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 ‘click into place’.

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 ‘change the world’ (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 ‘historical aside’. 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 !

In most fantasy settings, politics is a large part of worldbuilding and a chunk of the plot, as how the world and culture runs from top down, will effect your characters, certain events and often effect the run of your story. In writing politics, you are shaping both the opportunities and limits, the impacts of morality and power on your world which will always come back to bite your characters on the ass.

What is Politics?

Lasswell defined politics as the who gets what, where, when and how. It is the string of protocols and events that dictate the rules and structures of society, framing the values and core ideals of the nation - or at least, the values of the ruling class. Poltics is not the government, politics is the process of argument, discussion, choice and question of how the government is run. Think of government like a football player and politics as the ball and the goal and the field.

Political Factions

It would be foolish to think that poltics is an agreed, unilateral process. No government can exist on one idea, one thought process. Even in a totalitarian regime, there will be those that disagree or lobby for change, even in a totalitarian”utopia”, there will be those that disagree. It is human nature to argue. Left, right or central political factions exist because there is no system on any earth where any decision is made without pushback. And it would be a mistake to think that only the ruling class can effect politics, other and even marginalised classes have a pull on politics especially if they are in the majority. Poltics is often deterimined or at least influenced by popular opinion even in dictatorships, playing to the crowd either by distraction in the form or reward and entertainment or giving into some of their needs. Even powerful parties must work to convince factions from the workers who can be with or without vote - even voteless masses can influence politics, through violence or threat or strike action -or even the head of state who makes final decisions, it is all one performance to win popular opinion to their side and way of thinking. The use of political factions in your story can allow you to frame the what is and what could be in your world or limit the opportunities of characters creating more conflicts or barriers for characters to butt against. Political figures themselves will either be lauded or despised in turnk with the media and the people weighing in.

What Politicians, Heads of State and the Common Man/Woman could discuss when talking about Politics

Enter any bar, restaurant, family home, school or any sphere of conversation, politics is a common subject. Even if heavy topics aren’t tackled, most people operate on a “no politics at the dinner table” way of thinking, politics related topics will arise. There aren’t enough job opportunities, some items are hard to find or expensive, the healthcare and education system is lacking and too general, that politician broke their word, that head of state can’t seem to control the government, the government did this, said that and can you believe that? Politics effects life: healthcare, education, housing, freedom, the economy, justice and ways of thinking about foreign relations and the nation’s sense of pride. Politicans would run on platforms dedicated to change how one of these things or protect them, they would debate these things in government either successfully or unsuccessfully. They would discuss it with one another even in private, for example if they back a stance with all they got, would the other faction or their ally make it worth their while. A head of state would be counselled on the matters of housing, food, healthcare etc by the government and would often instruct the government to focus on a certain point causing potential breaking points with the population and would cause greater issues. There will also be those that struggle against the status quo and current politics due to ideas that the current politics either ignores them or backs them into a corner, protests, demonstrations and strikes would be apart of even the most peaceful of places. It is human nature to struggle and insist to be heard. Even amongst families and friendgroups will squabble or disagree over politics or how things are run or the success of the government.

No One Else Was in The Room Where it Happened

Not all politics is discussed in the grand halls of government, deals and agreements are made in the houses of the powerful, or in restaurants or even seedy nightclubs and bars. It is all about exchange of support for one thing for another favour another day, the head of state might ask the government to focus on one issue due to strain on one issue over other pressing issues. A law might be passed that protects the hands that grease the wheels of government, a wealthy tycoon is more likely to get off a tax charge than the man on the street. A politician might agree to support a political rival if they back a policy they are planning to implement. Politics is underhanded, because there are so many cogs working behind the scenes and it is doubtful that even the government fully knows what was going on which can lead to the public seeing their government and its politics as shady figures.

How your Head of State would handle state affairs

(no ✨vibes✨, just structure, stakes, and first-sentence sweat)

hello writer friends 💌 so you opened a doc. you sat down. you cracked your knuckles. maybe you even made a playlist or moodboard. and then… you stared at the blinking cursor like it personally insulted your entire bloodline.

here’s 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. here’s how to actually start a book, from structure to sentence one.

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🌶️ STEP 1: THE SPICE BASE ~ “WHAT’S CHANGING?”

start with this question:

what changes in the protagonist’s life in the first 5–10 pages?

doesn’t 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 shouldn’t end that way.

🏁 opening chapters are about motion. forward movement. tension. momentum. if nothing is changing, your story isn’t starting, you’re just doing a prequel.

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⚙️ STEP 2: THE CRUNCHY BITS - CHOOSE AN ENTRY POINT

there are 3 classic places to start a novel. each one works if you’re 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 character’s “normal” life, then break it. useful if the change won’t make sense without context.

pro: space to introduce your character’s 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

📝 pick one. commit. don’t blend them or you’ll write three intros at once and cry.

