mine

Plus make sure to take breaks regularly - and stop if anything starts to hurt!

Your characters are allowed to be bad people. Your story is allowed to have no moral lesson.yyour ending is allowed to be sad. The villain can win. The good person can do something unforgivable. The lovers can destroy each other. You are allowed to write the thing that no one asked for and everything that everyone told you doesn’t work and you are allowed to not explain yourself.

One- as OP said, your characters can be bad people, they can do bad things. There doesn't have to be a reason or a moral. You can make them bad if you want to. No other reason needed.

Two- it doesn't have to be good, it just needs to be written. On my last book i literally wrote the words "dumbest version" on the top of the page because I had seen some advice to do that. It changed everything. I stopped trying to make it perfect, I just tried to make it. Period. Full stop.

⊹ What do they want vs what do they need. these should not be the same thing. what they want is the surface goal ( the job, the person, the revenge, the answer.) What they need is the thing underneath that they can't name yet. The story is what happens in the gap between those two things. if they're identical your character has nowhere to go.

⊹ What are they wrong about. Not morally wrong necessarily. just. what belief do they hold that the story is going to test. What assumption do they make about themselves or the world that turns out to be incomplete? A character without a wrong belief is already finished. They have no arc, give them something to learn even if learning it hurts them.

⊹ How do they talk when they're nervous. Do they go quiet or do they talk too much? do they deflect with jokes? do they get weirdly formal? do they ask questions instead of answering them? the way a person behaves under pressure is who they actually are. And it should be different from how they behave when they're comfortable.

⊹ What do they find funny. this one sounds small and it is not small at all. Humour is worldview. What makes someone laugh tells you what they value, what they're afraid of, how they handle pain. A character with no sense of humour is just flat. even the gravest person finds something absurd. find the thing.

⊹ What are they ashamed of? not their tragic backstory. their actual shame. The small ugly thing they would never say out loud. The time they were a coward. The feeling they pretend not to have. The desire they think disqualifies them from being a good person. Shame is where the most interesting character work lives and most writers skip straight over it :(

I'm going to try it.

First, let me preface this with something very important: you can treat all of this advice as SECOND-DRAFT ADVICE. It is so much easier to rewrite this kind of stuff once you have words on the page. Telling yourself the first draft is totally appropriate and acceptable.

What we’re talking about here are FILTER WORDS (and to some degree verbs of being). Yes, “thought” words are included. But so are “heard, saw, looked, tasted, smelled” etc.—most words having to do with the senses.

This isn’t black and white advice; sometimes you’ll use these words and that’s okay. They’re not WRONG. They’re just weaker. And they’re weaker because they create distance between the reader and the experience of the character.*

If you want your reader to feel like they’re experiencing the story right alongside the character, you want to cut down on filter words.

*This is particularly important with first person and close third POVs. The reader always knows whose eyes they’re seeing through and thoughts they’re privy to. So you don’t need to tell them “I saw X.” Or “I heard X.” Or “I thought Y.” You can just jump into the action/observation as it’s happening.

This is also where you want to pay attention to verbs of being.

you want to pay attention

to verbs of being.

That means that when you read a line like

John saw that the curtains were open.

It immediately takes you OUT of the character's perspective and instead tells you what they experience as a secondhand observation.

You don't have to get fancy or purple with how you rephrase things like this. Not everything needs a ton of breathing room.

You wanna know what's perfectly impactful while keeping a tight POV?

The curtains were open.

Some of this, yes, is about POV distance--but some of it is also about the information being conveyed by the sentence. If you are using a sentence like "John saw that the windows were open" it should be because the information you are seeking to convey is that John saw it.

Maybe this matters because the next time John looks back they are closed, and so he's doubting what he saw. Maybe it matters because he later has to recount information about the room he was in, and it's notable that he specifically saw that the windows were open. The fact and method of his observation is part of the point of the sentence, rather than simply the observation itself.

When we are using sense verbs, it should be because part of the point is the sense. Same with "thought", "felt", etc.: "Mary thought that Susan looked a little thin" is telling us a different piece of information than "Susan looked a little thin."

Contrarily, at least in my opinion, simple telling phrasing like "It was rainy" can sometimes bring us more into a character's head than something showing like "The rain howled like an injured animal." I have read books when a relatively plain-spoken/plain-thinking character suddenly starts having elaborate descriptions of things like scenery or weather, and it is abundantly clear that the author wanted to spruce up their writing and avoid "telling." The problem is that it drags me as the reader out of the character's head and shows me where all of the strings are. I'm suddenly thinking about how the author is worried about being yelled at for "telling" instead of just reading the story.

I wanted to last year but I 'never got round to it'. I kill a lot of plants (not on purpose. ADHD and constant watering is hard, and sometimes it's just me confused as fuck about why I suddenly have x thing happening to my leaves) and kind of felt it was hopeless anyway.

Then I was reading your posts, and how you were seeing biodiversity in even small little hopeful changes. And I was like. Hey. Even if I do kill the plants. They will feed insects for a little, while they survive, and after, I can put them in my compost pile and they will feed more insects, and the flowers (if I get any) will feed bees (which are my special children) and so, even if it doesn't give me food, and even if they die, it might be worth it to try.

I never ate the cilantro. Turns out my flatmate has the soap gene. But it flowered like CRAZY and there were SO many happy pollinators.

I ate so many green onion shoots. The bulbs I still haven't pulled because they just keep giving me shoots to eat.

