lyingistheway

[lyingistheway]

The Act of Writing Psychotic Characters 

Part 1: Attention vs Intention

It's been a while since I received this request, and I ensured I took my time with the thoughts, evaluation, and analysis. This topic will be covered in three parts, so here's the first.

Before we proceed, please note that I am not a psychiatrist, psychologist, or any professional in that field. This is just an insight into how this kind of concept can fit into your novels.

Okay, let's begin.

The Attention vs Intention part of this topic will discuss two ways of portraying these type of characters in scenes. 

First, you need to understand that psychotic characters aren't psychotic based solely on their speeches or actions. If that's all you have in mind before approaching a story, you might leave a huge gap in the execution.

Rather, it's how they feel—the desire to satisfy their current emotions.

They have drives and motives, but most especially beliefs which, in most cases, are hardly understandable by other people. It's wrong and unacceptable by society, but to them, they wouldn't do it any differently.

That's why most psychotic characters have no remorse. You simply can't apologize or feel sorry if you don't 'believe' that you're in the wrong.

➜ Attention Psychosis

Psychotic characters whose main purpose in a story is limited to presence (i.e., showing up in scenes and visibly serving the role of a psychotic character) are attention psychotics. You don't flesh out their backstory or why they are who they are.

Their drives and motives aren't talked about enough to the point of justification. Readers hardly care about them, but the action they bring to the scene creates a rich narrative with the purpose of psychosis.

In summary, their role is minor. We see such cases in movies like The Babysitter.

Let's agree that none of the cult characters in that movie are exactly sane, as their main aim is to end their victims’ lives in the sickest ways possible. However, there's a certain character, Max, who simply enjoys the idea of "killing and seeing people bleed."

That has exceeded the central idea of being a cultist who gets involved in blood sacrifice to achieve their 'dream life' like the rest of the characters. It's now something more and different.

Something that has to do with homicidal ideation.

Max worked in a diner where he dealt with people that annoyed him so greatly that he wanted to kill them. So he got the opportunity to join a cult and do just that.

It was plain clear this guy had something else going on for him, but throughout the movie, his character had no special attention or even a peek into his thoughts. Although, it still worried the audience. Job done.

➜ Intention Psychosis

When a story is centered around a character's mental state, their motives, drives, beliefs, actions, and the story actually unfolds by going deeper into this concept, you have intention psychosis.

If not entirely, at least mostly, it defines the entire plot surrounding that character. People get to understand why they are who they are, their mode of action, what drives them, and even a peek into how they perceive the world around them.

Such scenarios are seen in movies like The Joker and Pyramid game (Korea). The audience gets a glimpse into their overall life and understands at least to an extent why they are the way they are.

Their beliefs get twisted for certain reasons, and there was just no stopping them. Here the characters were more than a presence; they were a central core.

In the movie Joker, we watched Arthur’s impoverished life unfold, with every event and incident worsening his condition further.

Baek Ha-rin in Pyramid Game literally created an entire game system to watch a student, who happened to be her old friend, suffer both physically and mentally. She went to great lengths to carry out this nefarious act under the guise of the game. Although this movie encompassed more than just this storyline, it was hard to ignore the unhealthy drive and actions of the young lady with an innocent face.

Before incorporating a psychotic character in your novel, determine their form of portrayal and appearance in the overall story. Are they going to serve as an attention psychotic or an intention psychotic?

Inspired by @sothera

Stay tuned for the next part!

۝ Before you go! ۝

My Characters and I is an extensive one-on-one coaching session designed to create characters that leap off the pages and become best friends with your readers.

What's a great story without remarkable characters? Spots are filling up fast, so grab yours now and get ahead of millions of writers out there.

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[lyingistheway]

We are writers my love. We don't cry. We bleed on paper.

[lyingistheway]

How to write believable enemies-to-lovers dynamics.

Enemies-to-lovers is a beloved trope, but it’s also tricky to execute. The transformation from animosity to love needs to feel organic, not forced. 

1. Establish the Initial Conflict

Give your characters a solid, believable reason to dislike each other. It could be ideological differences, personal betrayal, or clashing goals. The conflict must be significant enough to justify their animosity.

“You stole my promotion. Do you have any idea how hard I worked for it?” “You mean the one you weren’t qualified for? Grow up, Lena.”

2. Show the Nuance in Their Dislike

Enemies don’t always have to hate each other completely. Maybe they grudgingly respect one another’s skills or admire each other’s dedication, even if it drives them crazy.

“For someone so insufferable, you sure know how to shoot straight.” “And for someone so arrogant, you’re surprisingly not dead yet.”

