#Story: Asking for Advice

[ljmoorewrites]

How can I become a writer?

Write.

But I don't know where to start.

Write.

But I'm worried.

WRITE.

What if nobody likes it?

W R I T E

What if it's not very good?

Write. Write. WRITE. WRITE.

W

R

I

T

E

Write

Write. Write. Write. Write. Write. Write.

Write.

Write

Write

Write

Write

Write

Write

Write

Write

W R I T E

Write write write

Write

Write

[unboundprompts]

Do you have any advice for a character who has a sort of sacrificial lamb complex? A savior complex but not as in a hero to save the day, but as in they don't believe they deserve to save themselves?

How to Write a Sacrificial Character

Backstory and Motivation

Traumatic Past: Explore the character’s history. Perhaps they’ve experienced abandonment, betrayal, or loss, leading them to internalize the belief that their worth is tied to suffering for others.

Family Expectations: They may come from a family that emphasizes self-sacrifice or has a history of martyrdom, teaching them that their own needs are secondary to others.

Guilt and Responsibility: The character might feel an overwhelming sense of guilt for past failures, believing that they owe it to others to endure hardship or take on burdens.

Internal Conflict

Self-Worth Issues: Illustrate their struggle with self-worth. They might dismiss compliments or feel undeserving of happiness, using phrases like “I don’t deserve this” or “I have to earn my place.”

Desire for Connection: While they may push others away, they also yearn for connection and love, creating an internal tug-of-war between wanting to be saved and believing they are unworthy of it.

Sacrificial Actions

Small Acts of Sacrifice: Show them making small sacrifices for friends or loved ones, like skipping meals or taking on additional work, which reinforces their belief that they should suffer for others’ well-being.

Dramatic Moments: Create pivotal scenes where they are put in a position to sacrifice themselves for someone else—physically or emotionally. This can highlight their motivations and lead to significant character development.

Interactions with Others

Supportive Characters: Introduce characters who try to save or help them, but the sacrificial character resists, believing their problems aren’t worth the effort. This can create tension and deepen their internal struggle.

Small Acts of Kindness: Have moments where others go out of their way to help them, reinforcing that they are worthy of care and support. This can include simple gestures, affirmations, or sacrifices made on their behalf.

Conflict with a Mentor or Friend: A mentor figure might challenge this belief, encouraging them to see their value and fight for themselves, leading to moments of growth and resistance.

Gradual Change

Moments of Clarity: Show them having fleeting moments of realization where they understand their self-worth, possibly triggered by a significant event or dialogue with another character.

Catalyst for Change: Introduce a scenario where they must choose between self-sacrifice and self-preservation, forcing them to confront their beliefs head-on.

Life-Altering Experience: Put the character in a situation that forces them to confront their fears, such as a near-death experience or a pivotal choice between saving themselves or others. This moment can act as a wake-up call to their worth.

Acts of Courage: Have them step up in a crisis, leading to a moment where they save someone else and realize their capability and value. This can help them see that they have something to offer.

Turning Point: Create a climactic moment where the character realizes they deserve to save themselves, possibly triggered by witnessing someone else sacrifice themselves for them, prompting a realization of their worth.

Final Confrontation: In the final confrontation (with a villain or personal demon), let them stand up for themselves, verbalizing their worth and challenging the beliefs that have held them back.

Symbolism and Themes

Recurring Motifs: Use symbols that represent sacrifice and self-worth, like broken mirrors (self-perception) or shadows (their past). These can help reinforce their internal struggles visually throughout the narrative.

Redemption Arc: If they ultimately find a way to save themselves or allow others to save them, showcase this as a powerful moment of growth, suggesting that self-worth and love are intertwined.

Emotional Depth

Show Vulnerability: Allow the character to express their fears and doubts, whether through dialogue, journaling, or introspection, making their internal battles relatable and poignant.

Balance with Humor: If appropriate for your story, consider moments of humor or lightness to juxtapose their darker thoughts, showing that they are more than their complex.

[tahbhie]

How many drafts should you go through before deciding your novel is ready?

There's no specific (official) number, but to create a foundation that ensures you don't burn out quickly, overwork yourself, and get tired of your work, I'll say four. It's the same number I use for my students since most of them have other engagements outside writing that take up a copious amount of their time.

1. Initial or Zero Draft:

This draft is also called the 'just write' draft. Focus on putting that idea down. As the creative juices flow, let it all out. Don't worry about perfection or coherence; the goal is to capture your raw ideas and get the story out of your head and onto the page.

2. Second Draft:

This is the plot draft. Read through what you have written to see if every detail you added was meant to be. Here, you focus on the structure of your story. Ensure that the plot makes sense, the pacing is right, and there are no major plot holes. This is where you might add, remove, or rearrange scenes to improve the overall flow of the narrative.

