A Couple of Helpful Resources for making Scum Villain Fanworks All in one Spot
Disclaimers - If your resource is here and you would like for me to remove it or change something related to it, just lmk and I will do so as soon as possible! I did as well as I could to make sure these resources are reliable, but if you notice something is off, please lmk! Feel free to add other resources in the reblogs :)
1. The Scum Villain's Self-Saving System Timeline by VagabondDawn on ao3
2. svsss canon log by allpiesforourown on Tumblr/Google Doc
3. [Guide] The Scum Villain's Self Saving System by Jin_Mitel on ao3
(^^ An Index of Jin_Mitel's other guides, many look useful for this purpose/others are scum villain focused! Find them at A Guide to Fictions)
4. Guide of Locations in Scum Villain Self-Saving System by misfitmonarchy and stardust_falling on ao3
5. A Partial Beastiary for Chinese Mythology and Folklore by PyrrhaIphis on ao3
6. Guide to Writing Scum Villain (or XianXia and XuanHuan in general) by velveteentuzhi on ao3
7. Stallion Novels: A Guide by ibex_ascendant on ao3
8. Chinese Names + Naming Resources by lingxhr on Tumblr (Useful for OCs!)
9. Chinese Naming Basics for Fanfiction Writers by miqqumi on ao3 (Danmei/SVSSS Specific! Useful for honorifics! Contains a long list of resources for this subject)
10. How to Name your Chinese Characters by drwcn on Tumblr (Useful for OCs!)
11. ziseviolet on Tumblr (For hanfu fashion history, explanations, and inspo! A lot of helpful history and cultural information/resources as well! Extremely helpful, see their masterposts on their blog to start)
Ziseviolet's masterposts one and two
12. peekofhistory on Tumblr (Really incredible history/arts/crafts/guqin making and lessons(!!)/culture resource! Highly recommend to check them out!)
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= the action that marks an antagonist as irredeemably evil; once past this point, redemption is no longer an option for the character and any explanation they may have had for villainy no longer excuses it
not all villains have such a moment, but once they do they are considered "pure evil"
moment must be played seriously and does not include humor to soften the blow
onward, all ambiguity surrounding the character's moral standing is resolved and can not be seriously questioned again by all in-the-know of the event
any attempt at redemption is not enough, fails, is interrupted, and/or ends in the death of the villain
depending on genre-typical expectations of violence/morals, the action can have very different degrees of evil
typical examples: killing a fan-favorite character, animal abuse, sexual assault, bigotry, betrayal, infidelity, domestic abuse, hurting the innocent and vulnerable
Examples from popular media:
Ego giving Starlord's mother the tumor that killed her (Guardians of the Galaxy Vol. 2)
President Coin dropping bombs on the evacuating children and killing Prim (Hunger Games)
Scar refusing to help Mufasa and throwing him into the stampede (Lion King)
Things Iâve noticed are essential in plotting and would probably have saved me a lot of time if I had considered it earlier
The START of your story - how fucked up flawed is your premise/character at the start? what do they have to change? why are they HERE?
The END of your story - How do you want your main character/theme/universe to change after your story? Does it get better or worse? THIS SETS UP THE TONE DRASTICALLY.
What you want to happen IN BETWEEN - the MEAT of it. What made you start writing this WIP in the first place. Don't be ashamed to indulge, it's where the BRAIN JUICE comes from. You want a deep dive into worldbuilding and complex systems? Then your start and end should be rooted in some fundamental, unique rule of your universe (what made you obsess over it?). Want to write unabashed ship content? Make sure your start and end are so compelling you'll never run out of smut scenarios to shove in between scenes (what relationship dynamics made you ship it in the first place?).
The ANTE - the GRAVITY of your story. How high are the stakes? Writing a blurb or interaction? start with a small day-in-the-life so you can focus on shorter timelines and hourly minutiae that can easily get overlooked in more complicated epics. Or you can go ham on it and plot out your whole universe's timeline from conception to demise. Remember: the larger the scale, the less attached your story may get. How quickly time flies in your story typically correlates with the ante (not a hard rule, ofc, but most epics span years of time within a few pages, while a romance novel usually charts out the events of a few months over a whole manuscript.)
Random pieces of advice about worldbuilding and plot.
If every story is worth telling, there are some elements to take into account to make it right.
Every cause has consequences. A story is logical in one way or another. Whether you plan your story or go with the flow, if you ask about: the origins, reactions and actions to be taken following an event, the pieces somehow will âclick into placeâ.
Everything has a cost. Magic system, war, life in general... Don't forget that resources are not unlimited. Consider the societal, social, natural, (magical, if need be) limitations.
Challenge the statut quo and the villain's motivations (if there's a villain in the original sense of the term) : Ask yourself why the villain wants to âchange the worldâ (and really question his legitimacy) and what the world should look like after the final confrontation. If we come back to the original point, it's that the plot didn't serve any purpose, being no more than a âhistorical asideâ. Remember that everything happens for a reason, so make that reason a good one.
Make actual research about geography and climate: forest, desert and especially rivers can't pop out of nowhere, they must respect certain natural principles. For example, a river must have its source somewhere, often high up in the mountains. So it seems logical that a river should be close to a mountain. Be careful if you want to incorporate a map in your story !
Be careful when you rely on chance, fate or whatever you call it. I still can't work out whether it's worse than deus ex machina - especially if it's done badly. As far as I'm concerned, if you work well enough with the cause-consequence chain and have a good grasp of the limits of your universe, you won't need to rely on this kind of process. this one is actually pretty personnal, you have every right to disagree.
âď¸ Writing Dialogue That Sounds Like Real People, Not Theater Kids on Red Bull
(a crash course in vibes, verbal economy, and making your characters shut up already)
Okay. We need to talk about dialogue. Specifically: why everyone in your draft sounds like theyâre in a high school improv group doing a dramatic reading of Riverdale fanfiction.
Before you panic, this is normal. Early dialogue is almost always too much. Too polished. Too "scripted." So if yours feels off? Youâre not failing. Youâre just doing Draft Zero Dialogue, and itâs time to revise it like a boss.
Hereâs how to fix it.
âââââââ ⌠âââââââ
đ STEP ONE: DETOX THEATER ENERGY
I say this with love: your characters are not all quippy geniuses. They do not need to deliver emotional monologues at every plot beat. They can just say things. Weird, half-finished, awkward things.
Real people:
interrupt each other
trail off mid-thought
dodge questions
contradict themselves
repeat stuff
change the subject randomly
Let your characters sound messy. Not every line needs to sparkle. In fact, the more effort you put into making dialogue â¨perfectâ¨, the more fake it sounds. Cut 30% of your clever lines and see what happens.
âââââââ ⌠âââââââ
đ¤ STEP TWO: GIVE EACH CHARACTER A VERBAL FINGERPRINT
The fastest way to make dialogue feel alive? Make everyone speak differently. Think rhythm, grammar, vocabulary, tone.
Some dials you can twist:
Long-winded vs. clipped
Formal vs. casual
Emojis of speech: sarcasm, filler words, expletives, slang
Sentence structure: do they talk in fragments? Run-ons? Spirals?
Emotion control: are they blunt, diplomatic, avoidant, performative?
Hereâs a shortcut: imagine what your character sounds like over text. Are they the âlol okayâ type or the âokie dokie artichokie đâ¨â one? Now translate that into speech.
âââââââ ⌠âââââââ
đ§ STEP THREE: FUNCTION > FILLER
Every line of dialogue should do something. Reveal something. Move something. Change something.
Ask:
Does this line push the plot forward?
Does it show character motivation/conflict/dynamic?
Does it create tension, add context, or raise a question?
If itâs just noise? Itâs dead air. Cut it. Replace it with a glance. A gesture. A silence that says more.