“She’s the most annoying person I’ve ever met.” “And yet you can’t stop watching her, can you?”

3. Create Forced Proximity

Give them a reason to spend time together despite their dislike. Forced proximity allows them to see past their assumptions and grow closer.

“If we don’t get this presentation done by morning, we’re both fired. So, shut up and start typing.” “Only if you stop chewing on that pen. It’s distracting.”

“You’re bleeding.” “Yeah, and whose fault is that?” “Mine, obviously. Now sit down so I can patch you up.”

4. Allow Their Views to Shift Gradually

The transition from enemies to lovers isn’t instant. Let them experience small moments of vulnerability, trust, or understanding that slowly chip away at their hostility.

“You think I wanted this? That I enjoy being the bad guy?” “I didn’t think you cared.” “Well, maybe I do.”

“You fight so hard for your people.” “You do too. I guess we’re not so different after all.”

5. Use Banter to Build Chemistry

Snarky, sharp dialogue is the lifeblood of enemies-to-lovers. Their verbal sparring should reveal their personalities, highlight their tension, and hint at deeper feelings.

“Careful, you almost sounded like you cared about me for a second.” “Don’t flatter yourself. I care about not dying, and you happen to be useful.”

“If you were half as smart as you think you are—” “I’d still be twice as smart as you.”

6. Show the Cost of Falling for Each Other

Enemies-to-lovers works best when there are stakes. Their relationship should challenge their beliefs, goals, or loyalties, forcing them to make difficult choices.

“If I help you, I’ll lose everything I’ve worked for.” “Then why are you still standing here?”

7. Add a “Breaking Point”

There should be a moment where their growing feelings clash with their existing animosity, leading to explosive tension.

“You lied to me!” “What did you expect? You’re the enemy!” “Not anymore. Or at least, I thought I wasn’t.”

“Why do you care what happens to me?” “Because I can’t stand the thought of losing you, okay? Happy now?”

8. Use Physicality Subtly

Small gestures can reveal their shifting feelings—hesitant touches, lingering glances, or protective instincts.

“Watch out!” He shoved her out of the way, taking the brunt of the explosion. “You idiot. You could’ve been killed.” “Yeah, but you’re okay.”

She caught him staring at her, his usual scowl softened. He looked away quickly, muttering something under his breath.

9. Build Toward a Satisfying Payoff

Enemies-to-lovers works because of the build-up. Don’t rush the resolution. Let their relationship evolve naturally before culminating in a moment that feels earned.

“I don’t want to fight you anymore.” “Neither do I.” “Then come here.”

10. Maintain Their Individuality

Their love shouldn’t erase who they are. They’re still the same people who clashed in the beginning, but now they’ve grown to understand each other.

“I’m still not letting you win.” “Good. I’d be worried if you did.”

“You’re still annoying.” “And you’re still impossible. But I wouldn’t have you any other way.”

[lyingistheway]

Two Sides of the Same Coin

Dazai x Ranpo – A Look at Their Relationship

──────────

Ranpo does not like mysteries.

He does not like questions without answers, puzzles without solutions, riddles that stretch too long.

And yet, he keeps Dazai around.

Dazai, who is nothing but contradictions.

Dazai, who hides in riddles and smokescreens, who laughs when he should mourn, who disappears when he is needed and appears when no one expects him.

Dazai, who is unsolvable.

And worse—Dazai, who knows it.

“You’re annoying,” Ranpo mutters one afternoon, biting into a sugar-coated pastry as Dazai lounges beside him, long legs stretched over the couch, arms folded behind his head like he has nowhere else in the world to be.

“And yet,” Dazai hums, smirking, tipping his head back, watching Ranpo with lidded eyes that always seem to know too much— “you haven’t gotten rid of me yet.”

Ranpo scowls.

Because he should have.

He should have had Fukuzawa dismiss him the moment he realized the truth.

That Dazai is not like the others.

That he cannot predict him.

That Dazai is the only thing in this world Ranpo cannot instantly figure out.

Which, frankly, is infuriating.

“You’re just lucky I’m generous,” Ranpo finally mutters, licking sugar off his fingers. “Besides, every great detective needs a sidekick.”

Dazai snorts. “Sidekick? Me? I think you have that backwards, Ranpo-san.”

Ranpo turns his head, unimpressed. “Oh? Let’s check.”

And then, before Dazai can react, Ranpo reaches over—grabs the fabric of his coat and tugs.

Dazai barely manages a startled, “Huh?” before he is tumbling off the couch, landing in a heap of long limbs and theatrical distress.

“Nope, I was right,” Ranpo says with a lazy grin, “I’m still the main character.”

