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could anyone give me some good tips for writing horror? how do you disquiet a reader and how do you make them uncomfortable with just your words? usually visuals play a big part in fear for me, so some writing tips would really help. thank you!
p.s. i don't want to rely on just gore descriptions that feels lazy :(
for me, i used a few specific techniques that kinda helped build an uneasy atmosphere: 1) sentence length 2) things out of place just enough to be noticeable and 3) slowing things the fuck down :3
expanding under the cut !
Hi! So I recently discovered removing the word 'that' from 90% of my writing actually made it more fluid and hardly impacted the readability. Tiny achievement but very proud of myself as a novice writer ^.^ I was wondering if (other than the up/down one) there were any other tiny tricks for removing superfluous words? Thanks!
Great question! Honestly, there are hundreds, but here are a few to get you started.
Words You Can (Usually) Safely Cut from Your Writing
That
Then
Start
Begin
Suddenly
Down
Up
Kind of
Really
Just
Basically
In general, look out for adverbs (actually, really), âhedgingâ words (kind of, sometimes), and ambiguous words (nothing, everything, someone). Some can be cut; others will need to be revised or swapped out. âThatâ is a classic offender. âThenâ can usually be changed to âand.â Itâs only necessary to qualify that an action was âstartedâ if the action gets interrupted, otherwise it can be cut. (âShe started to cryâ becomes âShe criedâ).
I have a detailed, exhaustive list of words like this (with explanations!) in my book The Complete Guide to Self-Editing for Fiction Writers, which will be done soon :)
Nice to hear from you & hope this helps!
Adding some more:
give
she gave a yelp of surprise
she yelped in surprise
feel
he felt an overwhelming feeling of euphoria*
he was overwhelmed by euphoria / euphoria overwhelmed him
sound (of)
they could hear the sound of footsteps
they could hear footsteps
over (to)
I walked over to the bed
I walked to the bed
looked/appeared
it looked like they were out of milk
they were out of milk
DO NOT just delete these words en masse from your draft. Sometimes they really do need to be there. Beginning writers or writers who undervalue quality tend to overuse these words, and it makes the reading stuffy and hard to get through.
The goal is to improve reading comprehension for the reader and sound like youâre great at this writing thing. Train your eye for useless stuffing words and youâll eventually be able to pick apart your drafts without the help of lists like this.
*Toned down rewrite of an actual sentence I read with my own two eyes.
second draft worries!!!
Places you should add to your little town/city in your fantasy world!!
Post offices. Wild, I know. But give me the unhinged kind. Pingeons and little postal dragons all over the place. You enter. The most disgusting smell fucking assaults your nostrils. You know what it is. Letter in hand, you go up to the counter. The postal worker is just a slightly bigger pigeon. You shed a tear.
PLAYGROUNDS!! Create the most dangerous kinds of playgrounds, the ones suburban moms would TRIP if they ever saw one. Monkey bars that are way too tall, swings that go full circle... The metal slide stays the same, it's already painful enough.
PARKS!! MAKE IT ALIVE!! Show people going on walks, reading beneath trees. C'mon most of them are already hundred years old (And are going to die after that CR 15 creature wrecks the town) anyways!! Show couples and picnics, show a family enjoying the sunday, give me someone picking flowers for their loved ones.
A bakery! Do you know how much these places are underrated? And do you know how much plot potential they have? Every good story starts with food poisoning or granny's recipe! Give me a place your players/readers are going to treat like home and, for once, it's not a tavern or a guild.
Government buildings! Give me a town hall that has a kilometric line in front of it. Give me a registry that is as old as this town. Give me police stations! Give me courtrooms! Make one of your players get arrested and now all of the party has to go through burocracy like a bunch of normal people!
(Who am I kidding? You don't need to make them get arrested. They are going to do that for you.)
Touristic attractions! Give me a full-on statue of the country's leader! Give me museums! Give me streets, ruins and whatnot that attract thousands of tourists everyday! Give me an annoying city guide that tries to get the party's attention everytime!
