Don't Worry About My Browser History. I'm A Writer.

Rosamund hesitated. It was, she had to admit, the first time she had ever been given a wish, so she wasn't an expert with this sort of thing, but she felt that this was not part of the typical script. "Sorry," she said. "Is that not allowed?"

The fairy grimaced. When it spoke, its voice came out pained and stressed. "Y-y-y-e-e-e-no," it sighed at last, dragonfly wings sagging. "No, technically no, it's not not allowed, but-" It suddenly brightened. "How about gold? Can't go wrong with gold. Gold's a good wish."

Rosamund frowned. This was really not going the way she expected at all. "Excuse me-"

"Beauty, that's a good one too, beauty's always popular," it went on. "And if there's a ball nearby tonight I can probably-"

"Excuse me!"

The wand was twiddled in chitinous fingers. "Right," the fairy said, sounding scolded. "Sorry, it's just..." Its voice trailed off.

Her grandmother's clock chimed midnight from the mantelpiece.

Then - "I'm sorry," it said, not daring to look up, "I know it's not fair, but - you know what I am. You know what we do to wishes. If you wished for wealth I'd have to turn your hair into silver, so you’d have to tear every strand out of your head before you could spend it. We can't help it. It's what we do. The cost of a wish is that you get what you want, but you don't get it the easy way.

"So if you wish for a child, it'll be - strange. Twisted, somehow. Made of pine or marzipan or have the head of a hedgehog. That's the cost of a wish-child; you'll get the child you wished for, but it'll never be - right."

Rosamund waited to see if there was anything else. She felt a sting to her pride when she realized there wasn't. "Is that all?" she said. "I wouldn't care what I got-"

"You all say that," the fairy said. "You all say you wouldn't care what you got. You all say it, and you really believe it, until the neighbours sneer at you and your hedgehog child for too long, or your back aches because your thumb-high child can't help you in the fields, or your pine child kicks and bites and won't obey, and then you think, 'This isn't the way it was supposed to be,' and then..."

The fairy stopped and looked into Rosamund’s eyes. It was a beautiful thing, all glittering carapace and iridescent wings, but just for an instant it looked terribly, terribly old.

Of course now I want Rosamund, realizing that there are already children out in the world ready tk be loved, to go out on a quest to find them and makes the fairy come along with her as a guide by refusing to change her wish unless they help her find them all. And then at the end, after she has gathered all her wonderful and unique and, yes, strange children, she wishes for a big house they can all live in

Write it badly or it'll never be written

Write it badly or it'll never be written

Write it badly or it'll never be written

Write it badly or it'll never be written

And this is fine. Move on past it and edit what you wrote.

Then write some more crap.

My cousin in Thoth, this is how it goes. This is how it will always go. Even when you become a career writer—thirty, forty, fifty novels along—it will still be crap when it first comes out.

AND THIS IS OKAY. The essential imperfection of the Universe makes it impossible for your initial emission to be perfect either.

(And if you think it is... wait till your betas or your copyeditor get at it.) :)

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.

For coming up with character names:

Behind the name (my absolute fav)

Allows you to choose the origin of where you want the name to be from, whether you want a more feminine vs masculine vs androgenous name (as voted by users), random surname generator, and clicking on the name gives you important info like if there are any famous people with the same name, where it’s from, how common it is, and how people tend to see it, etc.

You can also search their name database by letter or meaning or origin, so if you know you want a character who has a name/surname that starts with an A from Ireland, there’s a whole list for you to choose from.

Census sites

Especially useful if you’re looking for a name from a specific place and/or time period. Just search “(country) census (year)” and you’ll find a database of real people who lived in that place at that time. No one can ever call your names unrealistic again.

For coming up with place names:

Fantasy name generator

This site can basically come up with any name for any person, place, or thing you might ever need. There are also specific generators for different fandoms if you’re looking to make an OC in an established world.