TIP: look at a dialogue scene and remove every third line. Does the scene still work? Probably better.
âââââââ ⌠âââââââ
đĽ STEP FOUR: REACTIVITY IS THE GOLD STANDARD
Characters donât talk into a void. They respond. And how they respond = the real juice.
Donât just write back-and-forth ping pong. Write conflict, dodge, misunderstanding. If one character says something vulnerable, the other might joke. Or ignore it. Or say something cruel. Thatâs tension.
Dialogue is not just information exchange. Itâs emotional strategy.
Try this exercise:
A says something revealing.
B lies.
A notices, but pretends they donât.
B changes the subject.
Now youâve got a real scene.
âââââââ ⌠âââââââ
đ STEP FIVE: PAY ATTENTION TO POWER
Every convo has a power dynamic, even if itâs tiny. Whoâs steering? Whoâs withholding? Whoâs deflecting, chasing, challenging?
Power can shift line to line. That shift = tension. And tension = narrative fuel.
Write conversations like chess matches, not ping pong.
âââââââ ⌠âââââââ
âď¸ STEP SIX: SCISSORS ARE YOUR BEST FRIEND
The best dialogue is often the second draft. Or third. Or fourth. First drafts are just you figuring out what everyone wants to say. Later drafts figure out what they actually would say.
Things to cut:
Greetings/closings ("Hi!" "Bye!"--skip it unless it serves tone)
Exposition disguised as chat
Obvious thoughts spoken aloud
Explaining jokes
Repeating what we already know
Readers are smart. Let them fill in blanks.
âââââââ ⌠âââââââ
đ§ STEP SEVEN: READ IT OUT LOUD (YES, REALLY)
If you hate this step: too bad. It works. Read it. Mumbling is fine. Cringe is part of the ritual.
Ask yourself:
Would someone actually say this?
Does this sound like one person speaking, or a puppet show with one hand?
Where does the rhythm trip? Whereâs the breath?
If you canât say it out loud without wincing, the reader wonât make it either. Respect the vibe.
âââââââ ⌠âââââââ
đ TL;DR:
If you want your dialogue to sound like real people, let your characters be real. Messy. Annoying. Human. Let them interrupt and lie and joke badly and say the wrong thing at the worst time.
Cut the improv class energy. Kill the urge to be â¨brilliantâ¨. And listen to how people talk when theyâre scared, tired, pissed off, in love, or trying not to say what they mean.
Thatâs where the good stuff is.
ârin t.
// thewriteadviceforwriters
// official advocate of awkward silences and one-word replies
P.S. I made a free mini eBook about the 5 biggest mistakes writers make in the first 10 pages đ you can grab it here for FREE:
⌠A free (and actually helpful) guide to leveling up your first 10 pages âŚIf you're unsure whether your opening is â¨doing enough⨠to hook re
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1. Law of Conservation of Magic- Magic cannot be created or destroyed, only transformed.
3. Law of Equivalent Exchange- To gain something, an equal value must be given.
5. Law of Magical Exhaustion- Using magic drains the userâs energy or life force.
Interaction and Interference
4. Law of Magical Interference- Magic can interfere with other magical effects.
6. Law of Magical Contamination- Magic can have unintended side effects.
8. Law of Magical Inertia- Magical effects continue until stopped by an equal or greater force.
Resonance and Conditions
7. Law of Magical Resonance- Magic resonates with certain materials, places, or times.
9. Law of Magical Secrecy- Magic must be kept secret from the non-magical world.
11. Law of Magical Hierarchy- Different types of magic have different levels of power and difficulty.
Balance and Consequences
10. Law of Magical Balance- Every positive magical effect has a negative consequence.
12. Law of Magical Limitation- Magic has limits and cannot solve every problem.
14. Law of Magical Rebound- Misused magic can backfire on the user.
Special Conditions
13. Law of Magical Conduits- Certain objects or beings can channel magic more effectively.
15. Law of Magical Cycles- Magic may be stronger or weaker depending on cycles (e.g., lunar phases).
17. Law of Magical Awareness- Some beings are more attuned to magic and can sense its presence.
Ethical and Moral Laws
16. Law of Magical Ethics- Magic should be used responsibly and ethically.
18. Law of Magical Consent- Magic should not be used on others without their consent.
20. Law of Magical Oaths- Magical promises or oaths are binding and have severe consequences if broken.
Advanced and Rare Laws
19. Law of Magical Evolution- Magic can evolve and change over time.
20. Law of Magical Singularities- Unique, one-of-a-kind magical phenomena exist and are unpredictable.
Unique and Imaginative Magical Laws
- Law of Temporal Magic- Magic can manipulate time, but with severe consequences. Altering the past can create paradoxes, and using time magic ages the caster rapidly.
- Law of Emotional Resonance- Magic is amplified or diminished by the casterâs emotions. Strong emotions like love or anger can make spells more powerful but harder to control.
- Law of Elemental Harmony- Magic is tied to natural elements (fire, water, earth, air). Using one element excessively can disrupt the balance and cause natural disasters.
- Law of Dream Magic- Magic can be accessed through dreams. Dreamwalkers can enter othersâ dreams, but they risk getting trapped in the dream world.
- Law of Ancestral Magic- Magic is inherited through bloodlines. The strength and type of magic depend on the casterâs ancestry, and ancient family feuds can influence magical abilities.
- Law of Symbiotic Magic- Magic requires a symbiotic relationship with magical creatures. The caster and creature share power, but harming one affects the other.
- Law of Forgotten Magic- Ancient spells and rituals are lost to time. Discovering and using forgotten magic can yield great power but also unknown dangers.
- Law of Magical Echoes- Spells leave behind echoes that can be sensed or traced. Powerful spells create stronger echoes that linger longer.
- Law of Arcane Geometry- Magic follows geometric patterns. Spells must be cast within specific shapes or alignments to work correctly.
- Law of Celestial Magic- Magic is influenced by celestial bodies. Spells are stronger during certain astronomical events like eclipses or planetary alignments.
- Law of Sentient Magic- Magic has a will of its own. It can choose to aid or hinder the caster based on its own mysterious motives.
- Law of Shadow Magic- Magic can manipulate shadows and darkness. Shadowcasters can travel through shadows but are vulnerable to light.
- Law of Sympathetic Magic- Magic works through connections. A spell cast on a representation of a person (like a doll or portrait) affects the actual person.
- Law of Magical Artifacts- Certain objects hold immense magical power. These artifacts can only be used by those deemed worthy or who possess specific traits.
- Law of Arcane Paradoxes- Some spells create paradoxes that defy logic. These paradoxes can have unpredictable and often dangerous outcomes.
- Law of Elemental Fusion- Combining different elemental magics creates new, hybrid spells with unique properties and effects.
- Law of Ethereal Magic- Magic can interact with the spirit world. Ethereal mages can communicate with spirits, but prolonged contact can blur the line between life and death.
- Law of Arcane Symbiosis- Magic can bond with technology, creating magical machines or enchanted devices with extraordinary capabilities.
- Law of Dimensional Magic- Magic can open portals to other dimensions. Dimensional travelers can explore alternate realities but risk getting lost or encountering hostile beings.
- Law of Arcane Sacrifice- Powerful spells require a sacrifice, such as a cherished memory, a personal item, or even a part of the casterâs soul.
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Writing Schizophrenia and Psychosis: Hallucinations and Delusions
[Plain text: Writing Schizophrenia and Psychosis: Hallucinations and Delusions]
So you've read our lovely guide on parts of schizophrenia and psychosis unrelated to hallucinations and delusions, you've skimmed our tag, but it's finally time to tackle the most commonly known part of schizophrenia: hallucinations and delusions.
So, hearing voices or seeing shadow people and thinking everyone is after you, right? I'm done?