Magazine stands! Magazines don't exist? Newspaper stands! From the Queen's Journal to the most questionable new piece of Fox's Tailtracker, you have it all! Make your players doubt what's actually happening, sprinkle a little fake news... Or is it fake at all?
...Toy stores. OK HEAR ME OUT. Make magic toys; miniature skyships that actually fly, metal toy dragons that expel fire, little wands that make little light spells, wooden creatures that can move and make noises... Make children happy! And your players too because they will waste their money on these stuff.
Instrument store!! Make your bards happy with special instruments or just weird ones! Give me a battle in one of those that is just filled with funny noises and the worst battle soundtrack ever!!
Not exactly a place but... Cleaning carts!!! Show me people cleaning the streets, picking up the trash, cutting trees!! Make the town look clean!! Give me an old man that is really proud of his work!!!
(or ways to make your players feel even worse when the villain destroys the town later on :) )
IMHO these are ESPECIALLY important if you're writing urban fantasy or real-world-adjacent paranormal. You need to make the reader feel like Everything Is Normal, Actually and then throw in juuuust slightly unhinged tinges around the edges to make it apparent that it is in fact Not Normal At All.
Writing Subplots
Who doesnât love a good subplot? Some of my favorites books are the ones that have super interesting subplots because who doesnât love hearing about that secondary character development arc or those lovely side characters with the inevitably doomed romance? Whatâs not to like? But, subplots can often be one of the hardest to write and the most misunderstood storytelling elements. They arenât part of the main narrative thread, so they canât overtake it, but they also need to have their own story arc separate from the main plot. Itâs a delicate balance that can be kind hard to strike, because subplots arenât just secondary plot-lines, they have to serve a narrative purpose and engage with the storyâs central conflict.Â
First, let us define some different kinds of subplots
Mirror Subplot:Â A subplot where a side character experiences a conflict that mirrors the protagonistâs main conflict and gives the protagonist the insight or motivation they need to resolve their own conflict.
Romantic Subplot:Â The protagonistâs relationship with a love interest complicates their journey to resolve the storyâs central conflict.
Parallel Subplot: a subplot where something seemingly unrelated occurs at the same time as the main plot and then all of a sudden the two plots collide towards the end of the book.
Complicating Subplot: a subplot where a secondary characterâs actions actively complicates the protagonistâs journey with the central conflict
Foil Subplot: a subplot where a secondary character experiences the same or a very similar conflict as the protag but wants to resolve that in a different way (this contracts or creates a âfoilâ that highlights the protagonists qualities and characteristics)
There are a lot more different kinds of subplots, but these are some of the most common, so here are some tips for writing subplots!
Is That Necessary?Â
This is the first question we should ask ourselves anytime we add anything to our stories, but especially subplots. Sometimes, authors (meaning me) will get to the end of writing their first draft and realize that they are not anywhere close to their goal word count. To remedy this, they will just throw in a cute little subplot. Unfortunately, friends, this does not work. The best, effective subplots should be integral to a storyâs central conflict. If you can remove your subplot from the story without their being a big impact on the central conflict, then the subplot doesnât really serve a strong narrative purpose. We most often see this problem arise in romantic subplots. Authors will just throw in a romance or the dreaded love-triangle as a subplot for absolutely no reason. Iâm the first person to admit I love a good romantic subplot, but I also like it to be there for a good reason. That is why the Hunger Games will never go out of my top five all time books/series because despite what a lot of people think the romantic subplot in that story is essential. Katniss and Peetaâs love story is the reason they both survive the Games which is the central conflict of the book. It works perfectly, and if you want a good example of a subplot done well, look no further.
