ⚜ Writing Your Novel: 20 Questions

Tension ⚜ Thought Distortions ⚜ What's at Stake

Character Development

50 Questions ⚜ Backstory ⚜ Character Creation

Antagonist; Villain; Fighting ⚜ Protagonist & Antagonist

Character: Change; Adding Action; Conflict

Character: Creator; Name; Quirks; Flaws; Motivation

Character Profile (by Rick Riordan) ⚜ Character Sheet Template

Character Sketch & Bible ⚜ Interview your Character

Story-Worthy Hero ⚜ "Well-Rounded" Character Worksheet

Worldbuilding

20 Questions ⚜ Decisions & Categories ⚜ Worksheet

Setting ⚜ Dystopian World ⚜ Magic System (AALC Method)

Templates: Geography; World History; City; Fictional Plant

References: Worldbuilding ⚜ Plot ⚜ Character ⚜ Writing Resources PDFs

all posts are queued. send questions/requests here.

The Anatomy of Passing Out: When, Why, and How to Write It

Passing out, or syncope, is a loss of consciousness that can play a pivotal role in storytelling, adding drama, suspense, or emotional weight to a scene. Whether it’s due to injury, fear, or exhaustion, the act of fainting can instantly shift the stakes in your story.

But how do you write it convincingly? How do you ensure it’s not overly dramatic or medically inaccurate? In this guide, I’ll walk you through the causes, stages, and aftermath of passing out. By the end, you’ll be able to craft a vivid, realistic fainting scene that enhances your narrative without feeling clichéd or contrived.

2. Common Causes of Passing Out

Characters faint for a variety of reasons, and understanding the common causes can help you decide when and why your character might lose consciousness. Below are the major categories that can lead to fainting, each with their own narrative implications.

Physical Causes

Blood Loss: A sudden drop in blood volume from a wound can cause fainting as the body struggles to maintain circulation and oxygen delivery to the brain.

Dehydration: When the body doesn’t have enough fluids, blood pressure can plummet, leading to dizziness and fainting.

Low Blood Pressure (Hypotension): Characters with chronic low blood pressure may faint after standing up too quickly, due to insufficient blood reaching the brain.

Intense Pain: The body can shut down in response to severe pain, leading to fainting as a protective mechanism.

Heatstroke: Extreme heat can cause the body to overheat, resulting in dehydration and loss of consciousness.

Psychological Causes

Emotional Trauma or Shock: Intense fear, grief, or surprise can trigger a fainting episode, as the brain becomes overwhelmed.

Panic Attacks: The hyperventilation and increased heart rate associated with anxiety attacks can deprive the brain of oxygen, causing a character to faint.

Fear-Induced Fainting (Vasovagal Syncope): This occurs when a character is so afraid that their body’s fight-or-flight response leads to fainting.

Environmental Causes

Lack of Oxygen: Situations like suffocation, high altitudes, or enclosed spaces with poor ventilation can deprive the brain of oxygen and cause fainting.

Poisoning or Toxins: Certain chemicals or gasses (e.g., carbon monoxide) can interfere with the body’s ability to transport oxygen, leading to unconsciousness.

3. The Stages of Passing Out

To write a realistic fainting scene, it’s important to understand the stages of syncope. Fainting is usually a process, and characters will likely experience several key warning signs before they fully lose consciousness.

Pre-Syncope (The Warning Signs)

Before losing consciousness, a character will typically go through a pre-syncope phase. This period can last anywhere from a few seconds to a couple of minutes, and it’s full of physical indicators that something is wrong.

Light-Headedness and Dizziness: A feeling that the world is spinning, which can be exacerbated by movement.

Blurred or Tunnel Vision: The character may notice their vision narrowing or going dark at the edges.

Ringing in the Ears: Often accompanied by a feeling of pressure or muffled hearing.

Weakness in Limbs: The character may feel unsteady, like their legs can’t support them.

Sweating and Nausea: A sudden onset of cold sweats, clamminess, and nausea is common.

Rapid Heartbeat (Tachycardia): The heart races as it tries to maintain blood flow to the brain.

Syncope (The Loss of Consciousness)

When the character faints, the actual loss of consciousness happens quickly, often within seconds of the pre-syncope signs.

The Body Going Limp: The character will crumple to the ground, usually without the ability to break their fall.

Breathing: Breathing continues, but it may be shallow and rapid.