3. Third Draft:

Character development draft. In this stage, you look deeper into your characters. Make sure their motivations, backgrounds, and arcs are well-defined and consistent. Flesh out their personalities and relationships, ensuring they are compelling and believable. This is also a good time to refine dialogue and make sure it sounds natural and true to each character. That's for this drafting stage.

4. Fourth Draft:

Grammar and punctuation draft. This is the polishing stage. Focus on correcting grammatical errors, punctuation, and spelling mistakes. Pay attention to sentence structure, word choice, and overall readability. This draft is about making your manuscript as clean and professional as possible.

Keep in mind that the goal is to define what completion means for each draft. Once you reach the goal, take a break and return to it for the next drafting stage.

Some writers pay people to carry out some of the drafting stages for them, so if you fall into that category, you might have fewer drafting stages to handle yourself!

Reblog to save for later 😉

Thank you all for the support 💜!

[hrrtshape]

Hello Emma! Since you’ve shifted so much, has you shifting routine changed? How do you shift now?

the shifting routine of a girl who shifts (mostly) whenever she wants, craves, or desires.

shifting is not a performance. there is no audience. i am not standing in front of a tribunal presenting my case on why i deserve to be somewhere else. i am simply going there. this is not a trial. this is muscle memory. this is knowing the way home. it’s an instinct, like finding the light switch in the dark. i don’t have to prove i can do it. i just do it.

i shift before sleep (nothing against awake methods, but i like returning back to my cr right after waking up), usually between 11pm and 1am. not because those hours are mystical or drenched in folklore, but because that's when i’m least bothered. the world is quiet, my bed is a raft, and i’m not interested in staying here.

i don’t prepare. not really. i do not count down, do not recite an essay-length affirmation, do not negotiate with the laws of physics. i simply think: what if i am already there and just forgot? what if my senses just have to catch up? i am not convincing myself. i am remembering and questioning reality.

　　　　　　　　　　　　　　　　　　┊ 

some nights, there’s music in my headphones. sometimes, there’s just silence, the white noise of rain, the hum of the night. my plushies (yes. yes) are there, but not as relics or ritual objects, just soft, familiar things that happen to exist alongside me.

i do not wait for a sign, for the planets to align, for the atmosphere to give me a knowing nod. i decide, and then i go. like turning a page in a book i’ve already read. 　　i know what happens next. the key is not waiting for permission to remember.

　people ask . . 　　❛ how do you know it's working? how do you know you're going to shift? and i think, how do you know you’re going to fall asleep? you just do. you close your eyes. you stop trying to be awake. you just go. shifting is like that. you let go of this world’s grip.

　　　　　　　　　　　　　you fall. you land.

routine is something that exists but doesn’t dictate. it's not the point. the point is the knowing. the ease. the way it happens when it happens because it was always going to happen. shifting is not a thesis to be defended, it is a place to be returned to. and i return, as i please.

[writersbloxx]

Writing Physical Description

Continuation of my Character Building post in a brief overview of describing physical traits.

When portraying a character through physical description, it's important to focus on key details. This can include:

Height, hair color or length, build, facial features/eye color, distinctive markings like scars or tattoos, how they dress, and many more.

Ex:

Note: Not everything has to be written at face value. When necessary, physical description can be made interesting with figurative language or when interacting with other elements like setting. If a character’s hair is black, you don't always have to leave it at “their hair is black.”

Ex:

Food for thought: Describing someone through the perspective of another character doesn't have to remain objective. Playing around with perspective/tone can help with characterization or even building an unreliable narrator.

In this case, the narrator could’ve said that the character was too tall (indicating a preference), or that a heavy stack of rings on each finger blinded them (hyperbole can convey the narrator as dramatic)

Asks are open if you want more specific tips/prompts! Happy writing!

[blondeaxolotl-twstocs]

fated question

what do murray and sirena think of squishy tasty looking tako chan

Hehe, again, Sirena finds him sweet, adorable even. After a good while Sirena tells Azul he can count on her, Murray and the tweels as a second family. Letting him know he can ask them for help with anything or even stay over whenever he wants. Honestly, just making sure Azul knows that she's a safe person he can count on just like his parents, hehe.

Murray though

It's- it's the thought that counts ig. Azul's step-dad isn't really fond of her because she says stuff like this a lot

[deception-united]

How do you write a character who is mature for their age?

My characters are all between 18-14 and act a lot more mature than their age due to how they grew up? There are about 10+ of them, and how do I make them act grown up but still be kids at the same time, while still holding leadership positions.