Keep the SUB in Subplot
Honestly, sometimes the subplot really is better than the main plot. Thatâs not necessarily a good thing, but I think we have all read a book where the main plot just drags and you just canât wait to get back to your favorite side characters and their little adventure. But, a good subplot shouldnât steal the limelight from the main plot. It should enhance the main plot and maybe add a layer of complexity but never overshadow. Going back to my example for the day, the Hungers Games does a really good job of this. I read something once where someone said Katnissâs romance overshadows the Games and the Rebellion, and I was like, did we read the same book? If you go back and read the books, Katniss doesnât think about her romance with Gale or Peeta all that much. Sheâs mostly thinking about her own survival and the survival of her family. Both of which relate directly to the main plot. We never forget about the romance in the book because it is important, but in my opinion, it never overshadows the main plot of the Games and the Rebellion even in the first book where itâs more heavily featured.Â
But, Its Still A Plot
On the flip-side of that, even though the subplot shouldnât overshadow the main plot, it still needs to follow its own narrative arc. This is where a lot of new authorâs get lost. A subplot is way more than just a short conversation or a quick event that inconveniences or helps the protagonists. All your subplots need their own beginning, middle, and end. Make sure that you definitely developed all of your storyâs subplots accordingly. That includes paying attention to all of your charactersâ goals, motivations, and the conflict that they experience. Generally when Iâm in the development stages of the subplot, I develop it the same way that I develop one of my main plots. While they do not necessarily need the same attention or development as your main plot, developing them with the same goals in mind will only help you in the long run!

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Connecting With Your Reader's Emotions
Weâve all read a book or story that captured our hearts and made us feel things very deeply. Itâs a superpower writers have, but it isnât something weâre born with.
Connecting with your readerâs emotion happens when youâve practiced writing. It becomes easier after each rough draft, each great draft, and each terrible draft.
Butâif you want to save yourself some time, these are a few perspectives you can use to sharpen your writing tools.
1. Display Your Protagonistâs Inner Emotions
Your readers want to experience a characterâs journey by connecting with them emotionally. We pick up books to feel things while learning something or just taking a break from life.
Displaying your protagonistâs inner conflict could look something like: She saw the ghost in the hallway, which scared her.
Your reader will feel more engaged if you describe how fear makes your protagonist feel instead of them feeling fear generally: She saw the ghost in the hallway and fear shot through her body like lightning.
You donât need tons of flowery language to make your reader feel the same things as your character. Sometimes a minor descriptor or simile can do the job.
2. Show Your Protagonistâs Feelings Through External Reactions
Emotions donât solely exist inside our hearts and minds. We also have external reactions to them. That could be nodding in confusion, shifting uncomfortably in a chair, or bending over laughing.
Consider this example:
âI love your laugh,â Anita said to Alice. âIt makes my heart skip a beat.â
Heat spread through Aliceâs cheeks as she smiled.
âOh, you donât mean that.â
You donât need to mention how it feels to receive a compliment from a crush or why flattery is nice to hear. The physical reaction of blushing is something the reader can relate to and understand.
3. Make Your Reader Feel Something Your Character Doesnât
This is a fun one. Sometimes characters have to figure something out, but the reader already knows whatâs going on.
This could happen when youâre writing a horror story that is supposed to teach the reader about the joy of recognizing your own strength. The protagonist has the skills in the beginning to defeat the evil antagonist, but must reach rock bottom before cheering himself on. The whole time, the reader knows they can beat the antagonist and survive because they have the brains/strength/creativity, etc.
You could also write an enemies-to-lovers arc where itâs obvious to the reader that both characters are in love with each other long before they realize it. The reader should want them to embrace the scary feeling of falling in love, because thatâs what youâre trying to teach through your story.
Consider Your Storyâs Purpose
Writers have a purpose behind every story. What do you want readers to learn, consider, or experience through your own? You can use these methods of connecting with your readerâs emotions to make your plotâs purpose that much more powerful and engaging.
i want to spoil my whole story and tell people my plot twists and yet want to keep it a mystery too and see their reactions later
Plot Devices to Complicate Your Story
You're excited to write an upcoming story, but the plot seems pretty simple from start to finish.
How can you make it more complicated to deepen your themes, lengthen the story, or leave your readers with plot twists that make their jaws drop?