For finding that one word on the tip of your tongue:

One Look Thesaurus

This is my go-to. Not only can you find synonyms like a regular thesaurus, but you can also describe words like “unhappy smile” or “quiet laugh” to find the more specific word you’re looking for.

WordHippo

Works as a thesaurus (very similar to One Look) but also includes search options for words that rhyme, words that contain a specific letter or are a specific length, different word forms, sentences with a specific word etc. etc. It's like Thesaurus++

For coming up with ideas:

Word cloud

When I need to inspire a new idea, I write down all the things I’m interested in (hauntings, academia, lesbians, etc.) and put them into a word cloud to shuffle them next to each other. Sometimes seeing a concept in a new context can spark new ideas!

WWF Discord

This is my discord channel (shameless plug) for when you need to brainstorm off other people but don’t have anyone irl to talk to. We’re also happy to read and give feedback on writing, answer writing questions, or just chat!

For visualizing places and characters:

Pinterest

Pinterest can at times be a bit too sterile for my tastes, but if you use the right words, you can find more realistic photos of places. For example, adding “aesthetic” after basically any word will bring up a more broad collection of photos to help you flesh out places.

This is also a great way to find photos of people and fashion to help visualize characters. I’m bad at describing clothes, so I usually collect photos of outfits to help me know what my characters are wearing. Searching up “character inspiration” will collect more interesting photos and drawings of people who might not exactly be of our world.

(However, to make Pinterest not show you AI results, you have to go into your settings and check the “reduce AI” box. Luckily, it does mostly work.)

Death to Stock

Like pinterest but completely AI free (hooray!) Only drawback is that you have to pay a monthly subscription (about $20 CAD).

Cosmos

Very similar to pinterest but slightly more "artsy". I'm not super familiar with this one but I believe all the photos are human and you can save them and create collections with a free account.

Dupe Photos

Royalty-free stock image site with very Pinterest-core photos!

Minecraft

If you haven’t built your entire fictional city in Minecraft instead of writing, why not? It’s fun.

The Sims

This one is dual purpose because you can not only create your characters in Create a Sim, but you can design their houses. If you really want to go for it, you can bulldoze all the lots in your town and build your world from scratch.

Hero Forge

This character creator is intended for making D&D minis, so it has more fantasy-like options over the Sims if your characters are a bit out of this world.

House Plans.com

I was introduced to this resource through the comments on this post and it has quickly become one of my favourite things to use. If you struggle with the layout of buildings, this site lets you choose beds/baths/sq ft etc. and will show you house plans created by designers that most closely match your specs. You can also search by style instead if you're more interested in the aesthetics.

For checking grammar:

Grammar Girl

Easy to follow definitions and examples, and if you learn better by listening, every article comes with a podcast to follow along with instead.

Grammar Monster

This one is my favourite for checking grammar rules because there’s tons of examples in graphics that helps for any situation.

Reedsy

Among other things, reedsy can connect you to professional editors within your budget.

For writing advice:

One Stop for Writers

This one was recommended from my discord channel and has all sorts of tutorials and resources for the writing craft.

My Blog Directory

Another shameless plug, but if you need writing advice on something specific, you can search through my directory to see if it’s there. If it isn’t, you can always send me an ask about it!

For an alternative to Google Docs:

Ellipsus

Think google docs but without AI. Yay!

Scrivener

A more comprehensive writing software created specifically for writers, however there is a one-time payment to use ($80 CAD).

From what I can tell, there are only three universally applicable pieces of writing advice:

Read a lot (mandatory)

Show your writing to people (mandatory)

Finish it. Publish it.

Whatever you're working on, someone's gonna love it. They'll stand up and defend it or hold it in their secret heart, a cherished forever favorite.

the minute you say a number your readers can check your math and you cannot do math better than your most autistic critic. i guarantee. don't let your readers do any math. when did something happen? awhile ago. how many bullets can that gun fire? trick question, it shoots lasers, and it shoots em HARD.