Nope!
This is a guide to the many many kinds of hallucinations and delusions that exist, written with experience by people with psychosis.
A note obviously that psychosis is highly personal and your mileage may vary. This is not meant to be an all-encompassing post.
Conditions that can cause psychosis (not exhaustive):
Schizophrenia,
Schizoaffective Disorder,
Schizophreniform Disorder,
Delusional Disorder,
Brief Psychotic Disorder,
Major Depressive Disorder with Psychotic Features,
Bipolar Disorder,
Psychotic Disorder Due to Another Medical Condition (yes that's the real name and the Another Medical Condition usually refers to things like Alzheimer's, Parkinson's, brain tumors, etc.),
Substance/Medication-Induced Psychotic Disorder.
The first three are also known as the "schizo-spec" (schizophrenia spectrum) disorders, with delusional disorder and brief psychotic disorder sometimes also being included in that definition.
Hallucinations
[Plain text: Hallucinations]
There are many kinds of hallucinations, the most commonly discussed being auditory and visual. However, they are not the only ones! There are also tactile, olfactory, gustatory, and somatic ones (the latter are often categorized under tactile or vice-versa).
The most frequent kind of hallucination experienced changes depending on the exact disorder. Overall, the most common ones are either auditory or visual (e.g. auditory are the most common in schizophrenia, and visual in neurological disorders), then the other one of the aforementioned two, then tactile/somatic, then olfactory, and then gustatory.
A person can experience any number of those, and multimodality (involving multiple senses) is more common than unimodality (involving just one sense) in people who have a primarily-psychiatric condition. In other words, having hallucinations that involve multiple senses is common for those on the schizo-spec, but very rare for those with ocular conditions, for example.
Types of hallucinations:
[Plain text: Types of hallucinations:]
Auditory hallucinations: There are many things a person can hear, the most common and most discussed being voices. However, other common auditory hallucinations are whispering, hearing your name being called, music, and hearing people walking around.
Command hallucinations: a subset of auditory hallucinations. My absolute enemy. A hallucination, usually external voice but sometimes an "implanted voice" that commands the listener to do things, from something simple like standing up to hurting themselves or others. The listener can resist, but I personally find the longer I have command hallucinations the harder they become to resist or ignore. Often the thing that gets me sent to inpatient. The most important distinction for command hallucinations are that they are not intrusive thoughts - the person is insistent they are external from them.
Visual hallucinations: Less common than auditory hallucinations but still incredibly common. Not always shadow people or recognizable people - I see strangers and have never had the same visual hallucination twice, although some people do see returning "characters". I do see shadow people occasionally, but they aren't the only thing people see and can be a somewhat exaggerated depiction. I know a lot of people who see cats, for some reason. If you can think it, someone can see it!
Obviously hallucinations can but don't have to be scary, it simply depends on the person and experience.
A person can see almost anything as a hallucination. Some people experience what are known as "simple" visual hallucinations (as opposed to "complex" ones)âbasic patterns, spots, geometric shapes, lights, lines. They are not lifelike or clear, and are visibly out of place. Simple hallucinations are less common on the schizo-spec, but anyone can have them.
Tactile hallucinations: my absolute enemy (hey, different mod here). Tactile hallucinations are less common than visual or auditory ones, and often come with other kinds of hallucinations as a bonusâespecially somatic ones, since there's no clear distinction between those two a lot of the time. They encompass touch, feeling, and spatial sense in the broadest sense you can possibly imagine. They can be annoying in their own manner as there is often no way to check their validity; you usually can't just record or take a picture of them to verify them.
Tactile hallucinations can be, as most hallucinations, basically anything. One of the most common types is the feeling of parasites, bugs, or other animals, like snakes, moving across or under the person's skin.
Parasitic/formication hallucination is the main example of tactile hallucinations to the point that there are sometimes used as synonyms. It's also very often associated with delusional parasitosis, where the person actually believes that they are in fact infested, which will be mentioned in the "delusions" section.
For many people tactile and somatic hallucinations will be one and the same, or otherwise inseparable, like the feeling of blood or urine dripping down their body, being burned, feeling their organs or bones "move around", or having their skin stretched.
In my personal experienceâYMMVâtactile hallucinations are the most difficult to acknowledge as fake (for me, this is in comparison to visual and olfactory ones). Even if you are aware of the possibility of being in psychosis, since they can't be reliably verified for the most part, are often at least theoretically possible, and frequently co-appear with delusions of the same theme.
Olfactory hallucinations: smelling things that aren't there. Those can be pleasant, gross, or completely neutral, as most hallucinations in general. Smell hallucinations can be (unofficially; this is just a distinction I've used myself) categorized into external (smells "outside" the person having the hallucination, like a fire) and internal ("in/on" the person having the hallucination, i.e. a smell that's coming from their own body). In my anecdotal experience, people tend to have more of only one of these types rather than both.
One of the most common ones is the perception of having extremely offensive body odor or bad breath, but it can also do with urine, blood, even decomposition, etc. The hallucinations generally revolve around mundane things (there's nothing "OMG I must be in psychosis!" about thinking you smell bad), which might make them difficult to spot as fake, even if someone is aware that they are overall psychotic.
Many kinds of olfactory hallucinations might make the person feel insecure (body related smells), paranoid (chemical related smells; e.g. I had a recurrent hallucination of smelling spilled gasoline), or cause problems with things like eating (smelling non-edible things in food; rot, mold...).
Gustatory hallucinations [disclaimer: none of the mods have first-hand experience with this one; this is entirely based on external sources]: tasting things that aren't there. The rarest kind of hallucinations statistically, though it shows up in some non-shizo-spec conditions more often (e.g. epilepsy).
Gustatory hallucinations are mostly realistically plausible (for example, feeling a bitter or sour taste) or realistic but unusual (e.g. metallic taste). They often coexist with other kinds of hallucinations and delusions, often exacerbating the problem (e.g. a person with delusions of being poisoned might experience a hallucination of dangerous chemicals in their food, solidifying the delusion).
Hallucinations FAQ
[Plain text: Hallucinations FAQ]
Q: How to describe hallucinations in a sensitive manner?
A: Sensitivity and hallucinations is less about being sensitive about the hallucinations and more about the person having them. Hallucinations can be anything, and I mean it. For every "stereotypical" hallucination, there's a thousand real people who will have it. Unless you're considering doing something extremely out there, I wouldn't worry about the content of hallucinations being sensitive or not; anything that's common enough to be listed as an example of a hallucination is more than safe. Some hallucinations are scary, a lot are deeply unpleasant. That's okay to show.
So, how do you describe the person having the hallucinations?
First of all, don't make them violent towards others. This is a very harmful stereotype that writers love to use. Psychotic people can be violent since they are people, but they're much more likely to be victims of violence as well as committing violence towards themselves (both in the self-harm context, as well as in attempts of dealing with psychosis that ultimately result in unintentional self-injuries). Don't make someone into a murderer because they are hearing voices or smelling blood in their food.
Second, show them as a full person and that psychosis is part of them as that person. Why* are they psychotic? How do they experience it? When did it start, and how often do they have episodes? Do they go to therapy? Do they take medication? How do they feel about it? Make them seem human while integrating psychosis into their character, not just a "normal" person with a "scary gimmick" slapped on top without considering what it actually means for them.
*ânot as in "there needs to be a reason for a character to be disabled", but as in "what condition is causing them to hallucinate".
Third, don't push people with low insight under the bus. Someone who can't tell their hallucinations apart from reality isn't stupid or "worse" than someone who has higher awareness. It also doesn't translate to morals; someone who fully can't tell what's real isn't more likely to be evil. It also doesn't make them blissfully unaware angels that should be treated like children. Don't moralize a mental illness in either direction.