Try a few of these devices đ
Add motivation to your instigating action
When the princess gets kidnapped at the start of your story, your hero will rescue her, but what's the antagonist's motivation for kidnapping her? If they're in love with the hero and take their jealousy to the extreme or secretly know that the princess asked them for an escape plan to avoid marrying your hero, the plot is much more compelling.
You could add this detail anywhere in your plot, even in the first chapter.
Layer a second motivation underneath an action
After the princess is kidnapped, the hero starts their journey to rescue her. The reader finds out in the second chapter that the hero is being blackmailed to retrieve the princess and return her to their kingdom's biggest rival to start a war.
Amplify the original problem
Your protagonist rescues the princess and brings her home, only to find out that she's had a twin brother all this time who has been taken hostage by the antagonist in retaliation for the princess' escape.
Introduce a second, more evil villain
The antagonist has kidnapped the princess for their own motivation, but the reader discovers in the middle of your story that they serve a more evil villain who holds a personal grudge against the princess' father and wants his whole kingdom to suffer as revenge.
Create conflict that brings your protagonist to their rock bottom
The protagonist rescues the princess, almost reaches their home kingdom, but she escapes. The king sends the protagonist to prison for their failure and sentences them to death in three days. The reader will feel the hopelessness along with your protagonist, which is where you can create something that injects new hope into your plot (like a dramatic jailbreak thanks to the protagonist's best friend).
Make a character betray another
The protagonist reaches the princess with the help of their best friend, but the princess stabs the protagonist in the back by trading their best friend for herself through an unbreakable vow
Reveal an unreliable narrator
Your protagonist agrees to rescue the princess for the sake of the kingdom, but the second or third chapter reveals that they are really on a mission to kill the princess for personal revenge against the king.
Reveal that the villain has known everything the whole time
Your protagonist and princess escape, but the villain factored that into their plan to start a war and have their forces waiting outside of her castle when they arrive home
Introduce sudden regret that changes a character's arc
The protagonist has to leave their best friend behind to ensure the princess' escape, but in leaving them, the protagonist realizes they've been in love with their best friend the entire time. Regret motivates them to head back for their best friend and risk their life twice as soon as the princess is home safe.
Temporarily kill a character
The princess kills the villain with some help from your protagonist, so they think they're safe. On their way back home, the villain sets a trap for them in the woods because they actually survived the attack.
Try using Chekov's gun
Before leaving for the princess, your protagonist gets a potion made by a family member. The directions? "Use it in your moment of greatest need." The protagonist uses it later when they're facing the villain or after hitting rock bottom, so the potion becomes a plot device that instigates your second or third act.
Accelerate the plot
Your reader thinks the plot is all about rescuing the princess, but she returns home in the first 100 pages. The real plot begins by choices or actions made during her rescue, which unravel into a much larger story/world event.
You likely won't be able to use all of these plot devices in a single story. You may not even have the first plot for more than one.
Consider what you're writing and what dynamics your characters/plot present to decide if any of these tricks could enhance your writing.
What Are Thematic Echoes in Stories?
Thematic echoes are great to use in stories of any length.
Theyâre the thematic threads or elements that get repeated at least twice, usually at the start and end of the story.
Your characters could meet and fall in love at the beginning of the story. One might say, âI love you.â Then the other responds, âNo matter what.â
Itâs endearing to read while your characters are finishing a milkshake date or strolling down the beach under the moon. Repeating that line while one is in a hospital bed and the other sits beside them gives it even more weight. They could also repeat it while saying goodbye for the final time during a breakup caused by factors outside of their control.
Your readers will love the follow-through because it feels like a full-circle moment.
You can make these echoes nearly anything. The above example happens in a romance storyline, but it can also happen while characters battle a supernatural force or experience a coming-of-age plot line in a middle-grade novel.
Thematic elements can also be objects. Your protagonist could receive an heirloom necklace that they always wear, but then they pass it down as a final gift to their child before their child leaves home as an adult.