Hi, thanks for asking! I love this question—you'll find this in a lot of narratives, and if your characters have grown up in harsh or demanding environments, it makes sense that they’d be more responsible, insightful, or emotionally resilient than their peers; but it's important for the readers to still feel that they're young. Here are some tips.

Writing Mature Young Characters

1. Maturity through experience, not just speech

Your characters might sound older because of what they've been through, not just because they use fancy vocabulary or speak in deep philosophical metaphors. This maturity could come from:

The way they handle stress and responsibility

Their ability to assess situations logically rather than emotionally (though they’ll still have emotional moments)

The way they interact with adults (sometimes as equals, sometimes with hidden insecurity)

For example, a teenager leading a resistance group might have a sharp strategic mind, but that doesn’t mean they don’t feel the pressure of failure or secretly wish someone else could handle it. Let that complexity show.

2. Give them moments of being kids.

No matter how much responsibility they carry, they’ll still have cracks in their armour that shows their youth. Examples:

Stupid little habits (chews on their sleeves, obsessed with collecting something odd, still secretly sleeps with a stuffed animal, etc.)

Impulsive moments where emotions override logic (storming off, making reckless decisions, blurting out feelings they later regret)

A desire for normalcy—maybe they joke about things they missed out on or envy people their age who don’t have the same burdens

Even the most hardened of warriors is still a kid (in the context of this ask) and might make inside jokes, argue over dumb things, or mess around when the stakes aren’t high. Or they might make tactical decisions with the confidence of an adult, but forget to eat, sleep, or take care of themselves like a kid.

3. Leadership that feels earned, not forced

If your teens are in positions of power, show why they’re there. Are they the only ones willing to take charge? Are adults absent, dead, or untrustworthy? Did they prove themselves through skill or sheer survival? For example, you can make it feel:

Respected, not convenient—others follow them because they believe in them, not just because the story needs them in charge.

Hard-earned—maybe they had to fight for authority, prove themselves, or take on responsibilities that no one else wanted.

Lonely—leadership is isolating, especially for teens who are aware they’ve lost the freedom of childhood.

At the same time, they might struggle with things like imposter syndrome or self-doubt.

4. Age-appropriate emotional reactions

Even if they talk or act like adults, their emotional responses should remind readers that they aren't. They might:

Feel things too intensely (like anger, grief, and joy to the point of being consuming or reckless), like snapping in frustration when they’re stressed instead of handling things with full adult restraint

Have a skewed sense of consequences (thinking they’re invincible, or believing failure means everything is doomed)

Struggle with emotional control, like bottling everything up until they explode or lashing out because they don’t have healthy coping mechanisms

Maybe they can negotiate peace between feuding clans but are completely helpless when dealing with personal rejection; or they can keep calm under fire but cry when no one is watching. Things like this not only add depth to your characters, but remind readers that they're still babies.

5. Mature, but not omniscient

For instance, a fifteen-year-old might be commanding an army in battle but have no idea how to comfort a crying friend. Examples:

A teenager who had to raise their siblings will have strong leadership and nurturing skills, but might not know how to handle romance or peer friendships well

Still longing for normalcy in ways they don’t admit

Thinking they know everything, but getting blindsided by something outside their experience

6. Let them have growth arcs.

One of the best ways to balance maturity and youth is to show them learning. Maybe they act like they know everything, only to be humbled by a mistake; or assume they have to be strong all the time, but later realise they need help too and it's alright to ask for it. This'll remind the audience that while they may be wise beyond their years, they are still growing.

7. Inexperience

As many skills and responsibilities they may have, a teenager will likely still be inexperienced. For example:

They need to make difficult decisions since they're in leadership positions, but still struggle with the weight of it

Don’t yet have the emotional distance to detach from losses

Competent in battle but still hesitate before killing

8. Speech, humour, & interests

A mature teen might be more articulate and well-spoken, but they won’t sound like a university professor. They might still joke, use slang, or get snarky when comfortable.

It's also important not to forget about personal hobbies and random little things they get excited about. They may be world-weary, but they can still be dorky about their interests.

9. They might not have all the power.

Even if they hold leadership positions, adults might still underestimate them or try to manipulate them; they might be technically in charge but constantly fighting to be taken seriously, or believe they have control over their own lives only to realise they’re still at the mercy of the systems around them.