The mint is going HAM and also the insects loved the flowers.

The cucumber plants went absolutely APESHIT and produced flowers ALL SUMMER, and they were BEAUTIFUL, and I couldn't walk outside without a bee or, occasionally, a butterfly dropping by. It's STILL FLOWERING in NOVEMBER in PHILLY and now I have ladybugs and fireflies. FIREFLIES! I didn't see a single one last year and now they love my balcony and I love them so much. I only got two cucumbers but I don't even care.

I had a bunch of nonedibles in a little greenhouse thing, and they flowered too, and I'd find random bugs (a grasshopper. Huge. Massive) in there hanging out. They died when the greenhouse got blown over but they lasted longer than I ever expected to keep a plant alive.

The birds came by my balcony despite the cat avidly watching them by the window. More types of birds, too. And my little compost box is constantly happy with fruit flies and regular flies and things I don't recognize. I never did get around to buying worms, but I haven't had to because the insects are having a blast in there and every time I think "oh, it'll be full" it is, once again, not full because it has been broken down further.

There is a tiny ecosystem on my 6th floor apartment balcony because you get excited about plants, and it was inspiring enough to get me off my ass. Because even if I didn't eat my plants, you reminded me SOMETHING ELSE WOULD.

When character is angry:

Snapped

Spat

Snarled

Hissed

Barked

...or sad:

Choked

Mumbled

Managed

Croaked

Murmured

...or if they're feeling nervous:

Stammered

Babbled

Rambled

Muttered

Squeaked

...and even when flirting:

Coaxed

Purred

Teased

Hummed

☆ A villain who thinks they're the hero is scarier than one who knows they're evil.

☆ Give them something they love. It makes everything worse.

☆ Their logic should make sense, even if their actions don't.

☆ The best villains don't monologue. They ask questions.

☆ Not every villain needs a tragic backstory. Some people are just hungry for power.

☆ Let them win sometimes. Repeatedly, it raises the stakes.

☆ A villain who is polite is more unsettling than one who screams.

☆ They should change the hero just as much as the hero changes them.

☆ Give them a genuine friendship or loyalty somewhere. It humanizes without excusing.

☆ The scariest thing a villain can do is be right about something.

☆ Not every villain needs to die. Some walk away. Some become allies. Some just... disappear.

what do I mean by this? here's an example. when my surgery is delayed multiple times, I spend a little time looking up (there is only one surgeon in the entire area who will perform this surgery on trans people, so every trans person's surgical timeline is bottle-necked and delayed by months every time he goes to a conference or takes a vacation or experiences an injury. in other words, if I was cis, I would not encounter this difficulty in accessing surgery). and then I spend time looking down (due to nonstop harassment and legal threats, this practice now only treats adults and will no longer perform surgeries on minors. in other words, my access to surgery is predicated on adult privilege I have at the direct expense of trans youth's lack of access).

SUBTLE: giving looks, brushing hands, little comments that could be mistaken for an innocent compliment

PLAYFUL: lighthearted teasing & banter, exaggerated reaction, poking fun at behaviours, playful shoves, feigned offense, "Oh, you think you're funny, do you?"

SUGGESTIVE: straightforward, complimenting looks, casual physical touch, dirty jokes, expressing desire, "We could always sneak out somewhere quieter."

ROMANTIC: head over heals, thoughtful gestures, blushing, classically romantic gestures (holding doors, holding an umbrella, bringing coffee in the morning), "My soul knows yours from another lifetime and calls for yours in this one too."

ANXIOUS: freaking out over every text and interaction, discussing every move with their friends,

BOLD: direct, no subtly, relationships always labelled, "I've really liked being around you. Could I maybe take you on a date sometime?"

SHY: nervous, insecure, showing no interest until they are sure the other is interested, fidgeting, daydreaming about what could be if they had the courage to confess, using excuses to be close to them, "Um... you look really good today."

CARETAKING: acts of service, protectiveness, checking in, bringing snacks, offering jacket, fixing things, walking them home, "Brought you coffee; it's still warm."

CASUAL & INTENSE: platonic flirting with no further intentions, way over the top at times, effortless, fun, teasing, maybe eventually leading to more, "You look great, please break my back and reshape my inner organs."

Intimacy isn't always just the spicy stuff! Here's a few ways to show it through your characters in a few, simple ways...

Kissing their S/O's hand, knuckles, wrist...bonus points for eye contact!

Speaking of which...eyes. Glances across the room, prolonged eye contact, staring at each other

Tending to the other's wounds/ injuries

Knowing the other's tiny habits

Reaching out to the other when in pain, trouble, ect

Whispering jokes to each other

Carefully wiping off a stain from their clothes or face

Taking care of each other when sick or hurt

Hand over the heart/ ear over the heart just to hear it beat

Pressing their thumb over the pulse point for the same thing

Tracing scars, tattoos, birth marks, freckles

Giving the other something tiny that means a lot, a picture, a shiny rock, a flower

In fantasy settings, helping the other put on/ take off armor...trusting the other to know where daggers, knives, poisons are hidden

Telling each other secrets/ thoughts they've told nobody before

Tucking back the other's hair

Putting a piece of jewelry on the other or letting them borrow clothes

Keeping each other warm in the cold

In cases with chronic illness, letting the other care for/ know symptoms

Brushing, braiding hair, applying skincare, etc.

Nightmare comfort

Wiping away tears

Proximity- sitting near each other, sticking close, standing beside each other while doing a task such as cooking, laundry, painting...