Have fun thinking about how you can make these callbacks and full-circle moments in your stories while supporting your overarching themes. Youâll enrich anything your write and give your readers a more touching experience as they spend time with your characters.
World Building
Creating Land
â
⼠agriculture
âż what is grown in abundance? how common is farmland? where is the farmland?
⼠architecture
âż what kind of buildings? how tall/spacious? what are they made of? how well made? how well planned?
⼠animals
âż what wild animals are lurking in the area? hunting? any animals affecting the livestock or agriculture?
⼠biomes
âż desert? tundra? grassland? forest? savanna?
⼠bodies of water
âż seas? lake? ponds? rivers? fresh water/salt water? fishing? keep in mind, settlements are often built near bodies of water
⼠climate
âż dry? rainy? temperate? tropical? polar? how have people adjusted to this climate?
⼠elevation
âż altitude? how does the altitude affect lifestyle?
⼠geology
âż rocky? types of rocks?
⼠landforms
âż mountains? valleys? plateaus? plains? hills? glaciers? peninsulas? volcanos? canyons?
⼠latitude / longitude
âż location on planet? how does it affect other elements of land?
⼠livestock
âż common domesticated animals? common animal usages?
⼠minerals
âż any valuable minerals / metals? are they mined regularly? how are they used?
⼠natural disasters
âż earthquake? tornado? volcano? duststorm? flood? hurricane? tsunami? how often do these occur? protocols?
⼠population
âż how many people? how dense is the population? how does the population affect surrounding nature?
⼠resources
âż what is abundant? scarce? how are they used? how available are they?
⼠sacred land
âż religiously important land? historical importance? widely accepted as sacred? how is it honored?
⼠soil
âż good or bad for vegetation? rocky?
⼠tectonic activity
âż earthquake frequency? volcano frequency? trenches?
⼠topography
âż how common are maps? how accurate? how long have they been around? who makes them?
⼠vegetation
âż what is abundant? scarce? what grows easily? with difficulty? what is commonly foraged? who forages? plant types? tree types?

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god i just. fucking love seeing everyoneâs wips on here like. you made that. with your own brain. you thought of that story and that world and those people. writers are truly magic and i love you all
Some slightly different wordlbuilding activities
Ones I havenât seen as often but apply myself.Â
1.- Bedtimes stories you tell to children, or lullabies. They can be based in location or species. They can tell us about the world, history, beliefs or something specific about a creature. It can be fun to think of their origin, how theyâve changed over the years and both the meaning that was lost and the meaning that was added.Â
2.- Fashion choices. I often let fashion be different for different creatures. I usually create a practical outfit that makes sense historically within the context of my world and then evolve it until I get to the present day of my story. Preferably splitting of into branches and allowing more options. It can tell us about a specific species, about their history and about how the climate has changed, or how they moved locations at some point and had to adapt their clothing to a new climate.Â
A very simple example of this from my own book would be the mageâs cloak! Link to a longer post about it. Basically, mages would wear a simple one piece fabric that was easy to then set an illusion over, no wasting time mixing trousers and tops. Over time some mages stopped using illusions, seeing the outfit as acceptable. It became a staple, you saw the cloak, that wasnât a human but a mage. And then younger generations began personalising the material, instead of boring black, white or brown they started using floral patterns, adding in cool sleeves or hoods!Â
Initially, it was practicality, but it evolved.Â
3.- Think about what each species does for fun! I often read YA fantasy where the stakes are so high there is no leisure, no downtown, no fun, no hobbies. But this is a great opportunity! Whatâs popular in your world? Books, plays, board games, long walks, playing sport? Seeing characters just chill can be a great change of pace and allow for some insight into their lives and the world they live in.Â
4.- What is imported? And why? Sometimes imports are just practical, we donât have wool here (unlikely, sheep are literally everywhere, but you get the point), wool is good for clothes, we import it. But other times itâs more complicated.Â
Perhaps a species moved across the country at some point, but they were accustomed to a certain type of tea, fruit for certain festivities, so on, so on, and habit dies hard, so, importation becomes a thing.Â
So those are my four world-building tips for today. Iâve said it before and will say it again, there is no master list, not check list, world-building is something you can figure out as you go in most genres (some epics may requiere more prep time). Whatâs important is to keep track of what youâve said and stay consistent, but you donât need to know everything before going in.Â
As usual, Â check out my book, stories Iâve written plus other social medias: here.
