#creative writing

[creativepromptsforwriting]

That nonsexual intimacy of just being in each other's spaces, of gravitating towards each other, always subconsciously reaching out to each other. Finding comfort and satisfaction in being close to each other, breathing each other in, existing together.

[theaftersundown]

You, every night.

[so-many-ocs]

instead of scrolling mindlessly on tiktok, consider:

staring into the bathroom mirror, trying to discern hints of your parents' faces in your own

falling into a vicious cycle you will spend decades of your life trying to crawl and bite your way out of

placing your ear to the mossy ground. do you hear it? is that the earth's heartbeat, or your own?

whispering forgotten hymns from a dead language into your pillow and listening for a response

putting your tongue to something you would otherwise never get to taste

climbing as high as you can in the tallest tree you can find and reaching up to brush the sky with your fingertips. it can't be that high up, right?

reading

falling to your knees in an empty field and screaming until your lungs give out

listening to yourself talk and realizing that all you say is an amalgamation of thoughts and feelings from other people, some of which you will never see or speak to again

establishing a tentative peace with the spider in that dim corner you can never bring yourself to reach into

scrolling mindlessly on another social media app that just doesn't hit quite the same

[incorrectbatfam]

One thing I rarely see in injury and chronic pain fics is the grief that comes with missing out on stuff you love because you can no longer do them without hurting yourself. Writers who have been disabled their whole lives (or at least a long time) tend to forget that not all disabled people are used to being disabled. For able-bodied characters, especially athletic ones like vigilantes, a serious injury could mean a jarring change that includes giving up the things that mean the most to them.

I was physically fine until I was 18. Back then, my sense of self was entwined with interests that required a lot of movement and dexterity. I started doing MMA in middle school for self-defense. I loved parkour and even had a few hundred subscribers on my old YouTube channel. I learned to shoot and was gifted my first gun when I was 16. I took up multiple instruments. You get the idea.

My motorcycle accident fucked up the joints on my left side—my knee and shoulder especially, but also wrist to an extent. When it first happened, I thought I'd be on crutches for a bit but things would eventually get back to normal. The pain didn't go away even after I got rid of the crutches but I figured it was just residual and I should do what I'd been doing before. It's why I turned to substances—to block the pain and do what I love, but that's another topic. I didn't recognize my injury as a disabling thing until the end of the pandemic, when I put my parkour channel on an indefinite hiatus because it was seriously wearing my body down. It might sound silly to you but I was devastated. It's like if Spider-Man wasn't allowed to swing from buildings. It took me a long time to make peace with losing that part of me.

Another piece of that grief is even when you can do stuff, it's not the same because you have to exclude certain aspects of it for your own health. It's like the Robin that died and came back wrong. I can't use certain gym equipment and I have to tell my sparring partners what to avoid. I don't go to the shooting range much now because I can't extend my arm and hold a rifle for the amount of time it takes to aim without it starting to hurt. I'm a drummer, but I need breaks throughout the setlist and I can't do anything too fast or complex with the pedals, which means I can't play some of my favorite songs and my band is limited in what we write and perform. I can't take my motorcycle on road trips without frequent rest stops. Making accommodations helps physically, but emotionally, they're not always easy to accept because that means accepting the pain as a long-term disability rather than a temporary setback.

This got super long because I think it's unexplored in fics so some tips for creators:

First, learn how the body works and how stupidly fast and easy it is to get hurt. Mine was on a residential road because I didn't pay attention for 0.2 seconds

Learn the difference between internalized ableism and being upset over becoming disabled. I think a lot of writers skip over the feelings someone would naturally experience because it can be construed as ableism. Let them be in denial, sad, angry, etc. upon finding out because acceptance almost never happens right away. That's different from being a dick to themselves or others based on disability

Also, not everyone uses the same labels or has the same vocabulary to describe themselves. Different characters will have different ways of describing depending on their personality, level of knowledge, where they come from, and their relationship with their disability. I still don't really call myself disabled since I don't have it as bad as others so I tell people what happened instead (anyone who says "differently abled" will receive a different ability from me in the Denny's parking lot)

Think about how they cope with their new disability. Do they realize it's a disability right away? Do they talk to someone? Search desperately for a cure? Numb the pain? Turn to alternative methods? Do they worry about something else first, like money? Do they develop something else because of it, like a mental illness? Again, coping poorly is not ableism

What stays the same and what changes? I think about the difference between Forrest Gump and Lieutenant Dan after they were both wounded in battle

If they have a passion they can no longer pursue, it doesn't make much sense for them drop it so readily. Maybe they find a way to continue with accommodations (a good place to get creative!). Maybe they try and push through anyway. If they do ultimately resign, include the thought process and internal conflict behind it

[nondelphic]

finishing a chapter feels like a victory, but starting the next one feels like you’ve forgotten how to type.

[xyywrites]

Dialogue Do’s and Don’ts

Do: Keep Dialogue True to Character

Instead of:

"I cannot believe this is happening, and I am utterly devastated by the consequences of this disastrous situation!"

Consider:

"This is a mess. I don’t even know where to start."