To go back to the actual hallucinationsâtreat them as what they are: hallucinations. They aren't future-telling, prophecies, visions from an alternate dimension, sources of magic, whatever else, they aren't those things. A delusional person (or character) might believe that what they're experiencing is something "greater", but that'd be a part of a delusion; it's not something you should put as part of your objective worldbuilding. Even just implying that psychosis has some "deeper meaning" can mess some people up.
This is my least favorite form of psychosis representation in media. Honestly, personally, I'd rather be portrayed as violent than like I have some secret gift, but don't do either.
Q: How to integrate hallucinations into a story without the story becoming about them?
A: Depends greatly on whose POV you're writing from, how much insight the character has, and what emotions do they experience while hallucinating.
If it's a non-POV character who is aware they are in psychosis and are relatively unbothered by it, you can just describe them glancing around, or otherwise checking where the hallucination is. In most cases someone with high insight won't be interacting with a hallucination (an exception could be a pleasurable hallucination that the person enjoys).
They might ask another character if they also see/hear/feel the hallucinationâeven if someone is fully aware they are currently in psychosis, it might be difficult to verify which things are fake and which aren't. Maybe the character is sure that the person they're "seeing" is fake, but aren't sure about the dog that's with them.
You can describe the character being clearly distracted by something; looking into a specific place, moving weirdly, or not being able to stay on topic.
If you're trying to write about the character experiencing hallucinations and having low insight, it might be much more difficult to not make the story (or the scene) about itâif you don't go out of your way to acknowledge them as hallucinations then it will look like there is no hallucinations present, since the character will just consider them to be real. It'd just be another part of the settingâyou can obviously throw in something that would be clearly out of place for the reader, but it will raise questions that you should probably address, thus making the scene about the hallucinations.
A similar thing can happen if your character is experiencing an unpleasant hallucination: you kinda have to make the scene about it. if the character is scared, it'd be weird to ignore that. You can of course go "they saw a peculiar creature in the yard, one so weird that they knew right away it wasn't really there, so they decided to ignore it," since you can be aware of a hallucination being fake while still being disturbed. In that situation you can have the character purposefully trying to distract themself, show them being under stress, or having another kind of reaction (e.g., using some sort of grounding technique, having a panic attack, etc).
Q: What are some common ways to tell what is and isn't a hallucination?
A: Visual: taking pictures/videos, taking off your glasses (hallucinations will sometimes stay in-focus when the real world blurs accordingly), asking another person if they also see it.
Auditory: recording the sound, asking another person.
Blind people having visual hallucinations and deaf people having auditory ones usually just assume that the hallucination is fake, especially if it's the only thing they are able to see/hear.
Olfactory: asking another person.
Tactile/somatic: no consistent way as far as I'm aware. In some circumstances you can tell by just looking (e.g. you feel like you're having a nosebleed, you can just look in the mirror to check) or asking another person (e.g. you feel like you're levitating), but for most hallucinations there is no way of telling (e.g. how would you check if there's something happening to your internal organs? Get a body scan of some sort maybe?).
Gustatory: if it's about a real food you can ask another person if they also feel the same taste, otherwise no way of telling as far as I'm aware.
Q: Does being able to logically differentiate between reality/hallucinations stop emotional responses?
A: It can, but it's not a guarantee by any means. Imagine you're on a rollercoaster or watching a horror movie: logically speaking, you know that you are safeâbut still, you get scared, it's a natural response. If the insight helps someone emotionally, it's usually partial.
That said, being able to recognize something as a hallucination might (key word here) help someone stop having a psychotic episode, which could end the emotional response. But just because you know that something is fake doesn't mean you'll stop believing it. In fact knowing that you're believing something that is fake can be even more distressing than not knowing it's fake.
For some people, a hallucination could be traumatic or plain upsetting and continue to disturb them even after it's gone and they are no longer having an episode.
Not everyone will be particularly emotional though. Some people hallucinate 24/7 and just treat their hallucinations as another part of their day, even if they're fully conscious of them being fake.
Q: Can blind people have visual hallucinations/deaf people have auditory hallucinations?
A: Yes. For those where the two are connected, the former is called Charles Bonnet syndrome, the latter Musical Ear syndrome. The major distinction is that in both of those, the person experiencing the hallucinations usually has high insight (i.e., is aware that they are hallucinations) and they don't generally co-occur with delusions.
Blind and deaf people with residual vision/hearing can also experience "regular" visual/auditory hallucinations as well (and obviously other kinds tooânothing is stopping a deaf person from having olfactory hallucinations).
The one important caveat is that people with congenital (!) cortical (!) blindness do not, for unknown reasons, ever develop schizophrenia.
Delusions
[Plain text: Delusions]
Delusion is a fixed belief in something that is considered false, even after seeing evidence for the thing being untrue. The delusional belief isn't a part of the person's culture or religion, and isn't accepted as true among other members of their community. The belief is generally disturbing to the person and causes them distress.
The delusions that one can have are basically endless in terms of options, but they can be broadly put into two categories:
Bizarre: delusions that are impossible to occur in real life.
Examples:
being abducted by aliens,
having your thoughts broadcast over the radio,
being a supernatural entity.
Non-bizarre: delusions that are possible to occur, even if highly unlikely.
Examples:
being poisoned,
having a partner cheat on you,
being watched by the government.
Of course, in terms of fiction, what's considered "possible to occur in real life" might differ from these examples.
Delusions can also be categorized in "themes", such as:
Persecutory: the theme surrounds believing that one is being harassed, attacked, stalked, or conspired against, often by powerful entities. Frequently reported as the most common type of delusion, especially in schizo-spec disorders.
Grandiose: surrounds believing that one has special powers, status, knowledge, skills, has relationships with famous, powerful, and otherwise important people, or is such a person themself.
Jealousy: surrounds believing that one's partner is unfaithful.
Erotomanic: surrounds believing that another personâoften of higher status, such as a celebrityâis in love with them.
Somatic: surrounds believing that there is something wrong with one's physical body, such as being infested with parasites, having blood replaced with a different liquid, or missing internal organs.
Religious: surrounds believing that one is a god or another religious figure, like a prophet or a saint, and/or is receiving directions/commands from those. A person doesn't have to actually be religious to experience religious delusions, nor has to be of the same religion that the delusion is about.
Thought manipulation: surrounds believing that one's thoughts are being manipulated in some way. Common examples include believing that one's thoughts are being broadcast, or that foreign thoughts are being purposefully inserted into their brain.
Mixed: delusions that match multiple of the aforementioned types. E.g. a character who thinks the government wants to kidnap them for their magical powers (persecutory+grandiose); a character who thinks that they are married to a famous pop star and that she's cheating on them (erotomanic+jealousy), etc.
Unspecified: literally everything else.
There are also specific delusions which are often referred to as their own syndromes/disorders. They are generally considered very rare but they are frequently referenced in media. Some of them are:
Clinical lycanthropy: a delusion that one is turning into a werewolf. Often clinical lycanthropy is a catch all term now for clinical zooanthropy, which is the belief you are transforming into any sort of animal. It's very rare and can be part of a disorder such as schizophrenia or exist as a delusion on its own. Often people with it will start to behave alongside the disorder, such as eating raw meat or feeling somatic transformation, or hiding so as not to hurt others in their beastly state.
Delusional parasitosis/Ekbom's syndrome: a somatic delusion where you believe there are bugs/bacteria/parasites inside your body, generally under the skin. Commonly co-occurs with tactile/somatic hallucinations, adding realism to the delusion.
It very frequently results in self-harming behaviors in an attempt to "get them [parasites] out". That can be anything from skin scratching to auto-amputation or disembowelment. The less extreme ways can result in infections and painful skin conditions, sometimes solidifying the person in the delusion that their body is in fact infested. The more extreme ways can and probably will result in death for obvious reasons.