V.E. Schwab's advice for creating memorable characters - works for both protagonists and villains

It also ties neatly into the simplest version of the formula for getting people emotionally engaged with your characters: or how to build the moment in which your character starts moving from their initial state to the state in which they'll start changing their own lives.

First, you figure out the one important thing the character believes that they're wrong about. There's usually a core misperception that they haven't examined. Once they're forced to engage with it, it'll start to change everything about their perception of the world they're inhabiting and/or the people in it.

Then, as V.E. says, you identify the character's great desire and their great fear: the thing that character wants more than anything, and the thing or situation that terrifies them, and that they'll go to any lengths to avoid.

And having identified these two objects or situations, you build a situation in which the two forces will be in close, direct opposition to one another... then drop the character down in between them, and squeeze. Those two opposing forces become the jaws of a vise... and you crank the vise more and more tightly closed until the character has no choice but to acknowledge those opposing forces, and start (even in a small way) to deal with the pressure being exerted and push their way through.

This does not have to be, initially, a great climactic moment. In fact, it works better if it's not. It's more effective if your character has a brief low-intensity brush with these conditions-in-conflict early on. That way, when your big resolution scene comes along about two-thirds or three-quarters of the way along through the story arc, you'll have set up a resonance between that earlier hint or intimation of what's to come, and the really big blowoff. Your readers will recognize the resonance—the throb of tension between the two occurrences, like the vibration of a plucked string—and will find satisfaction both in the true resolution having been partially telegraphed earlier, and in how it's now being experienced and resolved in full.

This approach also allows you to set up more minor resonances between the realization of the conflict and its final resolution. These can serve to bind the structure of the work more closely together: to make it look (and be) less like a series of loosely strung-together plot events, and more like a unified whole, in which ripples of story business flow backwards and forwards, interpenetrating and influencing one another, and hinting at the big one to come.

But none of this can happen until the paired and opposing what-do-they-most-desire, what-do-they-most-fear axes have been defined. So that's a subject it's smart to spend some while thinking about (and for all your characters, not just the major ones), to be sure you're getting it right.

For all you WONDERFUL FIC WRITERS who made the mistake of following me

I want to say first and foremost that not all dissociative disorders inherently make someone a system. Not even dissociative tendencies. You can have complex PTSD, for example, and dissociate a lot, and not be a system. In the same way you can have a dissociative disorder and not be a system -- the only subtype of OSDD that implies systemhood is OSDD-1; types 2, 3, and 4 don't.

Dissociation on its own is a symptom of a lot of things, and we all experience mild forms of it daily throughout our lives (ex: sleep/wake transition stage, getting lost in thought). It is the structural elements, interference in day-to-day life, and the complexity of said dissociation that inform whether 1) someone's dissociation is disabling, and 2) whether that disability is related to systemhood. This post is going to be centering writing system characters in particular.

DID, P-DID, and OSDD-1 are all complex disorders that are all too often simplified and demonized in stories meant to "include" us. Taking the first step into doing proper research is already miles above what most people do, and I and so many others appreciate that!

And I'm glad you're starting here, with what you're going to be writing in particular.

That said: even if you don't want to outright say in direct words what your dissociative character has, and would rather show it subtextually, it'd be good to have an idea so you have a framework to build off of, and so you have a consistent, well-established facet of your OC's identity.

DID, OSDD, P-DID - What's the Difference?

Good question! And it's important to note before anything else that the diagnostic criteria for something like DID versus, say, OSDD-1, will vary in some ways depending on where you live! In one country, what is considered OSDD might be read as DID if the exact same person is seen somewhere else!

Systems and dissociative disorders ARE observed globally. This is not a "Western phenomenon" or "something US Americans made up" -- DID has been observed as far south or east as South Africa, Australia, Japan. Population ratios between those with DID and without it are also very consistent in countries that have performed that research!

(It is very much a worldwide thing, and very much an intersectional thing. We are not all Cis White Man From Boston. Just doesn't work that way!)