The first example sounds forced and unnatural, while the second feels more like something a real person would say when overwhelmed. Keep your character’s voice in mind—how would they speak, based on their personality, background, and the situation?

Don’t: Overuse Exposition

Instead of:

"You know, Jane, it’s been three years since we met in that small town in Iowa. I was just 19, and it was the summer of 2003 when you moved to that street, right next to the café where we had our first coffee."

Consider:

"I remember the first time I saw you across the street. You had that awful red scarf on."

The first example dumps way too much unnecessary information on the reader. Stick to the essentials—dialogue should enhance the plot, not rehash everything.

Do: Use Subtext for Tension

Instead of:

"I can’t believe you left me in the middle of the night without a word! I thought you loved me!"

Consider:

"You really should’ve told me you were going. I would’ve liked to say goodbye."

The first example feels overly dramatic and obvious, while the second is subtle yet impactful. Subtext lets the emotions simmer below the surface, creating tension and making the reader feel what’s being left unsaid.

Don’t: Overuse Dialogue Tags

Instead of:

"I don’t think we should be doing this," she said worriedly. "But I want to," he said eagerly. "This isn’t right," she said hesitantly.

Consider:

"I don’t think we should be doing this." "But I want to." "This isn’t right."

Excessive dialogue tags like “said worriedly” or “said eagerly” can feel redundant. Trust the dialogue itself to convey emotion. Only add tags when absolutely necessary.

Do: Keep Dialogue Concise

Instead of:

"You know, the thing is, I’ve been thinking about this a lot. And I realize that this situation is really tricky, and I don’t know how we got here, but I know I don’t want to be in it anymore."

Consider:

"I can’t do this anymore."

The first example drones on and loses impact. The second gets straight to the point, leaving more room for tension, action, and emotional impact.

Don’t: Have Characters Explain Too Much

Instead of:

"I’ve been feeling this way because, you know, ever since I lost my job, I’ve just felt like I don’t know who I am anymore. I guess I don’t have a purpose."

Consider:

"I don’t know who I am anymore."

Over-explaining emotions or backstory in dialogue can sound unnatural. Let your characters’ actions and non-verbal cues fill in the blanks. Sometimes, less is more.

Do: Use Dialogue to Show Relationship Dynamics

Instead of:

"I’m angry at you for leaving me behind like that!"

Consider:

"You’ve always done this, haven’t you? Leave when things get tough."

The second example shows more vulnerability and history between the characters. It’s not just about the present moment—it hints at past experiences and establishes a deeper emotional dynamic.

Don’t: Use Dialogue to Tell How the Character Feels

Instead of:

"I feel so hurt by what you said to me yesterday. It really hurt my feelings."

Consider:

"You didn’t have to say that. I’ve been trying my best."

Rather than stating exactly how they feel, the second example shows the character’s hurt through their reaction. Let the emotions emerge naturally from the character’s words.

Do: Use Pauses and Silence

Instead of:

"Why didn’t you tell me? You should’ve said something earlier!"

Consider:

"You should’ve told me." (Beat) "Why didn’t you tell me?"

The pause makes the second line feel more impactful and thoughtful. Silence and beats in dialogue create space for the reader to feel the tension and weight of the moment.

Don’t: Use the Same Dialogue Formula Repeatedly

Instead of:

"Are you okay?" "Yeah, I’m fine." "Are you sure?" "Yeah, I’m sure."

Consider:

"Are you okay?" (Beat) "Do I look okay?" "I—" "No. I’m not."

Repetitive dialogue can make conversations feel mechanical and predictable. The second example introduces uncertainty, making the dialogue feel more natural and layered.

[creativepromptsforwriting]

Dialogue Responses

"I have dreamed of you."

"Dreams can be so revealing."

"What was I doing in your dream?"

"Was I as nightmarish as in reality?"

"I hope I was the hero in your dream."

"Aww, your subconscious thought of me."

"You used to dream about me all the time."

"Please, don't tell me I did something stupid."

"And now you want me to tease you about it?"

"It was hopefully good. But not like... too good."

"I wish I could have been there with you in reality."

All the Dialogue Responses can be found here.

If you like my blog and want to support me, you can buy me a coffee or become a member! 🥰

[theaftersundown]

*writes two paragraphs after months of literally nothing and it took three hours*

[nondelphic]

normalise writing dialogue so dramatic and self-indulgent it makes shakespeare’s monologues look like tweets.

[goddess47]

Sometimes, it's good to have options on hand!

sometimes you need dialogue tags and don't want to use the same four

[bookwyrminspiration]

sometimes a theme recurs in your work without your permission. and sometimes it reaches a threshold where you're like. well now i think this is saying something about me against my will. don't know what though

[sourdough-seal]

“omg you’re so creative. how do you get your ideas” i hallucinate a single scene in the taco bell drive thru and then spend 13 months trying to write it

[soul-from-another-era]

Unconditional love isn't a free pass to hurt me.

[the-most-humble-blog]

Misery loves company, and people will seek you out to infect you with it so they're not alone.

[nondelphic]

your writing doesn’t have to be perfect. it just has to make someone feel something.