Dazai stays on the floor, sprawled like a fallen angel, hand dramatically pressed to his forehead.

“Oh, how cruel!” he laments, voice laced with mock agony. “To be cast aside so heartlessly! How will I ever recover?”

“You’ll be fine,” Ranpo says dismissively, taking another bite of his pastry. “You’re used to rejection.”

“Ouch.”

“Truth hurts, huh?”

Dazai peeks up through his fingers, pouting. “You really don’t love me at all?”

Ranpo flicks a crumb at him. “Tolerate is a better word.”

But the truth is more complicated than that.

Because Dazai stays.

And Ranpo lets him.

Because Dazai is the only one who understands.

Understands what it is like to live in a world where everything is too simple, where people are just pieces on a board, where existence is nothing but waiting for something to be interesting.

Understands the exhaustion of always being the smartest person in the room.

Understands that Ranpo does not solve mysteries—he simply sees the truth before anyone else does.

And Dazai—Dazai does not see the truth at all.

He only avoids it.

Ranpo doesn’t say any of this, of course. He doesn’t need to.

Because Dazai knows.

Because Dazai, for all his riddles and misdirection, still wordlessly plucks the unwanted pickles from Ranpo’s sandwich before passing it back.

Because Ranpo, without looking, will shove his half-empty bag of candies toward Dazai when the silence between them stretches too long.

Because Dazai will linger when Ranpo stays late at the office, his presence weightless but constant, waiting for him to be done before they leave together.

Because Ranpo, despite every protest, will let Dazai steal his space, his food, his time—without ever truly trying to stop him.

Because Dazai never asks if he can stay.

And Ranpo never tells him to leave.

“You’re sulking again,” Dazai drawls from the floor. “What’s that genius brain of yours thinking about now?”

“How annoying you are.”

Dazai laughs, soft and easy.

Ranpo sighs. Dazai is infuriating. Dazai is exhausting. Dazai is impossible.

But Ranpo lets him stay.

Because Dazai is a puzzle with no solution.

And Ranpo—Ranpo has never been able to resist an unsolvable mystery.

──────────

@lyingistheway

It’s funny how, from just this little story, I feel like I’ve unraveled a whole analysis of their relationship—picking apart their dynamics, reading between the lines, and finding meaning in even the smallest moments. There’s just something so captivating about the way they interact, and I can’t help but get lost in it.

Thank you, truly, for your requests—for sharing your thoughts and visions with me, for trusting me to bring them to life in some way through my writing. It’s always such a joy to explore these moments, and even more so knowing they resonate with you. ♡

[lyingistheway]

Kisskiss

[lyingistheway]

“You’re Safe.”

Dazai & Ranpo x Reader – Separate Scenarios for

Comfort After a PTSD Episode.

──────────

Osamu Dazai – “Breathe, Bella.”

Dazai sleeps lightly.

It is something few people realize—most believe the act, the exaggerated yawns, the lazy sprawl of his limbs, the way he drapes himself over chairs and across people, sleeping through the dull moments of life as though he is immune to the weight of existence.

But the truth is, Dazai does not sleep deeply.

Because the night is when ghosts come.

When silence is too loud.

When memories slip through the cracks, clawing their way back into places they were never meant to leave.

So when you jolt awake beside him, gasping, trembling, clenching the sheets so tightly your knuckles turn white—

He knows.

Even before you do.

“Belladonna?”

His voice is quiet, hushed, like the whisper of wind through an open window. Gentle, but firm.

You do not answer.

Because you are not here.

Your breath stutters, sharp and uneven. Your hands twitch as if they are searching for something to hold onto, something to ground you, but everything feels foreign, unfamiliar—wrong.

The walls around you aren’t the walls of your home. The air in your lungs isn’t the air of safety.

The sheets beneath your fingers morph into rough stone, the warmth beside you disappears, the bed turns too small, too cold—

You are there again.

And then—Dazai moves.

A shift of weight, a brush of fingers against your wrist, a warmth that should be comforting.

But it is not.

Because to you, in this moment, it is not him.

It is hands grabbing.

It is fingers curling too tight.

It is a touch that does not belong to you.

And before you can think—you flinch.

Violently.

You recoil like you’ve been burned, a choked sound slipping from your throat—

“No—please—”

And Dazai freezes.

Because he knows this reaction.

Has seen it before—on himself, in the mirror, in the way his own body once tensed at the sound of approaching footsteps.

He understands.

And he hates that he does.

Hates that he cannot fix this with a joke, with a clever remark, with a flick of his wrist that makes all the darkness disappear.

So he does not touch you again.

Instead, he moves carefully.