---

Hope this helped! Happy writing ❤

Previous

[bruhstation]

I want to know more about Top Hat past before she became a member of the Star Fleet

alright it’s time to strap in because this is gonna be lengthy and heavy at certain points

cw: japanese colonialism, mentions of misogyny and toxic masculinity, internalized transphobia

hwang dong-ha hailed from keijō, which will eventually become seoul after korea gained its independence. at that time, korea was under the japanese colonial rule, and mass industrialization progressed at a rapid speed. dong-ha’s father worked as a laborer at a railroad construction site, and despite the hardships the family faced, dong-ha lived an uneventful childhood. that’s just how things are with other families, she thought. dong-ha had little interest in playing with other children and prefers accompanying her mother at home.

as the iron grip the japanese empire had on korea tightened, the hwang family’s living condition didn’t seem to get any better. in 1921, the hwang family moved to the states, looking for better job opportunities. at least dong-ha still has her parents. 

after dong-ha’s father’s contract as a plantation worker in hawaii expired, the hwang family decided to open their own business in san francisco, utilizing mrs. hwang’s specialty in sewing. a small tailor shop/boutique that specializes in western coats and suits, squeezed between a tight row of stores. things were going slow with the culture difference and all, but business picked up at a steady pace after the hwang family met other korean immigrants in the neighborhood.

due to her upbringing, young dong-ha held onto rather conservative beliefs regarding success. her father is stubborn about the way things have to be done and that rubs off on her. look, dong-ha. look at what we have now! see? if you work hard, you’ll make it in life. you’ll always be rewarded. you wouldn’t have imagined this kind of life when you were a kid!

those questionable words of encouragement didn’t permanently work on dong-ha, though. as she grew older, dong-ha questions more of her world – what will she be doing in the future? will life always be like this? where does her agency start and end? will her world only consist of her, mother, and father? and like every single teenager out there, dong-ha rebels.

the hwang parents noticed dong-ha sudden interest in how she presents herself. if she wasn’t taking enough interest in fashion already, she’s now dressed to the nines in glossy suits and thick coats (conveniently conceals her figure, definitely not some foreshadowing) and acting like some sort of elite socialite, much to her parents’... worry. dong-ha had always been obedient, but attempts at suppressing her just resulted in her pushing her parents away more. she was just having fun with self presentation, being raised during grueling times, and her parents were being annoying about it? fine. she’ll seek her own people.

dong-ha’s companions throughout her young adult years were sons from upper class backgrounds. although her family is not wealthy, dong-ha was friendly and said yes to everything. being invited to cabarets and bars for pool games has now become a regular occurrence to her. she even acquired her liking towards wine from these outings. she will be normal. she WILL fit and everyone WILL like her and her clothes. and her personality – speaking of which, dong-ha becomes more arrogant and self-absorbed as she spends more time with these people. she often lied when asked about her personal life, losing more of her humility. and after a particular incident that got mrs. hwang dragging dong-ha back home in front of her friends, her relationship with her parents deteriorated.

as time passed, dong-ha grew increasingly wary of the subjects her “friends” discussed. how their parents become rich not out of hard work, or how the working class aren’t working hard enough, or the way they talk about women, or the way they view marriage as something transactional, or children… it’s all disturbing to dong-ha. but she doesn’t have any other friends. these men were her only companions besides her parents, and she had to stick with them. that’s how men are supposed to be. this is what she had to do.

this poses another problem – dong-ha was supposed to be a proper “man”. not to mention that she’s the only “son” that her parents have. is this what it means to be a man, then? be crass and rude to assert their dominance? flaunt their physique? fall for women and have them for himself? dong-ha is disgusted, but they aren’t… as if it’s something natural. it doesn’t make sense, and when people can’t make sense of something, they get angry. a man is supposed to be masculine, dress the part, control those below him, woo a woman, then marry her. that’s how things are supposed to be, damnit. but she doesn’t like any of this. dong-ha felt like an outlier.

dong-ha admires women not in a way that’s supposed to fit how a man is expected to: not in an attraction, borderline domineering way, but as if they’re something… graceful. nigh unattainable. they’re resilient and beautiful. they’re beautiful not because she wants them for herself, but because they just are. she was disinterested in the idea of masculinity before, only performing it because that’s what is expected of her, and now she’s wholly appalled by it. looking back, she preferred the days when she was younger and helped her mother with sewing rather than mingling with loud, callous, and misogynistic men.

dong-ha’s friends noticed how dong-ha became less talkative, only drinking with a condescending glare directed at them. she averts her gaze when they were talking about annoying maids or girls, and the streisand effect gets into work. they’d poke fun at dong-ha and joke about how she probably had a bad night; “do you not like women? did a girl reject you or something? you’re being so weird, dong-ha.” and she still had to put on a facade. “they’re so annoying. but what if they aren’t, and the one who’s wrong is actually me? utter nonsense, dong-ha. have some self respect.”