A common phenomenon associated with it is the "matchbox sign" where the person finds "evidence" of the "parasites" (usually dead skin, fabric, small pieces of food, etc.) and shows it to someone, often a doctor, as proof of the infestation (matchbox coming from it being the go-to container for the "specimen", but honestly it can be anything. Who even has matchboxes anymore). A person with this disorder can also obsess over parasites/other animals that can in fact infest humans, potentially forcing them to avoid certain activities as much as possible (not eating meat, not going into forests, obsessively washing themself, etc).
To my knowledge this is the most common syndromic delusion, though it could be related to the fact that people with delusional parasitosis are also the most likely to see a doctor about it (though the doctor of choice would practically always be a dermatologist, not a psychiatrist) and thus get counted in statistics.
[Disclaimer: the next three are entirely based on external sources since no mods have first-hand experience with them.]
Capgras syndrome: a delusional misidentification syndrome where the person believes that someone else has been replaced by a clone/double/impostor. Most commonly the person who was "replaced" is a close family member or a spouse. Rarely, a person can also think that multiple people or a group were "replaced". Very rarely, the person with the delusion might think that they themself have been "replaced".
The delusion might be persecutory in nature, where the person believes the "clone" is there to spy on them or hurt them. This can sometimes lead to attempts of "unmasking" or confronting the "impostor" in an attempt to get their loved one "back".
Fregoli syndrome: a delusional misidentification syndrome where the person believes that strangers or acquaintances are someone they know in disguise. While generally it centers around people, it can also happen with animals or objects. It usually has a persecutory aspect to it, where the person thinks the "disguised" person is trying to follow or harm them in some way.
Cotard syndrome: also sometimes known as "walking corpse syndrome". It's a wide-spectrum delusion where the person believes that they already are dead, are currently dying, are immortal (and thus unable to die), have died but were reborn in some way, or just don't exist. People who have it might also believe that their organs are gone, rotting, or dying. Some can also abandon their basic human needs (such as eating) since they think it's no longer necessary.
Cotard syndrome is very rare in real life, especially in young people.
This is not an exhaustive list, just some examples.
Delusions FAQ
[Plain text: Delusions FAQ]
Q: What do delusions feel like?
A: So, it primarily depends on "insight"âwhether the person has no, low, or high insight into their own delusion. The vast majority of people who experience delusions will have very little to no insight during their psychotic episodes.
Delusions feel like every other thing that's real, except they aren't, well, real. During a psychotic episode, delusions are facts as much as everything else around you. You don't question them since they feel obvious.
In delusions, there's lack of proofâwhich can be filled in by hallucinations (person believes they have a lethal disease, and starts hallucinating symptoms), explained by the delusion itself (person believes that someone else is in love with them, and interprets regular behaviors as "signs"), or simply ignored (the average person also doesn't know how [random everyday technology] actually works, but knows that it's a real thing that existsâpeople don't tend to question things they simply consider to be true, even if they don't really understand them).
Q: How to describe delusions in a sensitive manner?
A: To quote myself from earlier: sensitivity and delusions is less about being sensitive about the delusions, and more about the person having them. Delusions can be of anything, about anything, they can sound stupid and seem absurd to outsiders. I'm not saying "write the most ridiculous delusion you can think of for fun", more so "yes, some people do have unusual beliefs due to having the Unusual Belief Disorder".
Delusions are frustrating for everyone involved almost by definition. They aren't true and they directly affect what you believe, so they make you believe nonsense. And you can't "just explain lol" to the person that what they're saying/thinking is untrue because, well, it's a delusion. By definition, the belief being verifiably false really doesn't matter.
What's important to remember is that the delusional person isn't doing it on purpose. It's not a case of someone Purposefully Spreading Misinformation or rejecting factual data to further their agenda, it's a mental illness. Portraying it as a choice or some moral failure is simply incorrect. You can't just "opt-out" and magically stop being delusional.
So, what to actually do?
Recognize that delusions generally aren't fun. Obviously, everyone's experience is different, but delusions tend to be distressing. Persecutory ones will almost always be very negative, while a religious or grandiose one could even feel positive for someone if they think they are an angel or have some amazing talent.
Try to show the character's feelings in a sympathetic way, not a mocking one. What they believe isn't true, but their feelings are as real as anyone else's.
It's also important to remember that a delusion is something you genuinely believe. Try to put yourself in that position: you simply know some things. What your name is, how your pet looks like, where you live, whatever. If someone tried to convince you that you are wrong about these things, you'd think they're crazy. Imagine your coworker talking to you like they know your home life better than you do. Depending on the exact circumstances, you would probably have some sort of reactionâwhether that be anger, being baffled, or just kinda weirded out.
It's the same when someone is delusional, and the "things you simply know" just happen to not actually be true.
This kinda leads to considering the ways in which a delusional character interacts with others. Some delusions are ignorableâthe other character can kinda just nod and change the topic and move on. Others are a bit more in your face (e.g. the character thinks they are some higher being, or they think the character they're directly talking to wants to hurt them). Again, just telling someone "that's not true lol" doesn't really do much, if anything it can make the delusion worse (again: imagine you confront someone who you think is poisoning you, and they just say "um but I'm not?? what are you talking about lol you sound crazyy"). Try to consider what the relationship between the characters is, and what their personalities areâare they considerate, are they impatient, do they understand how the delusions affect the other character? Does the other character realize/know that the psychotic character is in psychosis at all?
Q: How do I incorporate delusions into a character's voice realistically?
A: TLDR: It's can be hard to make dialogue that sounds realistic for a character who has the disconnect-with-reality disorder.
First, try to consider how your character experiences their delusions in general. Are they extremely disturbed and can't stop thinking about their delusion when they're having an episode, or is it more of a background noise?
If it's disturbing them, then it probably won't sound realistic. When the delusion is all-consuming, the person having it might talk about it in circles and relate everything to it. Depending on how the psychotic character actually behaves, other characters might feel like they're being pranked because it just seems like "too much". It might be "like in the movies". The character can be going in circles trying to figure out how to stop NASA from broadcasting their thoughts around the globe; this happens.
At the same time, sometimes the delusion is much more covert. Sometimes on purpose (e.g. character with persecutory delusions believes that they are being observed, and doesn't want the observer to realize that they are aware of the observing, so they actively choose not mention anything about it), sometimes as a by-product of the way the delusion affects them (e.g. character with an erotomanic delusion isn't distressed by it, and they just vaguely mention their 'partner' in a way that doesn't really even tip anyone off).
If it's the first, you might be dealing with a character who is simply nervous/hiding something (because, well, they are). They might avoid certain topics or visibly get more stressed if the conversation goes into uncomfortable territory.
If it's the second, it will probably be more subtle. Perhaps you-wouldn't-be-able-to-tell-it's-a-delusion subtle. It depends on the character's exact delusion. Some would just be considered non-events (they say they have a partner who's famous, or that they are accomplished in some way), relatively normal/common events (partner is cheating on them, they have some serious illness), and some would be clearly bizarre (they say that their parents have been replaced by robotic clones, or that they are some mythical creature). If it's the first or the second, there might be no "tell", or maybe there will be some logical errors that other characters can catch on to, maybe there will be some inconsistencies when the character asks about it further, or maybe there will be nonsensical changes that happen between different retellings of the story that let others know something is off.
If it's the third clearly-bizarre option, then the "delusion reveal" might feel like it's coming out of nowhere, or create a sudden tone shift. It will be explained further in the post more, but psychosis isn't always obvious. Sometimes you learn that someone is psychotic because they say one thing that makes absolutely no sense. Again: it might feel abrupt, unexpected, other characters might think that they are being pranked at first. Just don't make the narrative make fun or mock the delusional character.