Lowers himself back down, so he is not above you.

Does not block your space, does not make you feel caged.

And then, he speaks.

“You’re not there anymore.”

Soft, steady, unwavering.

Your breath still shudders, erratic, uncertain.

So he keeps going.

“You’re here. In bed. With me.”

A tremor ripples through your body.

“It’s warm, isn’t it?” His voice dips lower, coaxing. “Not cold like it was back then.”

Your fingers slowly loosen from the sheets.

“And you’re not alone.” His words are careful, threaded with something real. “You hear that?”

Silence.

“My voice. My breathing. You’re not alone.”

Another shift—your chest still rises too fast, but no longer frantic.

And finally, finally, you blink.

Once. Twice.

And your eyes—wild, unfocused—settle.

On him.

Dazai smiles.

Not his usual smirk. Something softer. Something real.

“There you are.”

And when you finally exhale, shaky but solid, when your trembling hand reaches for him instead of away—

He does not hesitate.

He pulls you close, slow and careful, arms circling you in a way that is protective without being suffocating.

“Breathe, bella,” he murmurs, his voice against your temple, against your skin, against the places that are still learning what safety means.

“I’ve got you.”

And this time—you believe him.

Ranpo Edogawa – “I Knew You’d Wake Up Like This.”

Ranpo knew this would happen eventually.

Of course he did.

Because he knows everything.

Knows the way your breathing shifts when you start to slip into dreams you do not want to see.

Knows the way your fingers twitch when your body remembers something before your mind does.

Knows the way your nightmares always begin before you realize they’ve arrived.

So when you jerk awake, gasping, the ghost of something terrible lingering in the air around you—

Ranpo is already watching.

Already awake.

Already ready.

“I knew you’d wake up like this.”

His voice is sharp, certain, grounding.

Your head snaps toward him.

But your eyes do not focus.

Ranpo sees it immediately.

The way your chest rises too fast, the way your fingers curl, the way you are already preparing to run, even though there is nowhere to go.

“Nope,” he says, firm, not giving you time to spiral. “None of that. You’re here.”

You don’t respond.

“You hear me?” he presses. “You’re here.”

Still nothing.

So Ranpo takes a different approach.

He grabs the blanket.

And then—before you can panic—

He throws it over your head.

You jerk violently, startled. “What—”

“Good,” Ranpo says, pleased. “Confusion means you’re thinking.”

Your body is still trembling, but your thoughts are stuttering, shifting, breaking from the loop.

“I need you to listen, okay?”

Your lips part. No words come out.

But you do not fight.

That’s enough.

“Take a deep breath,” he says. “In, out. Again.”

You do. Slow, shaky—but real.

“Now, tell me what color the blanket is.”

You hesitate.

“What?”

“Humor me.”

Your fingers press against the fabric. Familiar. Soft. Real.

”…Green.”

“And where did it come from?”

“Our bed.”

“That’s right,” Ranpo says, pleased. “Now, where are you?”

The question twists something deep inside you.

Because you are still not entirely sure.

Ranpo clicks his tongue.

“Let’s try again. Where are you?”

A slow, shaky inhale.

“With you.”

A hum. A shift of weight.

And then—the blanket moves.

Pulled down just enough for you to see his face.

Ranpo—calm, certain, smiling.

Not teasing. Not mocking. Just Ranpo.

“Welcome back.”

Your breath shudders, but steadies.

And when he pulls you into his arms, you let him.

Because he was right.

You are here.

With him.

And that’s all that matters.

──────────

@lyingistheway

Oh, this was such a lovely request—thank you for trusting me with something so intricate and emotional. I truly appreciate the thought you put into it, and I only hope I’ve done justice to the depth of your idea.

That said, I must admit I ultimately leaned toward separate drabbles for Dazai and Ranpo rather than the shared dynamic. It wasn’t for lack of interest—I simply wanted to ensure each of their reactions held the weight and intricacy they deserved. I hope you don’t mind the slight deviation, and I’d love to hear your thoughts once you’ve had a chance to read them.

Additionally, I found myself inspired to write a little something on Dazai and Ranpo’s relationship as well—if that’s something you’d like, I’d be more than happy to share it with you.