Pulse: While fainting, the heart rate can either slow down dramatically or remain rapid, depending on the cause.

Duration: Most fainting episodes last from a few seconds to a minute or two. Prolonged unconsciousness may indicate a more serious issue.

Post-Syncope (The Recovery)

After a character regains consciousness, they’ll typically feel groggy and disoriented. This phase can last several minutes.

Disorientation: The character may not immediately remember where they are or what happened.

Lingering Dizziness: Standing up too quickly after fainting can trigger another fainting spell.

Nausea and Headache: After waking up, the character might feel sick or develop a headache.

Weakness: Even after regaining consciousness, the body might feel weak or shaky for several hours.

4. The Physical Effects of Fainting

Fainting isn’t just about losing consciousness—there are physical consequences too. Depending on the circumstances, your character may suffer additional injuries from falling, especially if they hit something on the way down.

Impact on the Body

Falling Injuries: When someone faints, they usually drop straight to the ground, often hitting their head or body in the process. Characters may suffer cuts, bruises, or even broken bones.

Head Injuries: Falling and hitting their head on the floor or a nearby object can lead to concussions or more severe trauma.

Scrapes and Bruises: If your character faints on a rough surface or near furniture, they may sustain scrapes, bruises, or other minor injuries.

Physical Vulnerability

Uncontrolled Fall: The character’s body crumples or falls in a heap. Without the ability to brace themselves, they are at risk for further injuries.

Exposed While Unconscious: While fainted, the character is vulnerable to their surroundings. This could lead to danger in the form of attackers, environmental hazards, or secondary injuries from their immediate environment.

Signs to Look For While Unconscious

Shallow Breathing: The character's breathing will typically become shallow or irregular while they’re unconscious.

Pale or Flushed Skin: Depending on the cause of fainting, a character’s skin may become very pale or flushed.

Twitching or Muscle Spasms: In some cases, fainting can be accompanied by brief muscle spasms or jerking movements.

5. Writing Different Types of Fainting

There are different types of fainting, and each can serve a distinct narrative purpose. The way a character faints can help enhance the scene's tension or emotion.

Sudden Collapse

In this case, the character blacks out without any warning. This type of fainting is often caused by sudden physical trauma or exhaustion.

No Warning: The character simply drops, startling both themselves and those around them.

Used in High-Tension Scenes: For example, a character fighting in a battle may suddenly collapse from blood loss, raising the stakes instantly.

Slow and Gradual Fainting

This happens when a character feels themselves fading, usually due to emotional stress or exhaustion.

Internal Monologue: The character might have time to realize something is wrong and reflect on what’s happening before they lose consciousness.

Adds Suspense: The reader is aware that the character is fading but may not know when they’ll drop.

Dramatic Fainting

Some stories call for a more theatrical faint, especially in genres like historical fiction or period dramas.

Exaggerated Swooning: A character might faint from shock or fear, clutching their chest or forehead before collapsing.

Evokes a Specific Tone: This type of fainting works well for dramatic, soap-opera-like scenes where the fainting is part of the tension.

6. Aftermath: How Characters Feel After Waking Up

When your character wakes up from fainting, they’re not going to bounce back immediately. There are often lingering effects that last for minutes—or even hours.

Physical Recovery

Dizziness and Nausea: Characters might feel off-balance or sick to their stomach when they first come around.

Headaches: A headache is a common symptom post-fainting, especially if the character hits their head.

Body Aches: Muscle weakness or stiffness may persist, especially if the character fainted for a long period or in an awkward position.

Emotional and Mental Impact

Confusion: The character may not remember why they fainted or what happened leading up to the event.

Embarrassment: Depending on the situation, fainting can be humiliating, especially if it happened in front of others.

Fear: Characters who faint from emotional shock might be afraid of fainting again or of the situation that caused it.

7. Writing Tips: Making It Believable

Writing a fainting scene can be tricky. If not handled properly, it can come across as melodramatic or unrealistic. Here are some key tips to ensure your fainting scenes are both believable and impactful.

Understand the Cause

First and foremost, ensure that the cause of fainting makes sense in the context of your story. Characters shouldn’t pass out randomly—there should always be a logical reason for it.

Foreshadow the Fainting: If your character is losing blood, suffering from dehydration, or undergoing extreme emotional stress, give subtle clues that they might pass out. Show their discomfort building before they collapse.

