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There are going to be days (or weeks, or months) where you sit down to write and feel... disconnected. From your voice, from your characters, from your ideas. Like the person who used to write your stories just packed up and left.
They didn't. They're just tired. Here's how to keep writing anyway:
Lower the bar (Until it's on the floor)
You are not here to write something brilliant. You are here to write something. A paragraph. A sentence. A single line of dialogue. Movement matters way more than quality.
Write around the story
Don't force it. If you can't write the scene, try:
⋆ A character ramble / journal entry
⋆ A conversation that won't be included in the final draft
⋆ A list of things the character would never admit out loud
⋆ A messy summary of what should happen
Engage with the story from a different angle.
Borrow a voice until yours comes back
No, not with AI. Read something that feels close to what you want to write, or watch a scene that captures the tone, then write immediately after. Not to copy, to reignite your instincts.
Write the emotion, not the plot.
What is your character feeling in this moment? What are they afraid of? What do they want but won't say? What's being kept from them? The emotion leads, the plot catches up later.
Stop trying to "feel like a writer" first.
You don't write when you feel like a writer. You feel like a writer because you write.
You are still a writer, even on the days it feels distant. Especially then.
I think a lot of writers might benefit from giving themselves permission to get weird with format.
Use second person, drop classic rising action and climax format, write backwards, just sit in a moment, tell all you want and refuse to show, make an entire book that’s just one run on sentence, reject tropes, use all tropes, cliche yourself to death, produce something that’s completely gibberish. Break all the rules of marketability. Become ungovernable.
It’s the middle of the night and I should be sleeping but listen. Listen. Just get weird with it. Open your soul up a little bit. Like actually don’t worry about it being palatable. I’m serious. Get weirder. Get weirder right now. I’m demanding that you get weirder right now. It’s not your responsibility to make your reader feel good. It’s your job to make art, goddamnit. Make art. Make weird art. Open up your third eye and eat an entire cheesecake.
Hey, man, c'mere. Listen. Get in real close, this is important.
You're gonna make stuff again. You're gonna make stuff you're proud of. You're gonna make stuff you're excited to share. You're going to feel that overwhelming drive to create, not just the frantic I want to want to you're stuck in now. You're going to have awesome ideas, and you're going to make them into reality. You're going to create again. You're still an artist. You're still a writer. You're still home to the same passion you had before. You'll find it again. It's not gone. It's just resting. Let it rest. You're going to make stuff again. I promise.
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✧ Broken ribs suck. You don’t just “walk it off.” Breathing hurts. Laughing hurts. Existing hurts. Characters with rib injuries won’t be doing heroic sprints.
✧ Concussions aren’t instant naps. Dazed vision, nausea, dizziness, maybe even personality changes, but they’re not going to collapse neatly like in the movies.
✧ Blood loss is sneaky. It’s not just about dramatic pools of blood. It’s dizziness, confusion, and the body getting cold as circulation tanks.
✧ Adrenaline lies. Someone can take a serious injury and not feel it until the fight’s over. That “I didn’t realize I was bleeding until later” trope? Very real.
✧ Twisted ankles are brutal. One bad step and suddenly running is off the table. Even walking hurts like hell. Perfect way to ground a chase scene.
✧ Burns linger. Even small burns hurt more than most people expect. Blisters, infection risk, constant pain, it’s not just a cool scar later.
✧ Dislocated shoulders = useless arm. Characters can’t keep swinging a sword or firing a gun. They’re basically fighting one-armed until it’s fixed.
✧ Shock is a thing. Pale skin, trembling, rapid heartbeat, and eventually disorientation. A character might not even realize how bad their wound is.
✧ Stitches aren’t magic. Getting sewn up is painful and recovery takes time. They’re not instantly battle-ready after a needle and thread.
✧ Scars tell stories. Some fade, some don’t. Some stay sensitive forever. Don’t forget the aftermath when the wound becomes part of the character.
The villain locks the princess in a tower, as villains often do. What he does not know is that this tower once belonged to a powerful wizard. Among the dusty tomes and forgotten scrolls, the princess learns magic, real magic. Now she is no damsel in distress. She is a sorceress out for revenge.
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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 user’s 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 caster’s 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 others’ 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 caster’s 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 caster’s soul.
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Actually I keep complaining about operational worldbuilding, so here are some recommendations for it:
Ask yourself "what is this organization accomplishing" and "would this organization, as written, accomplish that thing?"
For example, magic academies/schools/universities for adults: what are they training their students for? Is it more like a vocational school or a university? Are students being trained for specific jobs? Is it a training for government? Is it primarily a place to foist the idle rich off to to get them out of the way?
For a military training, is the goal primarily training or a weeding out process? Is it basic training or specialized training? If someone fails out of the training, do they end up in the regular forces or do they fail out of the military entirely?
Ask yourself "how did this practice come to be?"
For example, a trial or competition system: why was this system established? Do the requirements for the trial/competition match what the end result is (e.g., fighting competition to win a fighting position)? If not (e.g., scavenger heart to become the consort), why is that the competition that is used? Do the potential outcomes of the trial (e.g., death) merit the rewards for it?
Ask yourself "if this system is horrible, why do people put up with it?"
For example, a school or organization where people are allowed to attack and/or kill each other: why is it allowed to continue? Why do people send their children or voluntarily join it? If it is mandatory, do people fight against it, and if not, why not?
Deserts, but like, positive. Deserts portrayed as beautiful places full of life and wonder. Desert as homeland, desert as a place of beauty and intrinsic value.
Mountains. Andean-style settings where the world is mountainous and the land is organized into altitude zones, where uphill/downhill are more meaningful than east/west
Island archipelagos. We’ve gotten a few in fantasy recently but 1) I want More 2) I want someone to do a Fantasy Kula Ring
Something inspired by Tiwanaku or Chavín de Huántar
Independent city-states. They all are unified by basically the same culture but they are all also politically independent variously at war, making alliances, happily trading, in a trade war, conquered and subordinate to other city-states, founding new city-states, travelling to the central temples of other city-states’ patron gods, etc.
Full of prehistoric animals that never coexisted with humans but they do in this fantasy world because they’re Cool
Things I’ve 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.)
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Rivers love to split at random places. Make sure to include as many splitting rivers as possible.
Speaking of rivers, it's well known that rivers are unaffected by gravity and thus will flow uphill and ignore the terrain.
Mountain ranges are formed by a bored god doodling, and that god is you.
When you place a settlement or city, make sure it's got all of the essentials: A cool landmark it can be named after, a treacherous terrain to banish misfits to, and a source of enemies to threaten the population.
Borders before the industrial revolution were extremely rigid and well defined, so make sure your map reflects that.
A common mistake is trying to imagine underwater geographical features like mountains. But those things don't actually exist. The land is land and the sea is the sea and they have no relation to one another.
What about islands, then? Islands should be placed randomly, like the gods sprinkled some land on the sea.
No continent is complete without a massive forest that's a day's walk from frozen tundras to the north and a sandy hot desert to the south.
What climate could allow for such a combination? We're climate deniers here. Weather is to set the mood, not to design the map.
Don't forget to populate your map with many interesting cultures like: hippie people, working class people, cold barbarians, hot barbarians, and normal people.