And on top of that, covert dissociative disorders can be incredibly hard to diagnose due to how well they can slip under the radar or mask as other things. Standalone PTSD, personality disorders, that sort of thing -- the lines can be very blurry, and what you're seen as to a professional can vary from PTSD to DID to OSDD depending on how you present that day. So cases aren't often clear-cut, especially not from an outside point of view!

By no means am I making a comprehensive post here, but it's good to have a baseline idea for the differences so that you can do more applicable research moving forward. This is generally what those differences compose of:

[Long post (VERY long post) under the cut!]

okay. writers of tumblr. i’ve compiled a list of things i desperately wish someone had sat me down and said before i started writing, not that i would’ve listened, because i was 14 and powered entirely by hubris, iced coffee, and my wattpad era.

anyway. here we go:

1. stop rewriting chapter one. i know you think it’ll fix everything. it won’t. it’s a hydra. you cut one head off, two Google Docs appear.

2. your first draft is not a treaty with god. it can be messy. it can be unhinged. it can have 47 placeholders named “idk something happens.” it’s fine.

3. perfectionism is just fear wearing a blazer. write badly on purpose. humiliate your draft. it builds character (yours).

4. word count culture is a scam. you are allowed to write 200 words and call it a day. you are allowed to write 5k and then disappear into the void for three business weeks.

5. google docs autosave WILL betray you. download backups. then back up your backups. then sacrifice a pen to the writing gods idk.

6. description is not pretty synonyms. it’s specificity. the torn movie ticket in their pocket. the buzzing light in the hallway. the chipped nail polish on their thumb. write the thing not the aesthetics around the thing.

7. dialogue isn’t two Shakespeare ghosts monologuing at each other. interruptions. trailing off. people lying. people avoiding the truth. people saying “whatever man.” let it get messy.

8. you don’t need a whole map before you start. sometimes you just need one character with one problem and the stupidest idea imaginable.

9. reading your old writing will make you cringe but also cry a little because wow you cared so much. keep that version of you alive.

10. don’t wait to ‘be good.’ you get good by writing the stuff you think is embarrassing.

11. also: nine out of ten times, your “bad” idea is actually the one that goes feral and grows teeth and becomes your WIP.

12. hydrate. no further explanation.

ok that’s it because if i keep going i’ll start confessing things about the time i wrote a whole novel in 2017 that will never see daylight again.

reply if u relate or if u too have 87 abandoned document fragments in your google drive.

i also have been trying to boost up my close friends gofundme, as she's in serious need of help with some money for her rent, she's at risk of being homeless with her mom, little sister and baby sibling on the way. if you can donate at all or even reblog this, it'll mean the world to me and Ana, thank you so much!

✧ 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.

Tips for Writing Emotional Breakdowns

✧  Crying isn’t pretty. It’s snot, blotchy faces, gasping for air, and red-rimmed eyes. Forget the single tear rolling down like in Hollywood.

✧  Anger often hides hurt. People lash out, slam doors, shout, not always because they’re just mad, but because they’re covering up fear or pain.

✧ Shaking is common. Stress dumps adrenaline into the system. Hands tremble, voices break, knees won’t stay steady.

✧ People go quiet, too. Not all breakdowns are screaming and sobbing. Some are dead silence, staring off, numb responses. Equally devastating.

✧ Exhaustion hits after. The “post-breakdown crash” is real ... headaches, sore eyes, complete emotional hangover. They’ll want to sleep for hours.

✧ Words get messy. Rambling, repeating the same sentence, stuttering, saying things they don’t mean. Emotions trip over themselves on the way out.

✧ Breathing changes. Short, shallow breaths, hiccupping gasps, or holding their breath without realizing. Sometimes it even feels like they’re choking.

✧ Embarrassment creeps in. Once the wave passes, a lot of people feel ashamed, apologizing or avoiding eye contact. Vulnerability often leaves guilt in its wake.