Howâs your world coming along?Â
If you guys are like me, and you struggle a little with describing locations, can I suggestâŚ
as a lifesaver.
Tip for "They/Themâ Characters
If your character uses they/them pronouns, you probably already know that it can be used for a singular noun of unspecified gender. However, a lot of readers donât know that.Â
As a writer, itâs not your job to explain grammar, but you can make it easier on the reader by making the link between the antecedent and the pronoun very clear
This is unclear:
âJo has a few close friends. They enjoy watching movies with them.â
This is clearer:
âJo enjoys watching movies with their few close friends.â
In the first sentences, both of the âthey/themâ pronouns could have been referring to either âJoâ or their âclose friendsâ. In the second one, the pronoun âtheirâ very clearly refers to the noun âJoâ and none other.
Tl;dr: If you can help it, keep the pronoun grammar clear.
-Mod FrayÂ
One of the biggest things Iâve noticed while betaing and editing is that pronoun use can be very vague. Itâs not a problem when youâre talking about two people and one uses she and the other he (or some other singular pronouns zie, hir, or xe) because itâs obvious who the pronoun is referring to.
When they is used, or two people have the same pronoun, that casual vagueness can become a problem because itâs suddenly no longer a one-one match for pronoun-person. Reading over your writing specifically to see if the pronouns are attaching to the right people (and fixing it if itâs unclear or causes confusion) is a good idea.
And, as always, the more you do it, the better youâll get and the easier itâll become to automatically do it.
I also find itâs very helpful to add a nice little âthey bothâ or âthey allâ whenever referring to groups of people, especially when a they/them character is present.Â
âHe nodded to them and they continued down the hallâ could refer to the they/them character continuing down the hall or both characters continuing down the hall.
âHe nodded to them and they both continued down the hallâ or âHe nodded to them and they led him down the hallâ both specify that the they/them character is going down the hall with the he/him character.
If youâre writing about a character whoâs rich and has a big house, and youâre writing in any sort of historical setting, I canât help but feel that youâre missing an opportunity if you never talk about the Guests.
In a modern context, big houses rarely serve any narrative purpose beyond jokes about rooms nobody has ever been in, but historically, all that extra space had an important function. Apart from families generally being larger and multi-generational households being the norm, hospitality was a major part of a wealthy householdâs basic social obligations. Travel was time-consuming and expensive, and obviously your rich buddies couldnât just rent a room while they were in town (how gauche!), so youâd be expected to put them up for as long as they cared to stay. Indeed, being able to put up lots and lots of guests was one of the basic ways you demonstrated your high status.
This expectation of hospitality extended beyond your immediate social circle, as well. If you were the big name around town, you could expect to have government officials, artists and philosophers, travelling nobility, and the like hitting you up for a spare room on very little notice, and you had to be very careful about saying ânoâ because refusal might be construed as a snub â or worse, an admission that you canât afford it! The upshot is that, at any given time, a large household might be playing host to a bewildering assortment of friends, relatives, friends of relatives, relatives of friends, celebrities both far-ranging and local, dignitaries, con artists, miscellaneous weirdos, and that one guy who nobody can quite place, but whose presence everyone is too polite to question.
(The miscellaneous weirdos are a big part of it, in fact. If youâve ever wondered how someone makes a career out of something like âbeing Franceâs most famous loverâ, thatâs basically how it worked: youâd use your outlandish reputation to prevail on some random wealthy jerkâs hospitality, hang around their house as an âhonoured guestâ for a couple of months, then discreetly move on before you wore out your welcome and repeat the whole process somewhere else. There was a whole class of people who made lifelong careers out of being entertainingly weird guests.)