so comes the turning point. after a late night out drinking her frustrations away, she came back home to think about reconciling with her parents and retreat back to her small world – consisting of just her, mother, and father. though she constantly goes back and forth between thinking she’s in the right and feeling guilt towards her parents, the latter of the two consciences won. she found mother and father in the living room that night, and a verbal fight quickly broke out. despite her attempts at apologizing, mother and father kept scolding dong-ha, and in reflex she came to her own defense. dong-ha’s father ended up making hurtful remarks about how she’s an ungrateful son who never appreciates what they have, instead distancing herself from her family to hang out with random wealthy strangers, and how he hated the way she always flaunts herself and other nitpicky things and that clearly cuts deep. because she has never seen her father this mad before. and her mother just stares at her, unmoving. not only is the world outside confusing, now her own world has been tainted.

she is furious. and prideful. and stubborn. wait, she is? she’s stubborn? no. it was them! they don’t understand her. nobody ever does. she’s the one who’s unlucky. the world doesn’t give her the answers even though she has asked so many of them. everyone’s just so incompetent! beneath her!

having given up in trying to make sense of the world outside her own, the disillusioned dong-ha moved to bigg city port while only leaving a single letter to her parents. she needed a new scenery to escape this contradicting world. no more family boutique, no more hangouts with the narrow-minded morons she used to call “friends”. she didn’t fit in with them, or anyone, really – is there really a place for her in this world? logically, there should be. dong-ha is prideful and stubborn. she believes she deserves much more than what she’s given as much as she feels sick at herself.

the boundless sea stretching beyond the docks and piers gained dong-ha’s interest. she asked for a job and some guy directed her to a certain captain archibald star. dong-ha landed a job in bigg city port as a helmsman for the star tug & marine. she was assigned the #4 railway tug “top hat”. captain star’s bouts of american patriotism often made top hat raise an eyebrow, but he was a pretty okay guy. as long as she views him as her employer and nothing else. still, she is quite vain, and due to a lot of dockside workers being men, top hat viewed everyone around her as beneath. doesn’t matter if you’re a star, or a zed, or the two idiots (her own words, not mine) from the railhead, there’s a high chance top hat has broken down your character and constructed several lists of thesaurus-sanctioned phrases personalized just for you inside her head.

though… dong-ha’s coworkers were far, FAR better than her “friends” from her youth. they actually have something meaningful to discuss during breaks besides objectifying women and money and other weird things. hercules is nice and pleasant to talk to, not to mention his open mindedness that earned top hat’s liking. warrior and big mac often gave her headaches, but they put up with her bouts of vanity with a wisecrack or two, much to her surprise. OJ was annoying at times, him being the wisest yet kind of old fashioned, but he’s still decent company. eddie and frank… they’re thing 1 and thing 2. (she likes them. nahhhh she doesn’t. that’s just how she is. actually she does like them. she’ll knock herself on the forehead before even smiling at frank and eddie.)

the stars (some of the zeds too, but you know how they are) also didn’t make any weird comments on how she likes to dress extravagantly even during hot weathers, and even if they did, said comments only go as far as mentioning how fitting it is with her character, nothing more. this is all pre-FBC, and she was still referred to with he/him pronouns. though top hat still hadn’t figured out that she’s a woman because she didn’t realize it’s an option for her (due to the morons she used to hang out with), she has thoughts about ditching the concept of being a “man” fully after reminiscing about how she’s often uncomfortable at being referred to as a “man” or anything that points out her lack of interest in anything masculine. her self discovery is further supported given the healthier environment she’s in, and the revelation that she wasn’t the only person who dealt/was dealing with gender issues (there’s hercules who broke the news for her, then she later met lillie, then ten cents, then sunshine, then boomer, then zip (THIS IS A WHOLE NOTHER CAN TO OPEN)) led to her embracing herself as a trans woman. fortezza bigg city is a tough story for the young’uns like ten cents and zip but things are much better on top hat’s side at this point 

of course, like how everything in this world follows a certain order, this is top hat’s world now. by the events of fortezza bigg city, at the age of 27, top hat is still her usual prideful self, but she’s working on being more compassionate towards people around her (lord stinker says hi). she’s sharp and quick-thinking and is quick to make stinging remarks just for the fun of it, but what’s top hat without a one-liner every five minutes? she’s no longer bitter and withdrawn. top hat’s having fun now <3

[torchlitinthedesert]

i was a reasonably big beatles fan for a while before i actually started learning more about the break up and solo years so i saw that idea of pr genius paul and unfiltered truth teller john repeated constantly. and i remember being just FLOORED when i learned paul spent the immediate pre breakup period secluded on a farm literally throwing buckets of water to chase off reporters and his big solo album aunt involved a bizarre q&a specifically because he refused to talk to individual press. while john and yoko literally gave like multiple interviews a day for much of 69-70. honestly, they were so good at it the idea is pervasive today even with people who are otherwise really savvy and knowledgeable about the beatles that i would expect to know better. even a lot of people who admit john and yoko were canny with the press still repeat the pr man paul trope.