As to what you shouldn't do: no matter how delusional someone is, people still have other traits. Delusions aren't a replacement for backstory, relationships, preferences, or personality. They can and do affect them (and vice-versa), but if all the character talks about is their delusions, it will come off as either boring and flat, or a parody.
Psychosis FAQ
[Plain text: Psychosis FAQ]
Q: Can psychosis go undetected by the people around the person experiencing it, or is it very obvious?
A: Depends (sorry). But yes, sometimes it can absolutely go undetected, especially in case of a person experiencing mundane non-bizarre delusions and/or hallucinations.
It can also depend on the actual cause of the psychosisâfor example, schizophrenia often comes with disorganized speech (among other things) which is definitely noticeable.
On the other hand, delusional disorder is often referred to as a "high functioning" disorder where it can be very hard for others to notice anything is wrong. It's generally characterized by non-bizarre delusions, unremarkable behavior ("not odd"), relatively non-impaired functioning, and any hallucinations that come with it are relatively minor and most importantly, fit the theme of the (probable) delusion.
My own absolutely worst psychotic episode went undetected by everyone I was living with at the time (in a tiny apartment at that). For someone else, a stranger could notice that they are experiencing psychosis from the other side of the road. It's a very wide spectrum, and a person can be on different ends of it at different times of their life.
It's basically: could you tell that your coworker who is ranting about their wife cheating on them is having a psychotic episode? Because they could be, and you probably wouldn't even consider it as an option since it's a very mundane delusion. On the other hand, if the coworker told you that their wife has been replaced by an identical evil clone overnight, you will know there's something going on because that's not a thing that happens.
Q: What impacts what hallucinations and delusions come up? Are they random?
A: As far as I'm aware, there's no actual research on this. We know that certain types of hallucinations and delusions are more common in specific disorders (e.g. in schizophrenia, auditory hallucinations and persecutory delusions are more common than other types), but that's about it. We don't know why certain people hallucinate cats meowing, and other ones hear demonic screaming.
Anecdotally speaking, people tend to stick to their delusions rather than have a completely new kind every time they have a new psychotic episode. It could be literally the same delusion following them ("the government is watching me"), it could branch out over time ("the government is spying on me and stealing my thoughts"), or incorporate other delusions that still somewhat connect, either in theme (in this case persecutory) or in subject (in this case government-related). In my experience, it would be very unusual for a person to have a psychotic episode where their delusions center around one thing with a specific theme, go into remission, and then have their next episode center something completely different with a fully unrelated theme (excluding "major event happening between the two episodes" type stuff).
Having unrelated hallucinations is more frequent since multimodality is very common.
The content of delusions or hallucinations is essentially "anything". It can be related to trauma, but doesn't have to. It can be related to the person's daily life, but doesn't have to. It can make sense from the outside, but doesn't have to.
Q: What do antipsychotics do from a more first-person perspective? How do they affect the symptoms of psychosis?
A: Make you sleepy... no, the biggest thing my antipsychotics have done when dosed correctly and on the right mix is they have helped give me a tool to more easily establish what is real or true and not. Even "in remission", a person with psychosis may experience hallucinations or mild delusions. It's less the symptoms that stop and more that they stop being as disturbing and disruptive, in my (mod bert again!) experience. They do not affect speech or negative symptoms for me, however.
Other mod here! When on the wrong antipsychotic, my delusions and hallucinations got meaner. They were more persecutory and I also experienced "old" hallucinations that I had not seen in a while returning. However, on my best dosage, my antipsychotics made my hallucinations nicer and quieter. Not as in like literally less loud, but they became easier to ignore. Like above, I have never seen an improvement in my speech or cognitive symptoms from medication.
Q: What kind of things can trigger a psychotic episode?
A: Technically speaking, anything can. It depends a lot on the actual disorder causing the psychosis (no points for guessing what triggers an episode in someone who has Medication-Induced Psychotic Disorder), but the most common triggers would be:
high stress,
recent traumatic event,
substance use,
sleep deprivation,
and social isolation.
My symptoms can be triggered by talking about them or seeing content similar to my hallucinations and delusions. For example, hearing a bible story triggered a religious hallucination, etc.
Sometimes the trigger is also "nothing" as far as the person experiencing the episode knows.
Things to Avoid
[Plain text: Things to Avoid]
Violent psychotic characters, especially ones that kill others because of "the voices"/"the visions". Psychotic people are much more likely to be violent towards themselves than anyone else.
Magical psychotic characters where the psychiatric disorder is some sort of magic system mechanic. A mentally ill character can have powers or whatever, but don't make symptoms into something they aren't.
Delusions/hallucinations that predict the future or have some other kind of omniscient quality to them. Again, this is a real medical condition, not a writing prompt.
Rule of thumb: would you still make the character psychotic even if their symptoms served no purpose in terms of worldbuilding and/or establishing something supernatural? Because if the answer is no, you have to rethink some things.
Psychotic characters who always have to be one of the like, four possible character archetypes (evil cannibalistic serial killer/mad scientist/Victorian era child in a horror movie/side character whose delusions are played for a joke and/or to show how 'dumb' they are).
Things We Want to See
[Plain text: Things We Want to See]
Regular people who just happen to be psychotic because of a mental health condition.
Psychotic characters who also experience other symptoms of their condition. Schizophrenia, the most commonly portrayed psychotic disorder, has many more symptoms than just that.
Psychotic characters who aren't young. Elderly people are actually the most likely to develop psychosis, childhood onset is extremely rare in comparison.
Psychotic characters who aren't white, physically abled men. Your character can be of literally any background, anyone can develop psychosis. In media it's almost exclusively either white men with poorly "researched" schizophrenia to portray them as crazy and dangerous, or sometimes women with delusions (usually erotomanic/jealousy type for obvious reasons) to portray them as crazy and unbearable to be around.
Characters who experience other kinds of hallucinations than just auditory and visual ones.
Characters who experience cognitive and speech symptoms.
Characters with other disabilities.
Characters who need a lot of support as a direct result from their psychosis. This should be portrayed as a neutral thing.
Psychotic characters who still have a social life! And hobbies!
Characters with MDD [major depressive disorder] that experience hallucinations/psychosis as a result. This was something I experienced during one of my worse periods and I have quite literally never seen anyone talk about MDD with psychosis outside of a medical context.
Writing Angry Scenes: Tips to Avoid Melodrama and Make It Real
Anger can be one of the most intense, relatable emotions to readâand one of the trickiest to write. When handled well, an angry scene can pull readers deep into the emotional world of a character, building tension and driving the story forward. But when handled poorly, anger can easily slip into melodrama, making the characterâs feelings seem overblown, forced, or even cringe-worthy.
So how can you avoid these pitfalls and write anger that feels real and compelling? Here are some tips to make angry scenes powerful without overdoing it.
1. Understand What Fuels Your Characterâs Anger
To write anger authentically, you need to understand its roots. People get angry for complex reasonsâfear, frustration, betrayal, grief, and even love. Ask yourself whatâs truly driving your characterâs anger. Are they afraid of losing control? Do they feel abandoned or misunderstood? Are they hurt by someone they trusted? Anger rarely exists in isolation, so dig into the deeper emotions fueling it.
When you understand the core reasons behind a characterâs anger, you can weave those nuances into the scene, making the anger more relatable and layered. Readers will feel the depth of the character's rage, not just the surface heat of it.
2. Show, Donât TellâBut Donât Overdo It
âShow, donât tellâ is classic writing advice, but itâs especially crucial in angry scenes. Donât rely on generic phrases like âShe was furiousâ or âHe clenched his fists in anger.â Instead, look for unique ways to convey how this specific character experiences anger. Maybe their voice drops to a deadly calm, or their eyes narrow in a way that makes everyone around them uncomfortable.