Like, sure, thereâs no obligation to get into any of that if domestic affairs arenât the focus of your story. However, if you are keeping the plot close to home, itâs something where a little bit of extra thought can pay large dividends. Keep it in mind when youâre plotting out that Pride and Prejudice Batman AU next time!
I think my favourite thing about this post is all the folks in the notes whoâve read fiction set in the era of grand households but had assumed that it was merely a conceit of the genre that those households were Like That suddenly realising some things.
This is why Agatha Christie novels always have these bizarro casts that make no damn sense (and is the thing the entire plot of Why Didnât They Ask Evans hangs on). Her casts tend to be upper-class, and thus have this space to show off.

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How to write kids, if you donât remember being one or havenât lived with any
1. Kids never feel as small as you see them. A three year old thinks a one year old is a baby and a six year old is grown up. A six year old thinks a three year old is a baby and a twelve year old is an adult. Age is about perspective. One year is a huge age difference to a little kid.
2. Little kids might not be conscious of their physical limitations, but they can still be frustrated by them. A seven year old might see an adult do something relatively simple, like draw a straight line or perfectly crack an egg, and try to do the same thing, only to be frustrated when it doesnât work.
Imagine suddenly having an injury that makes a skill you use every day become difficult- you feel you should be able to do the thing, and you understand the thing should be easy for you, but it isnât. It can be immensely frustrating to have a brain that grasps a concept that language or fine motor skills havenât caught up to.
3. You know when you forget a word, and have to make something up on the fly to describe the word? Thatâs pretty much exactly what learning your first language is like.
You know what you intend, but you donât have a way to express it, and it can move you to tears with frustration when everyone around you is suggesting the wrong thing, or seems completely certain they understand what you mean, and they donât.
You donât have a word for âLaterâ? You might try saying ânext timeâ, or, âafterâ, or, âbefore tomorrowâ.
This might result in saying, âAre we going to the park next time?â, âAre we going to the park before tomorrow?â, or, âAre we going to the park after?â, all of which can result in different answers.
4. Kids feel like adults are a different species. They donât get why we do certain things, and they donât understand why we donât want to run around with them all the time.
If sitting still is boring, coffee tastes bitter, and long conversations only happen with weird-smelling strangers who talk to them like theyâre stupid, then they truly will not understand why anyone would *want* to be left to have coffee with a friend without welcome distractions to make it bearable.
Arenât you bored? You arenât doing anything. How could you possibly be stimulated without any food or toys or music or anything? Why donât you just leave? Do you *have* to be there, the way you had to go to work? Adults are weird.
5. Children have complex social relationships that are just as varied as yours.
A room full of third graders might look like indiscriminate chaos to an adult, but pick a well connected kid, and theyâll tell you that Megan is the fashion icon who can do hair really well, Thomas is the athlete, Gray gets mean when he has to share so nobody wants to play with him, Paisley canât read and the boys make fun of her for it so donât make her work in a group with Anthony, Dillon put a bug in their food once so theyâll never trust him again, and Matthewâs parents let him watch family guy so he says bad words and makes grown-up jokes that make other kids uncomfortable.
You donât see this stuff because you arenât inside the society. They are, and they do.
6. Time. Moves. So. Slow. Five minutes really does feel like half an hour. Sit still for five minutes? Thatâs like you sitting in a waiting room at the DMV for an hour. Wouldnât you get annoyed and impatient? They havenât learned to hide their irritation yet. Thatâs really the only difference.
7. âReading in your headâ requires understanding that you have a Voice, which people can hear, and Thoughts, which are audible only to yourself. This can be a difficult concept to grasp. If a kid is reading out loud, and you tell them to read quietly, thereâs a good chance theyâre going to whisper or mouth the words instead of going totally silent the way you might. Splitting the self into multiples like âInternal monologue VS public perceptionâ or âWhat I look like VS how I think I lookâ is alien and bizarre. If a kid thinks they look like a Dragon and you laugh at them? Ouch. They might be mad for a while.