I knowwwww. Thank you anon - I love the point about Paul and his buckets of water.

The disconnect is extraordinary. And in part it's a sign of how effective John and Yoko were - but you'd think, by now, people would have noticed how limited Paul's PR skills were.

TheyMayBeParted's rundown of the days leading up to the Get Back sessions have a fascinating contrast between Paul and John's PR approaches. On holiday in Portugal, Paul calls an impromptu press conference on the beach - the deal being, he'd speak to all of them at once and get it over with, giving them quotes and photographs in exchange for being left alone. Meanwhile, John and Yoko manage to give tailored interviews to three separate news teams during John's appointment at the dentist.

And that's really the difference: John and Yoko have a coherent message and are working proactively and very hard to get it out. Paul is basically doing damage limitation. He's doing his job, while trying to protect his privacy.

In the decades since, he's obviously got better PR teams, but he's still not a natural at it. For instance: Carpool Karaoke was a really smart PR move for him. It's been viewed 68 million times, with a very positive impact on his reputation. But he didn't recognise what an opportunity it was, and tried to pull out multiple times.

Interestingly, there's a suggestion that he was particularly nervous about going back into Forthlin Road: I suspect because he knew memories might make him emotionally vulnerable. John was never an "unfiltered truth teller", but he was phenomenally skilled at using his genuine emotions to turbocharge his narratives. Even now, Paul is freaked out by the idea of revealing himself like that.

[novlr]

What is a good way to start a novel? (sentence frames)

Are you a creative writer struggling to get started on your next project? Do you find yourself staring at a blank page, unsure of where to begin? Fear not! Here are some sentence frames designed to inspire your creativity and help you generate story ideas.

Get to know your main character

[Character name] was not your typical [profession/role]; in fact, they…

Despite being [adjective], [character name] had always felt…

[Character name] had a secret, one that they had kept hidden for [time period]…

As [character name] looked out the window, they couldn’t help but wonder what life would be like if…

[Character name] had always been drawn to [hobby/interest], but had never had the courage to pursue it until…

The day [character name] met [another character], everything changed…

Setting the scene

The town of [name] was known for its [unique characteristic], but beneath the surface…

In a world where [fantastical element] was commonplace, [character name] stood out because…

The [building/location] had stood abandoned for [time period], but on this particular night there was [an event]…

The [place/location] was famed for its [unique characteristic], but [character] found themselves drawn to [thing]…

Introduce conflict

[Character name] had always believed that [belief], until [event] forced them to question everything.

When [character name] discovered [secret/revelation], they knew they had to…

The arrival of [character/object] in [setting] threw [character name]’s life into chaos, as they…

[Character name] had always been content with their [status quo], but when [event] occurred, they realised that they could no longer ignore their true calling.

The arrival of [character name] in [place/location] set off a chain of events that would uncover long-buried secrets and force the [people of location] to confront their darkest demons.

Show character growth

[Character name] had spent their entire life [doing/believing something], but now they began to wonder if…

As [event] unfolded, [character name] realised that they were capable of…

[Character name] had always been afraid of [fear], but in the face of [challenge], they discovered…

[Character name] used to [old behaviour], but now they [new behaviour]…

As [character name] faced [challenge], they discovered a [new strength/quality] within themselves…

[Character name] never thought they could [achievement], but with [catalyst], they learned to [lesson]…

Create suspense and mystery

[Character name] knew that [mystery/secret] held the key to [goal], but the closer they got to the truth…

As [character name] delved deeper into [investigation/quest], they began to suspect that…

The [object/clue] seemed insignificant at first, but as [character name] examined it more closely, they saw [detail].

[Character name] had a nagging feeling that something was off about [person/place/thing], but couldn’t quite put their finger on it until [event].

The [sound/smell/sight] was hauntingly familiar to [character name], but they couldn’t remember why until [event].

Explore character relationships

[Character name] had always looked up to [other character], but now they began to see them in a different light because [event/change].

Despite their differences, [character name] and [other character] found themselves drawn to each other because of [detail].

[Character name] knew that [other character] was hiding something, but they never expected [revelation].

[Character name] and [other character] were once inseparable, but [change] meant they grew apart.

[Character name] never expected to find a friend in [other character], but [character detail/event/location] brought them together.

[Character name] couldn’t shake the feeling that [other character] was hiding [secret] from them.

Remember, these sentence frames are just a starting point to help you generate ideas and get your creative juices flowing. Feel free to adapt, combine, or expand upon them to suit your unique story and writing style. The most important thing is to let your imagination run wild and enjoy the process of writing your novel!