—

🧠 STEP 3: CHARACTER FIRST, ALWAYS

readers don’t care about your setting, your magic system, or your cool mafia politics unless they’re anchored in someone.

in the first scene, we need to know:

what this person wants

what’s bothering them (externally or internally)

one trait they lead with (bold, anxious, calculating, naive, etc.)

that’s it. just one want, one tension, one vibe. no bios. no monologues. no “they weren’t like other girls” essays. put them in a situation and show how they act.

—

⛓️ STEP 4: OPEN WITH FRICTION

first scenes should create questions, not answer them.

there should be tension between:

what the character wants vs. what they’re getting

what’s happening vs. what they expected

what’s being said vs. what’s being felt

you don’t need a gunshot or a car crash (unless you want one). you need conflict. tension = momentum = readers keep reading.

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✏️ STEP 5: WRITE THE FIRST SENTENCE - THEN IGNORE IT

okay. now you write it.

no pressure. you’re not tattooing it on your soul. this isn’t 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

💬 examples:

“The body was exactly where she’d left it - rude.” “He was already two hours late to his own kidnapping.” “There was blood on the welcome mat. Again.” “They said don’t open the door. She opened it anyway.”

once you’ve got it? keep going. don’t revise yet. don’t edit. just build momentum.

you can come back and make it ✨iconic✨ later.

—

📦 BONUS: WHAT NOT TO DO IN YOUR OPENING

don’t start with a dream

don’t info-dump lore in paragraph one

don’t give me three pages of your OC making toast

don’t try to sound like a Victorian cryptid unless it’s on purpose

don’t introduce 7 named characters in one scene

don’t start with a quote unless you are 800% sure it slaps

be weird. be sharp. be specific. aim for interest, not perfection.

—

🏁 TL;DR (but make it ✨useful✨)

something in your MC’s 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.

💌 love, -rin t.

P.S. I made a free mini eBook about the 5 biggest mistakes writers make in the first 10 pages 👀 you can grab it here for FREE:

Ways to Show a Character is Angry but Trying Not to Show It

✮ ⋆ ˚｡ Their jaw flexes while their smile stays plastered on.

✮ ⋆ ˚｡ Responses get shorter, clipped: "Fine." "Sure." "Whatever."

✮ ⋆ ˚｡ They stop blinking as often, eyes fixed a little too long.

✮ ⋆ ˚｡ Their body gets still, unnaturally still, like every muscle is on lock.

✮ ⋆ ˚｡ They press their tongue to their teeth before answering.

✮ ⋆ ˚｡ They set things down a little too hard, the glass, the pen, the keys. Not enough to break, just enough to say something.

✮ ⋆ ˚｡ They keep asking, "Why would you say that?" but never raise their voice.

✮ ⋆ ˚｡ Their politeness sharpens into something cutting, brittle.

✮ ⋆ ˚｡ They laugh, but it's one note too sharp, too short.

1. Where It All Started: The Character’s Origin

Place of Birth: Where did your character first see the world? Think about the impact of this place—was it a busy city where they had to fight for attention or a quiet village where everyone knew everyone’s business? This location doesn’t just say where they’re from; it shapes how they see the world.

Family and Upbringing: What was their family like? Were their parents loving or distant? Maybe they were raised by someone other than their parents—a mentor, an older sibling, or even alone. Family (or the lack of it) is usually one of the most significant factors in shaping who someone becomes.

Society’s Expectations: What was expected of them when they were young? Possibly, they were born into wealth, with all the pressure to continue the family legacy, or maybe they were raised to be invisible in a world where survival mattered. How does this influence who they are now? Do they accept or reject those expectations?

Here are 20 positive and negative trait pairs that can create compelling character dynamics in storytelling:

1. Bravery - Recklessness: A character is courageous in the face of danger but often takes unnecessary risks.

2. Intelligence - Arrogance: A character is exceptionally smart but looks down on others.

3. Compassion - Naivety: A character is deeply caring but easily deceived due to their trusting nature.

4. Determination - Stubbornness: A character is persistent in their goals but unwilling to adapt or compromise.

5. Charisma - Manipulativeness: A character is charming and persuasive but often uses these traits to exploit others.

6. Resourcefulness - Opportunism: A character is adept at finding solutions but is also quick to exploit situations for personal gain.

7. Loyalty - Blind Obedience: A character is fiercely loyal but follows orders without question, even when they're wrong.

8. Optimism - Denial: A character remains hopeful in difficult times but often ignores harsh realities.

9. Humor - Inappropriateness: A character lightens the mood with jokes but often crosses the line with their humor.

10. Generosity - Lack of Boundaries: A character is giving and selfless but often neglects their own needs and well-being.