That said, showing too much can backfire, especially with exaggerated descriptions. Over-the-top body language, excessive shouting, or too many âflaring nostrilsâ can tip the scene into melodrama. Use body language and physical cues sparingly and mix them with subtler reactions for a more realistic portrayal.
3. Use Dialogue to Reveal Hidden Layers
People rarely say exactly what they feel, especially when theyâre angry. Angry dialogue isnât just about yelling or throwing out insults; itâs an opportunity to show the characterâs deeper thoughts and vulnerabilities.
Consider using controlled, icy responses or unexpected silences. Maybe your character says something hurtful in a low voice rather than screaming. They might express sarcasm, avoidance, or even laugh at the wrong moment. Anger often carries hidden layers, and using these nuances can help your characterâs dialogue feel genuine, even haunting, without falling into dramatic clichĂŠs.
4. Control the Pacing of the Scene
The pacing of an angry scene can be the difference between a powerful moment and a melodramatic one. In real life, anger doesnât always erupt instantly; it can simmer, spike, or deflate depending on the situation and the characterâs personality. Experiment with different pacing techniques to create tension.
You might build the anger slowly, with small signs that somethingâs brewing. Or maybe the character explodes suddenly, only to calm down just as quickly, leaving a chill in the air. Controlling the pace helps you control the readerâs emotional engagement, drawing them in without overwhelming them.
5. Avoid ClichĂŠd Expressions and Overused Reactions
When writing anger, avoid falling back on clichĂŠs like âseeing red,â âboiling with rage,â or âblood boiling.â These phrases have been overused to the point that they lose their impact. Instead, get creative and think about how your characterâs anger might feel specifically to them.
Maybe their skin feels prickly, or their jaw aches from clenching it. Think about details that are unique to the character and to the moment. By focusing on small, unique sensory details, youâll help readers feel the anger rather than just reading about it.
6. Let the Setting Reflect the Emotion
The setting can be an effective tool to amplify a characterâs anger without overstating it. Small details in the environmentâsuch as the hum of a refrigerator, the slow ticking of a clock, or the distant sounds of laughterâcan create a sense of contrast or isolation that heightens the characterâs rage.
For example, imagine a character seething in a peaceful park or a quiet library. The calm of the surroundings can make their anger feel more potent. Or maybe theyâre in a crowded, noisy room where they feel unseen and unheard, which fuels their frustration further. This use of setting can add depth to the scene without the need for dramatic gestures.
7. Let Consequences Speak for Themselves
An effective way to avoid melodrama is to let the consequences of the anger show its intensity. Characters donât always have to yell or physically react; sometimes, a single choice can convey more than any outburst.
Perhaps your character cuts off a close friend or says something they canât take back. Maybe they throw away a meaningful object or walk out in silence. By focusing on the consequences of their anger, you can reveal the impact without over-explaining it.
8. Let the Emotion Simmer After the Scene Ends
Anger is rarely resolved in a single moment, and its effects often linger. When writing an angry scene, think about how it will affect your character moving forward. Are they holding onto grudges? Do they feel guilty or exhausted afterward? Does their anger transform into something else, like sadness or regret?
Allowing the anger to simmer in your characterâs mind even after the scene ends creates a more authentic and layered portrayal. It shows that anger is complex and doesnât just disappear the moment the scene is over, adding emotional weight to both the character and the story.
I use my blog to share writing resources that Iâve collected over the years. Iâve recently gotten some new followers, so I thought I would make a list of many of these resources for easy reference. Â
(However, this is not a complete list of all the resources Iâve posted. For more writing resources, feel free to check out my blog.)
Encouragement for Writers
Writerâs Block & Procrastination
Writing Your Storyâs Plot
How to Write a Scene
Choosing a Setting for Your Story
Character Arc & Character Development
Character Traits
How to Write Heroes & Villains
Elemental Magic & Superpowers
Writing Magic Systems
Fantasy Writing & World-Building
Writing Fight Scenes
Swords and Bows
Writing Mermaids
Writing Relationships & Romance
Romance & Relationship Prompts
UPDATE: For a more complete list of the resources that Iâve shared, check out my Writing Resources Master List.
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Iâm a writer, poet, and editor. I share writing resources that Iâve collected over the years and found helpful for my own writing. If you like my blog, follow me for more resources! âĄ
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(no â¨vibesâ¨, just structure, stakes, and first-sentence sweat)
hello writer friends đ
so you opened a doc. you sat down. you cracked your knuckles. maybe you even made a playlist or moodboard. and thenâŚ
you stared at the blinking cursor like it personally insulted your entire bloodline.
hereâs your intervention. this post is for when you want to write chapter one, but all you have is aesthetic, maybe a plot bunny, maybe a world idea, maybe nothing at all. hereâs how to actually start a book, from structure to sentence one.
â
đśď¸ STEP 1: THE SPICE BASE ~ âWHATâS CHANGING?â
start with this question:
what changes in the protagonistâs life in the first 5â10 pages?
doesnât have to be earth-shattering. they could get a letter, lose a job, run late, break a rule, wake up hungover in the wrong house.
what matters is disruption. the opening of your book should mark a shift. if their day starts normal, it shouldnât end that way.
đ opening chapters are about motion. forward movement. tension. momentum.
if nothing is changing, your story isnât starting, youâre just doing a prequel.
â
âď¸ STEP 2: THE CRUNCHY BITS - CHOOSE AN ENTRY POINT
there are 3 classic places to start a novel. each one works if youâre intentional:
The Day Everything Changes
most popular. you drop us in right before or during the inciting incident. clean, fast, efficient.
pro: immediate stakes
con: harder to sneak in worldbuilding or character grounding
The Calm Before the Storm
starts slightly earlier. show the characterâs ânormalâ life, then break it. useful if the change wonât make sense without context.
pro: space to introduce your characterâs routine/flaws
con: risky if it drags or feels like setup
The Aftermath
drop us in after the big event and fill in gaps as we go. works well for thrillers, mysteries, or emotionally heavy plots.
pro: instant drama
con: requires precision to avoid confusion
đ pick one. commit. donât blend them or youâll write three intros at once and cry.
â
đ§ STEP 3: CHARACTER FIRST, ALWAYS
readers donât care about your setting, your magic system, or your cool mafia politics unless theyâre anchored in someone.
in the first scene, we need to know:
what this person wants
whatâs bothering them (externally or internally)
one trait they lead with (bold, anxious, calculating, naive, etc.)
thatâs it. just one want, one tension, one vibe.
no bios. no monologues. no âthey werenât like other girlsâ essays. put them in a situation and show how they act.
â
âď¸ STEP 4: OPEN WITH FRICTION
first scenes should create questions, not answer them.
there should be tension between:
what the character wants vs. what theyâre getting
whatâs happening vs. what they expected
whatâs being said vs. whatâs being felt
you donât need a gunshot or a car crash (unless you want one). you need conflict. tension = momentum = readers keep reading.
â
âď¸ STEP 5: WRITE THE FIRST SENTENCE - THEN IGNORE IT
okay. now you write it.
no pressure. youâre not tattooing it on your soul. this isnât the final line on the final page. you just need something.
tricks that work:
start in the middle of an action
start with a contradiction
start with something unexpected, funny, or sharp
start with a small lie or a weird detail
đŹ examples:
âThe body was exactly where sheâd left it - rude.â
âHe was already two hours late to his own kidnapping.â
âThere was blood on the welcome mat. Again.â
âThey said donât open the door. She opened it anyway.â
once youâve got it? keep going. donât revise yet. donât edit. just build momentum.
you can come back and make it â¨iconic⨠later.