[unboundprompts]

Hii!! I came across your blog and immediately followed since I thought I might needed some help with my fanfics, and if there's one thing I'm bad at is describing fight scenes with like guns or magic, I've been struggling to write it and did some practices and didn't like how they came out, I'm hoping if you can do some fighting prompts, I hope this isn't too much!!

How to Write Fight Scenes

-> check out @howtofightwrite , they are an excellent resource for writing realistic fight scenes.

Set the Stakes Early

Why are they fighting? Establish the stakes of the fight clearly before it begins. If the reader understands what’s at risk, they’ll feel more invested. Stakes could be personal (revenge, survival), emotional (protecting a loved one), or strategic (achieving a mission).

Use the Environment

Incorporate the setting to add depth and realism. Are they fighting in a cramped alley, an open field, or a crowded city street? Describe how the environment affects movement, line of sight, or weapon use.

Vary Sentence Length for Pacing

Short sentences create tension and speed, while longer sentences allow for brief moments of reflection or description.

Incorporate Sensory Details

Highlight the senses beyond sight to ground the reader in the fight. Describe the smell of sweat, the metallic taste of blood, the weight of a sword, or the deafening roar of a gun.

Example: “Her ears rang as the blast reverberated around the alley. Smoke filled her nose, thick and choking, but she ignored it, tightening her grip on her weapon.”

Focus on Key Moments, Not Every Movement

Avoid blow-by-blow descriptions. Instead, highlight critical moves, reactions, and turning points to keep the scene flowing and avoid overwhelming the reader.

Show Physical Strain and Fatigue

Fights take a toll, especially over time. Show characters struggling to keep up, panting, sweating, or even stumbling as exhaustion sets in.

Example: “Her arms ached, each swing feeling heavier than the last. Her breathing came fast, ragged, but she couldn’t stop now.”

Capture Emotions and Mindset

Mix action with glimpses of your characters’ thoughts and emotions. This adds depth and reminds readers why the fight matters.

Describe Injuries Believably

Injuries impact the pace and intensity of a fight. Showing injuries realistically adds tension and makes victories feel hard-won.

Example: “She hissed as pain flared in her side where his blade had grazed her. Her vision blurred, but she forced herself to stand, one hand pressed to the wound.”

Build Up to a Climax

As the fight progresses, increase the stakes and bring tension to a peak. This could be a devastating blow, a risky last-minute decision, or a surprising twist.

Example: “He was backed against the wall, nowhere left to run. She raised her hand, a final spell crackling in her palm, the light casting a fierce glow in her eyes.”

Conclude with a Realistic Aftermath

Show the immediate aftermath of the fight: physical exhaustion, injuries, and the character’s emotional response. If they won, are they triumphant, relieved, or traumatized? If they lost, what happens next?

Fight Scene Prompts (with Magic)

-> feel free to edit and adjust pronouns as you see fit.

As they crept down the dim hallway, the flash of gunfire exploded from behind, forcing them to dive to the ground, bullets ricocheting off the walls around them. She barely had time to pull her weapon, pressing her back to the wall as footsteps drew closer. With a steadying breath, she waited for the right moment, then spun, firing off two rounds that hit their marks with surgical precision. The hall fell silent, the smell of gunpowder hanging in the air.

Electricity crackled around his hands as he stalked toward his opponent, energy building in his fingertips. She mirrored his stance, blue flames licking up her wrists as her gaze narrowed. He made the first move, sending a bolt of lightning in her direction, but she countered with a quick flick of her wrist, sending the flames forward like a living shield. Sparks flew as their magic collided, the force of it rattling the metal beams around them.

He ducked behind the dumpster as gunfire erupted, bullets pinging off the conjured barrier that surrounded him. He gritted his teeth, feeling the strain as his shield flickered with each impact. His opponent advanced, shouting taunts over the noise, but he focused, raising one hand to push the barrier outwards, turning it from defense to offense. With a growl, he flung the shield forward like a battering ram, the force slamming his opponent back against the alley wall.

They ascended into the night sky, wind whipping around them as spells flew between them like streaks of fire. He could barely keep up, dodging her relentless attacks as the city lights twinkled below. Finally, he unleashed a burst of energy from his hands, the force spiraling outward in a shockwave. She managed to deflect it just in time, retaliating with a beam of light that sliced through the night like a comet, forcing him into a desperate mid-air roll to avoid it.

[nionom-art]

Im noticing something something off the recent episode, bustier being Stern with chloe and immediately telling her to sit down, is she more strict in this au 👀

Good catch- yeah, she is. She’s taught middle school for a longer time in my au, and when you teach middle school, you either grow a back bone, or get eaten alive.