11. Patience - Passivity: A character is calm and tolerant but sometimes fails to take action when needed.

12. Wisdom - Cynicism: A character has deep understanding and insight but is often pessimistic about the world.

13. Confidence - Overconfidence: A character believes in their abilities but sometimes underestimates challenges.

14. Honesty - Bluntness: A character is truthful and straightforward but often insensitive in their delivery.

15. Self-discipline - Rigidity: A character maintains strong control over their actions but is inflexible and resistant to change.

16. Adventurousness - Impulsiveness: A character loves exploring and trying new things but often acts without thinking.

17. Empathy - Overwhelm: A character deeply understands and feels others' emotions but can become overwhelmed by them.

18. Ambition - Ruthlessness: A character is driven to achieve great things but willing to do anything, even unethical, to succeed.

19. Resilience - Emotional Detachment: A character can endure hardships without breaking but often seems emotionally distant.

20. Strategic - Calculative: A character excels at planning and foresight but can be cold and overly pragmatic in their decisions.

These pairs create complex, multi-dimensional characters that can drive rich, dynamic storytelling.

---

You’ve met her before. The girl with “flowing ebony hair,” “emerald eyes,” and “lips like rose petals.” Or him, with “chiseled jawlines,” “stormy gray eyes,” and “shoulders like a Greek statue.”

We don’t know them.

We’ve just met their tropes.

Describing physical appearance is one of the trickiest — and most overdone — parts of character writing. It’s tempting to reach for shorthand: hair color, eye color, maybe a quick body scan. But if we want a reader to see someone — to feel the charge in the air when they enter a room — we need to stop writing mannequins and start writing people.

So let’s get granular. Here’s how to write physical appearance in a way that’s textured, meaningful, and deeply character-driven.

1. Hair: It’s About Story, Texture, and Care

Hair says a lot — not just about genetics, but about choices. Does your character tame it? Let it run wild? Is it dyed, greying, braided, buzzed, or piled on top of her head in a hurry?

Good hair description considers:

Texture (fine, coiled, wiry, limp, soft)

Context (windblown, sweat-damp, scorched by bleach)

Emotion (does she twist it when nervous? Is he ashamed of losing it?)

Flat: “Her long brown hair framed her face.”

Better: “Her ponytail was too tight, the kind that whispered of control issues and caffeine-fueled 4 a.m. library shifts.”

You don’t need to romanticise it. You need to make it feel real.

2. Eyes: Less Color, More Connection

We get it: her eyes are violet. Cool. But that doesn’t tell us much.

Instead of focusing solely on eye color, think about:

What the eyes do (do they dart, linger, harden?)

What others feel under them (seen, judged, safe?)

The surrounding features (dark circles, crow’s feet, smudged mascara)

Flat: “His piercing blue eyes locked on hers.”

Better: “His gaze was the kind that looked through you — like it had already weighed your worth and moved on.”

You’re not describing a passport photo. You’re describing what it feels like to be seen by them.

3. Facial Features: Use Contrast and Texture

Faces are not symmetrical ovals with random features. They’re full of tension, softness, age, emotion, and life.

Things to look for:

Asymmetry and character (a crooked nose, a scar)

Expression patterns (smiling without the eyes, habitual frowns)

Evidence of lifestyle (laugh lines, sun spots, stress acne)

Flat: “She had a delicate face.”

Better: “There was something unfinished about her face — as if her cheekbones hadn’t quite agreed on where to settle, and her mouth always seemed on the verge of disagreement.”

Let the face be a map of experience.

4. Bodies: Movement > Measurement

Forget dress sizes and six packs. Think about how bodies occupy space. How do they move? What are they hiding or showing? How do they wear their clothes — or how do the clothes wear them?

Ask:

What do others notice first? (a presence, a posture, a sound?)

How does their body express emotion? (do they go rigid, fold inwards, puff up?)

Flat: “He was tall and muscular.”

Better: “He had the kind of height that made ceilings nervous — but he moved like he was trying not to take up too much space.”

Describing someone’s body isn’t about cataloguing. It’s about showing how they exist in the world.

5. Let Emotion Tint the Lens

Who’s doing the describing? A lover? An enemy? A tired narrator? The emotional lens will shape what’s noticed and how it’s described.

In love: The chipped tooth becomes charming.

In rivalry: The smirk becomes smug.

In mourning: The face becomes blurred with memory.

Same person. Different lens. Different description.

6. Specificity is Your Superpower

Generic description = generic character. One well-chosen detail creates intimacy. Let us feel the scratch of their scarf, the clink of her earrings, the smudge of ink on their fingertips.

Examples:

“He had a habit of adjusting his collar when he lied — always clockwise, always twice.”

“Her nail polish was always chipped, but never accidentally.”

Make the reader feel like they’re the only one close enough to notice.

Describing appearance isn’t just about what your character looks like. It’s about what their appearance says — about how they move through the world, how others see them, and how they see themselves.

I feel like I don’t hear that given enough as advice for writers block..just read? Watch tv? Movies? Find inspiration in media.

It’s August! Please bear with me while I post nothing but Yeehawgust this month!~