Avoid Overuse: Fainting should be reserved for moments of high stakes or significant plot shifts. Using it too often diminishes its impact.

Balance Realism with Drama

While you want your fainting scene to be dramatic, don’t overdo it. Excessively long or theatrical collapses can feel unrealistic.

Keep It Short: Fainting typically happens fast. Avoid dragging the loss of consciousness out for too long, as it can slow down the pacing of your story.

Don’t Always Save the Character in Time: In some cases, let the character hit the ground. This adds realism, especially if they’re fainting due to an injury or traumatic event.

Consider the Aftermath

Make sure to give attention to what happens after the character faints. This part is often overlooked, but it’s important for maintaining realism and continuity.

Lingering Effects: Mention the character’s disorientation, dizziness, or confusion upon waking up. It’s rare for someone to bounce back immediately after fainting.

Reactions of Others: If other characters are present, how do they react? Are they alarmed? Do they rush to help, or are they unsure how to respond?

Avoid Overly Romanticized Fainting

In some genres, fainting is used as a dramatic or romantic plot device, but this can feel outdated and unrealistic. Try to focus on the genuine physical or emotional toll fainting takes on a character.

Stay Away from Clichés: Avoid having your character faint simply to be saved by a love interest. If there’s a romantic element, make sure it’s woven naturally into the plot rather than feeling forced.

8. Common Misconceptions About Fainting

Fainting is often misrepresented in fiction, with exaggerated symptoms or unrealistic recoveries. Here are some common myths about fainting, and the truth behind them.

Myth 1: Fainting Always Comes Without Warning

While some fainting episodes are sudden, most people experience warning signs (lightheadedness, blurred vision) before passing out. This gives the character a chance to notice something is wrong before losing consciousness.

Myth 2: Fainting Is Dramatic and Slow

In reality, fainting happens quickly—usually within a few seconds of the first warning signs. Characters won’t have time for long speeches or dramatic gestures before collapsing.

Myth 3: Characters Instantly Bounce Back

Many stories show characters waking up and being perfectly fine after fainting, but this is rarely the case. Fainting usually leaves people disoriented, weak, or even nauseous for several minutes afterward.

Myth 4: Fainting Is Harmless

In some cases, fainting can indicate a serious medical issue, like heart problems or severe dehydration. If your character is fainting frequently, it should be addressed in the story as a sign of something more severe.

Looking For More Writing Tips And Tricks? 

Are you an author looking for writing tips and tricks to better your manuscript? Or do you want to learn about how to get a literary agent, get published and properly market your book? Consider checking out the rest of Quillology with Haya Sameer; a blog dedicated to writing and publishing tips for authors! While you’re at it, don’t forget to head over to my TikTok and Instagram profiles @hayatheauthor to learn more about my WIP and writing journey! 

Showing 'Fear' in Writing

Eyes wide with pupils dilated.

Hands trembling uncontrollably.

Heart pounding audibly in the chest.

Backing away slowly, seeking escape.

Holding breath or breathing shallowly.

Breaking out in a cold sweat.

Startling at the slightest sound.

Whispering or speaking in a hushed tone.

Looking over their shoulder repeatedly.

Clutching at clothing or objects for reassurance.

Voice quivering or stammering.

Legs feeling weak or buckling.

Feeling a chill run down the spine.

Hugging oneself protectively.

Trying to make themselves smaller.

Furtive glances around the room.

Feeling light-headed or dizzy.

Stiffening up and freezing in place.

Swallowing hard, throat dry.

Eyes darting around, unable to focus.

Soft Gestures for Comfort

Bringing them a blanket when they’re curled up on the couch.

Whispering, "It’s okay, I’m here," when they wake up from a bad dream.

Stroking their hair gently when they’re lying on your lap.

Running a warm bath for them after a tough day.

Holding them close and saying, "I’ve got you," when they’re upset.

Preparing their favorite comfort food when they’re feeling low.

Turning off their alarm and letting them sleep in when they’re exhausted.

Reading their favorite book to them before bed.

Playing their favorite soothing music to help them relax.

Just sitting in silence with them, letting them know your presence is their safe space.

How to write emotions

How to write emotional scenes

How to show emotions Part I

How to show emotions Part II

How to show emotions Part III

How to show emotions Part IV

How to show emotions Part V

How to show emotions Part VI

How to show emotions Part VII

How to show emotions Part VIII

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