nottalkinboutfries

⟢ ⟢ ⟢ LONG POST!!! ⟢ ⟢ ⟢

⋆˙⟡ Grief is not sad all the time and that will mess your character up more than the sadness does. There are going to be hours where your grieving character forgets. Where they're laughing at something stupid on their phone or annoyed about traffic or genuinely hungry and thinking about what they want for lunch and then it comes back and the forgetting makes it WORSE. The return of it after a moment of normal is its own specific violence. It feels like betrayal. Or it feels like proof that you're not grieving right, that you didn't love them enough to remember every second. Writers keep their grieving characters sad in every scene because it reads as respectful and consistent and it is WRONG. The grief that ambushes you in the cereal aisle is realer than the grief you perform at the funeral.

⋆˙⟡ THE STUFF!!! nobody talks about the stuff. Someone dies and suddenly there is a BODY and there are OBJECTS and both of these things require immediate logistical decisions that do not pause for your feelings. What do you do with their half-finished cup of tea. Their reading glasses on the nightstand. Their voicemails still on your phone. Their shampoo in the shower that you cannot bring yourself to use but also cannot throw away so it just. Sits there. Getting lower somehow. Did someone use it. Did you use it without noticing???? the material reality of someone's absence is brutal and specific and most grief writing floats above it in abstraction like feelings are the main event. The feelings ARE happening inside a body that is standing in a house full of objects and that matters. SO WRITE THE OBJECTS.

⋆˙⟡ Grief makes people act completely out of character and everyone around them handles that badly. Your character might get mean. Might get inappropriately funny. Might make a terrible financial decision or sleep with someone they shouldn't or stop showering or clean the entire house at 3am for the fourth time this week. Drief does not make people into better, softer, wiser versions of themselves on any reliable schedule. Sometimes it makes them into someone they don't recognize and that is terrifying on top of everything else. Snd the people around them (friends, family, whoever) they want the grief to be legible. They want it to look like grief is supposed to look so they know what to do. When it doesn't look right they get uncomfortable and then they get scarce and then your grieving character is also somehow dealing with the secondary loss of people who couldn't handle it. which is its own thing.

⋆˙⟡ Someone died and your character didn't like them very much. Or loved them and also resented them. Or is relieved and then immediately guilty about the relief. Or is grieving someone who hurt them, someone with whom things were unfinished in a way that can never be finished now, someone who they had been estranged from, someone who they were about to reconcile with, someone who they had been slowly losing for years before the actual death so the death was almost anticlimactic except that it closes the door in a way that slow losing doesn't. Grief for a complicated person is complicated. You grieve who you wished they were alongside who they actually were. You grieve the relationship you deserved and didn't get. None of this is clean. None of this resolves. Stop writing grief like the person who died was beloved and simple. MOST PEOPLE ARE NOT SIMPLE.

⋆˙⟡ The body keeps doing its thing and that's horrifying. You know what happens the week someone close to you dies? you get hungry. You get tired. You wake up at the normal time. Your body does not know. It has not been informed. It wants breakfast and it wants to stretch and at some point it is going to want things you feel like you have no right to want right now. The physical continuation of your own life in the immediate aftermath of loss is one of the stranger things a human being has to experience and almost nobody writes it. Your character needs to eat. They need to sleep. Their back hurts. They have a headache that won't quit because they've been crying and dehydrated for four days. They are a body doing body things in the middle of the worst thing that has ever happened to them and those two realities exist at the same time with no resolution.

⋆˙⟡ Anniversaries and dates are only half the ambush. the random Friday is the other half. Everyone knows about the first birthday without them. The first holiday. The one year mark. Those dates are braced for. Your character knows they're coming and steels themselves and sometimes that even works. What nobody warns you about is the random Tuesday in March that isn't any significant date at all except that something small happens: the light is a certain way, a song comes on, they see someone wearing the same jacket, and it is somehow worse than the anniversary was. Grief has terrible aim. it does not respect the calendar you've organized it into. it goes quiet for weeks and then destroys you on an unremarkable Wednesday because you drove past a gas station you used to stop at together. Write the random Tuesday. it's realer than the anniversary scene and it will devastate people who know.

⋆˙⟡ People say insane things to grieving people and the grieving person has to just stand there and take it. They're in a better place. Everything happens for a reason. i know exactly how you feel, when my dog died--and your character cannot say anything because this person means well and grief has a strange etiquette where the bereaved is somehow responsible for managing the comfort of everyone who comes to comfort them. The grieving person ends up performing okayness for the people who came to check on them. Ends up reassuring people. Ends up saying thank you for coming when what they want is for everyone to leave and also for no one to ever leave. This role reversal is so common and so rarely written and it is one of the most exhausting parts of early grief. Your character is drowning and spending energy making sure everyone else feels good about the life jacket they brought.

⋆˙⟡ The person who died keeps getting fixed in time while everyone else moves. This one is strange and i don't see it written enough. Your character ages. Changes. Has experiences. Develops opinions. And the person they lost stays exactly the same age they were, exactly the person they were, forever. Which means the gap between who your character is now and who the person was gets wider as time passes. You become someone they never knew. You have thoughts you can't tell them. You reach an age they never reached. Eventually you outlive them. You are older than they ever got to be. And the version of them in your memory is younger than you now. The relationship you carry continues to evolve even though only one of you is still here to evolve it. That is bizarre and sad and completely human and almost nobody writes it. WHY??? :///