And of course, knowing you’re looking forward to my Valentine’s posts? Well, that’s just the sweetest little compliment. Consider me thoroughly flattered. ♡

[lyingistheway]

atsushi is actually the most relatable character in bsd because i, too, have a dazai osamu in my brain who speaks to me when things get bad

[lyingistheway]

@shingodzillaa

negotiation

[lyingistheway]

negotiation

[lyingistheway]

Again, no matter how bad my day is, Atsushi is having a worse one

[lyingistheway]

tearing up the page from the ‘indestructible book’ is so suspicious. wouldn’t sigma and everything else created by it disappear. unless, of course, the paper is fake, which surely will not be the case. right fyodor

[lyingistheway]

fyodor try not to bring up your dazaisexuality challenge failed before it even started

[lyingistheway]

HE DID HER HAIR ITS CANON IN MY HEART

[lyingistheway]

motivational poster for when you, too, need a dazai osamu in your brain speaking words of wisdom to help you through times of trouble

[lyingistheway]

"You see... your first love isn't the first person you give your heart to. It's the first one who breaks it." - Lang Leav

[lyingistheway]

"i am a writer" i whisper as i use the word 'abhorrent' in a petty text to describe my dismay at seeing a speck of dirt on the carpet

[lyingistheway]

Overused Words in Writing & How to Avoid Them

We’ve all got our comfort words—those trusty adjectives, verbs, or phrases we lean on like a crutch. But when certain words show up too often, they lose their impact, leaving your writing feeling repetitive or uninspired.

1. “Very” and Its Cousins

Why It’s Overused: It’s easy to tack on “very” for emphasis, but it’s vague and doesn’t pull its weight.

Instead of: “She was very tired.” Try: “She was exhausted.” / “She dragged her feet like lead weights.”

💡 Tip: Use precise, vivid descriptions rather than vague intensifiers.

2. “Looked” and “Saw”

Why It’s Overused: It’s functional but flat, and it often tells instead of shows.

Instead of: “He looked at her in disbelief.” Try: “His eyebrows shot up, his lips parting as if words had failed him.”

💡 Tip: Focus on body language or sensory details instead of relying on generic verbs.

3. “Suddenly”

Why It’s Overused: It’s often used to create surprise, but it tells readers how to feel instead of letting the scene deliver the shock.

Instead of: “Suddenly, the door slammed shut.” Try: “The door slammed shut, the sound ricocheting through the empty room.”

💡 Tip: Let the action or pacing create urgency without needing to announce it.

4. “Said” (When Overdone or Misused)

Why It’s Overused: While “said” is often invisible and functional, using it in every dialogue tag can feel robotic.

Instead of: “I can’t believe it,” she said. “Me neither,” he said. Try: Replace with an action: “I can’t believe it.” She ran a hand through her hair, pacing. “Me neither.” He leaned against the counter, arms crossed.

💡 Tip: Don’t ditch “said” entirely; just mix it up with context clues or action beats.

5. “Felt”

Why It’s Overused: It’s a shortcut that tells instead of showing emotions.

Instead of: “She felt nervous.” Try: “Her palms slicked with sweat, and she couldn’t stop her leg from bouncing.”

💡 Tip: Let readers infer emotions through sensory details or behavior.

6. “Really” and “Actually”

Why It’s Overused: They add little to your sentences and can dilute the impact of stronger words.

Instead of: “I really don’t think that’s a good idea.” Try: “I don’t think that’s a good idea.”

💡 Tip: If a sentence works without these words, cut them.

7. “Walked” or “Ran”

Why It’s Overused: These are go-to movement words, but they can feel bland when used repeatedly.

Instead of: “He walked into the room.” Try: “He strolled in like he owned the place.” / “He shuffled in, avoiding everyone’s eyes.”

💡 Tip: Use verbs that convey mood, speed, or attitude.

8. “Just”

Why It’s Overused: It sneaks into sentences unnecessarily, weakening your prose.

Instead of: “I just wanted to say I’m sorry.” Try: “I wanted to say I’m sorry.”

💡 Tip: Delete “just” unless it adds essential nuance.

9. “Thought”

Why It’s Overused: It tells readers what a character is thinking instead of showing it through internal dialogue or action.

Instead of: “She thought he might be lying.” Try: “His story didn’t add up. The timelines didn’t match, and he wouldn’t meet her eyes.”

💡 Tip: Immerse readers in the character’s perspective without announcing their thoughts.

10. “Nice” and Other Vague Adjectives

Why It’s Overused: It’s generic and doesn’t give readers a clear picture.

Instead of: “He was a nice guy.” Try: “He always remembered her coffee order and held the door open, even when his arms were full.”

💡 Tip: Show qualities through actions instead of relying on vague descriptors.

Final Tips for Avoiding Overused Words:

1. Use a thesaurus wisely: Swap overused words for synonyms, but stay true to your character’s voice and the scene’s tone.

2. Read your work aloud: You’ll catch repetitive patterns and clunky phrases more easily.

3. Edit in layers: Focus on eliminating overused words during your second or third pass, not your first draft.