8. Repetitive chores make no sense when your awareness of time doesnât extend beyond a week or so. Why should I wash my blankets? They donât look dirty and I donât smell anything bad. Blankets donât get dirty unless you put dirt on them. If you put a blanket in a washer, you canât use that blanket AT ALL the ENTIRE TIME itâs being cleaned. That might be an hour, but it will *feel* like a week. And you have to do that every two weeks?? Thatâs overkill. Why even bother?
9. Kids have opinions about adults. They will have a sense about whether an adult is âreal-kindâ or âfake-kindâ. An adult who listens respectfully to what they have to say, asks thoughtful questions, and takes their concerns seriously? Thatâs a good adult. An adult that oversimplifies their struggles, ignores their complex social rules, and gives bullshit advice like âjust walk away from bulliesâ and âturn your chores into a fun gameâ? Thatâs not a trustworthy adult. Thatâs an Adultâ˘. An Adult⢠doesnât consider them to be a real human being with thoughts and emotions. An Adult⢠sees them as an inferior, amusing pet. And they will actively sabotage An Adult⢠like that.
10. Emotions are physical at a young age. Joy might make their body buzz until they canât help but wiggle or jump around. Sadness might be a huge physical pain in their throat and heart. Everything they experience is still relatively new to them, so there is very little frame of reference to decide if this is a âbig hurt that will last forever and ever and never go awayâ, or a âsmall hurt, that can be fixed easily and wonât matter in five minutesâ. If someone lies to them about getting a cookie, that very well might be all the betrayal of your best friend sleeping with your husband.
Fortunately, a child probably wonât be able to burn all your clothes in the yard without your notice.
How To Write Saucy Betrayals
First consider the type of betrayal you want. Will it be minor to the story or absolutely earth shattering? Will you be leaving little breadcrumbs/hints for the reader to piece together, or will it come out of no where and blindside both the reader and characters? Be careful though because the latter can feel unrealistic or make the reader feel cheated.
Here are some tips on how to write betrayals in your story:
1) Set up the betrayal in a way that isnât obvious. Leave tiny clues, use foreshadowing, drop hints in the background. Body language and dialogue can be great places to add subtle hints.Â
2) Make your readers invested in your characters. If the reader doesnât care about the protagonist or even the betrayer, they wonât feel anything when the big deception happens.
3) The betrayer needs a motivation. Why are they betraying your protagonist?
4) It has to have an effect your protagonist. Usually the betrayer is someone close to the protagonist, so when they are deceived, it hurts like crap.
5) Do some research on the craft of lying. It can be hard for a character to keep up a mask for the entire story. Google some real-life betrayals in history, or in famous literature/movies. Study how the betrayals are hinted at and effectively revealed.
6) Play around with POV. A fun way to build tension is to have certain characters know things that others do not. Or perhaps your readers know about the betrayal-to-be before the characters do. This could put them on the edge of their seats waiting for your characters to figure it out before itâs too late.
7) Betrayal isnât black and white. I donât think betrayal is as simple as good and bad⌠it can get muddy. For example, what if the betrayer is being blackmailed? Mind controlled? Manipulated? Here are a few betrayal pathways to consider:
Evil from the start to the end, was never truly a friend.
Manipulated into betraying their friends
Wants to be on the âwinning sideâ
Is offered gold or safety of their family for the betrayal
Blackmailed or threatened into the betrayal
Theyâre lesser or a âloserâ in the beginning and can obtain power through this betrayal
Conflicted and stuck in betweenâ this betrayer doesnât know which side to pick and is constantly being tormented between the choice
The betrayer feels cheated/overlooked by the protagonist and choses to switch sides.
Theyâre betraying the protagonist to secretly protect them
They have no choiceâ literally. Mind control or magically forced
They think theyâre genuinely doing the right thing
A remorseful betrayer who realizes his mistake but itâs too late, he is too far gone or the damage has already been done.
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If you write it well