â
đŚ BONUS: WHAT NOT TO DO IN YOUR OPENING
donât start with a dream
donât info-dump lore in paragraph one
donât give me three pages of your OC making toast
donât try to sound like a Victorian cryptid unless itâs on purpose
donât introduce 7 named characters in one scene
donât start with a quote unless you are 800% sure it slaps
be weird. be sharp. be specific. aim for interest, not perfection.
â
đ TL;DR (but make it â¨usefulâ¨)
something in your MCâs life should change immediately
pick a structural entry point and stick to it
give us a person, not a setting
friction = good
first lines are disposable, just make them interesting
and if you needed a sign to just start the damn book, this is it.
đ love,
-rin t.
P.S. I made a free mini eBook about the 5 biggest mistakes writers make in the first 10 pages đ you can grab it here for FREE:
⌠A free (and actually helpful) guide to leveling up your first 10 pages âŚIf you're unsure whether your opening is â¨doing enough⨠to hook re
Tiny Grammar Cheatsheet: Hyphens, En, and Em Dashes
Hyphens ( - ) are the shortest and are used to:
⣠link elements in a compound word: dog-owner
⣠separate some affixes from the rest of the word: pre-election
⣠(sometimes) take the place of the en dash indicating range: pages 24-66
⣠indicate stuttering or abrupt interruption: M-m-micheal?
⣠spell out a word letter for letter: I said we are c-l-o-s-e-d.
En Dashes ( â ) are shorter than em dashes. They indicate a range and could usually be replaced with "from" and "to":
â I lived in New York 2015â2020. ⤠I lived in New York from 2015 to 2020.
But: â I lived in New York from 2015â2020.
Em Dashes ( â ) are longest. They are used:
⣠to call attention to the content they separate from the rest of the sentence and emphasize it
⣠in place of commas and parentheses: When he finally apologizedâafter four weeks of silenceâshe was no longer interested in hearing him out.
⣠in place of a colon, especially to summarize, explain, or expand upon the preceding clause in a dramatic manner: After months of deliberation, the jurors reached a unanimous verdictâguilty.
⣠to summarize or note the common link in a list: Sweet, sour, salty, bitterâall tastes the cook loved to experiment with.
⣠to set off or introduce defining phrases and lists: The shop's selection of three flavorsâstrawberry, mint, and chocolateâwas never enough variety.
⣠to indicate a new direction: I agree with you, but Jamesâhe felt otherwise.
⣠to indicate hesitation: Well, I thinkâYeah, I guess it is concerning.
Fun Fact: en dashes received their name because the dash is the length of the letter N, while the em dash is the length of the letter M.
(in my experience, bc this was the first thing i wrote after waking up from surgery a couple hours ago)
since you canât eat beforehand, I went in pretty grumpy-hungry but believe me, nervousness takes care of that QUICK and i completely forgot
if you have good staff, they notice when youâre nervous & chat calmly without overwhelming you
anesthesiologists and other staff members repeatedly ask what surgery you are getting done to make sure you were properly informed and to avoid mixups; made me nervous (bc why did no one know what surgery they were doing with me??) until my anesthesiologist explained that they just have to hear me say the words
during prep, different people will be doing different things and giving instructions on what to do (make a fist, put your arm there, etc.), sometimes overlapping (adhd hell)
the face mask was placed over my mouth and nose with just normal breathing air for like 3 minutes while they were still prepping (i assume to get me used to the sensation?)
once the drugs started coming, my very very first instinct was âoh, iâm gonna throw upâ
i didnât throw up but then everything went hazy and blurred, kinda like being REALLY tired-drunk
one of the anesthesiologists was standing behind me and caressing my face while talking to me and promising to take care of me when she noticed i was getting freaked out; the other one was administering the drugs
no need to count or having to talk until passed out, they just told me to close my eyes and that was it
memes are fun and relatable and all that, but don't let them discourage you. all of that stuff that doesn't make it into the final product is part of how the final product gets made
               One of the most common pieces of writing advice other than âshow donât tellâ is âwrite what you knowâ. Itâs said so much that I think itâs lost a lot of meaning, and people tend to only focus on the literal meaning of âwrite about things that you know aboutâ, which would completely erase fantasy, sci-fi, or just about any slightly fantastical fiction.
               So rather, you should think of it as âwrite genuinelyâ. Connect with yourself to connect with your readers, create emotional ties to your work, write with empathy, write what you know.
               Thereâs three things we can do to help connect us with concepts/places/experiences we donât know, thatâll allow you to basically write whatever you want. Hereâs what I do:            Â
Research
Anything you can learn about what youâre writing about can come in handy. I tend to avoid scholarly articles or Wikipedia when researching because I find having a list of facts doesnât help as much as having a library of experiences. If Iâm writing about California but have never been there, I could learn that rain is pretty uncommon and temperature averages however much during the summer, or I could read about someone talking about their childhood summers in heavy heat and icecream that melts faster than they can eat it.
               Essentially, unless youâre writing something with the intention of educating othersâdonât worry as much about the facts, look for more about the feelings. Blogs, vlogs, personal journal entries, and other pieces of fiction is where itâs at.
2. Substitution
This is a method I learned in directing (created by Lee Strasberg) thatâs a little controversial when using it with actors, but since weâre using it for ourselves itâs fine. Essentially, if actors are attempting a scene about a situation theyâve never been in before (Iâll use the example of moving out for the first time) the director will ask them to recall a situation with similar emotion even if the situation was different.
               So in our example, if you havenât moved out yet but are writing a scene where your character is leaving home for the first time, you might be able to emotionally connect to that scene through recalling the emotions you went through the first time you went to sleep-over camp. Or the time your parents left you alone for the weekend for the first time. Anything with the similar emotions you imagine the situation would bring up (fear, anxiety, but a sense of freedom, excitement, unsureness).
               The reason why this is a bit of a controversial technique in directing is because asking actors to recall or share painful memories to get into a scene can be very upsetting or uncomfortable for them, so if youâre a director, be cautious with this!
3. Experiencing
Of course, this all comes back to what we talked about a couple weeks ago. Experiencing to know more. The more you know, the better you can write genuinely about itâso go out and gather some unique experiences!
What's fascinating reading this is how it makes perfect sense and clearly fits the true meaning of the phrase - while directly contradicting what so many people think it means. The very first recommendation on here is argued with so often, it's frightening. I swear, I have often felt like people think that whatever knowledge you have when you first hear the phrase "write what you know" becomes your fixed point, and anything you learn after that doesn't count. And researching specifically in order to write? I have literally heard people say that if you need to do research in order to write something, then you shouldn't be writing it, because you should write what you know.
So glad to see advice like this that presents research as, not only a valid way to acquire knowledge, but an absolutely necessary part of writing.
(Personally, I'm looking forward to days spent at the library, learning all about life in Regency England. It's going to be so much fun.)
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A piece of writing advice that i will always kick and scream about because it's annoying but it works is: if you ever feel like you're stuck with your writing, go back to the absolute basics. Like, middle school English creative writing exercises for people who have never done a creative writing in their life. do a character creation exercise. list things you're experiencing with your senses. analyse a bit of someone else's writing that you like. write ten first lines off the top of your head. hell, even if you're not feeling stuck with your writing, going back to the fundamentals is very good for you! it really does remind you about the nuts and bolts of the craft. gets the brain unstuck. you can be a bitch about it and groan and wail if you like while you do it, but unfortunately it is very good advice
Another writing tip that makes me unspeakably angry because it's infuriating but it works is that sometimes wordcount limits are Good, Actually. Sure they make you want to commit atrocities but they teach you how to improve readability by trimming excess words & improving clarity, which in turn makes you think hard about the construction of your sentences/phrases. this is an absolutely invaluable skill and i will continue to be mad about it forever probably