[hrrtshape]

First of all, I really like your posts but I feel like I am too dumb for some of your answers. They are so poetic and I... Am not. So I don't understand some of them, could you explain how to shift and deal with 3D for a dumb dumb person?

okay first of all you’re not dumb !!!! you just have different ways of processing information. that’s normal. my brain just works like a victorian poet who’s been trapped in a storm for three days. but i got you.

shifting is just moving your awareness. you do it all the time without realising. daydreaming? shifting. getting lost in a book? shifting. waking up and forgetting where you are for a second? shifting. the only difference is now you’re doing it on purpose.

how to shift.

i , decide where you want to go. be clear. what’s the vibe? what do you want to experience?

ii , relax. you don’t have to be in a perfect position. just get comfortable.

iii , focus on your dr. think about it, feel it, imagine it however works best for you. some people visualise, some just know it’s real. both work.

iv , detach from 3d. this is the hardest part but also the easiest. stop worrying about whether it’s working. if you’re thinking “but i’m still here,” that’s just a thought, not proof. shifting isn’t about forcing, it’s about letting go.

v , allow it to happen. you don’t have to do anything special. your consciousness will move when you stop gripping onto 3d so hard.

dealing with the 3d while waiting.

stop acting like 3d is the enemy. it’s not a prison, it’s just one layer of reality.

shifting is easy when you stop needing it. desperation makes it harder.

do things that make you feel good in 3d. be a little delusional. let yourself enjoy things.

stop overcomplicating it. if you tell yourself shifting is impossible, your brain will believe you. if you tell yourself it’s natural, your brain will believe that too.

[stellarshifter]

"What's stopping you?"

That's the thing, I don't know. I know everything I need to. I know I'm already there. I know I've let go of worry, now that I know I'm so close(well, asides from today, when I've been asking myself this all day). I recently had my first close, deliberate attempt. So I know I am right there, but I don't know why it's just barely out of reach.

Aw, babe, you are right there. Like, the door is open, and you’re just standing in the doorway thinking, "Wait… why am I not inside the house yet?"

Here’s the thing. you’re expecting something to be stopping you, so your brain is looking for a reason. But there is no reason. You already know you’re there. You already know you’ve let go. The only thing left to do? Allow yourself that.

You’re not stuck. You’re not blocked. You’re just thinking too much. Trust me, I'm an overthinker too, its bad. It can ruin not just your day but months at times. So I understand.

But here's the thing, you don’t need to push, force, or figure anything else out. Just step through. That’s it. That’s all. Okay? You got this! Allow yourself this.

✨ Okay, love you, byeeee

[noxxuniverse]

🐭anon here with some success stories of today!

I was looking for my iPad, which I had lost somewhere in my room since 2 days. While getting dressed, I was fed up and decided I wanted my iPad NOW. So I said once "I'm going to find it in one second.", I let it go, then a second later, while I grabbed my hoodie from my closet, it was under my hoodie in my closet? Why would it appear in my closet? I didn't leave it there? Another piece of evidence that manifesting doesn't need to happen in a logical way. But I'm very happy that I manifested instantly and that the limiting belief of needing to wait for it, is finally out of my mindset!

Another success story, I wanted new clothes desperately, but my mom didn't want to buy me any.. since she said my closet was too small and that I could barely fit new clothes in there. (But I live in a big house, with a giant walk in closet? So idk what she be talking about, but it doesn't align with me~~)

But not even a few minutes later, I found a new hoodie in my closet, which I don't remember ever wearing or buying. So I asked my mom if the hoodie belonged to my stepdad and she said it was mine and that I had bought it recently? Which I have no memory of, so I must've shifted somehow. I don't really know how this worked, but idk, I got a new hoodie now. 😭☝

Now another success story of the day, of which I am the most proud of. I revised my uncle's death. My mom told me two days ago that he had passed away, between the 3rd and 4th advent. But no one informed us about this, so I only found out two days ago. I was devastated, he is a distant relative of mine, but I was still very close with him. So I barely ate the past few days and my mental health was shit, but I still pulled through, even with doubts and grief. SO YES FFS, YOU CAN MANIFEST WITH DOUBTS + FEELINGS DONT FUCKING MATTERRRRR.

And today my mom came into my room, telling me he isn't dead and that some neighbor lied about him being dead, and that our aunt simply spread that shit around. I called him, he is alive, he is well, he is doing good.

HOLY FUCKING SHIT 🐭 ANON!?!?

I'm actually so proud holy shit!!

Yes, manifesting really doesn't need to happen in a logical way, it's instant and our desires can come in any way we want it to. You could literally have a fairy deliver it to you on a plate lolol

Genuinely so proud!!