SwanFan17

These are some lowkey underrated tips I’ve seen floating around writing communities — the kind that don’t get flashy attention but seriously changed how I write.

1. Put “he/she/they” at the start of the sentence less often.

Try switching up your sentence rhythm. Instead of

“She walked to the window,”

try

“The window creaked open under her touch.”

Keeps it fresh and stops the paragraph from sounding like a checklist.

2. Don’t describe everything — describe what matters.

Instead of listing every detail in a room, pick 2–3 objects that say something.

“A half-drunk mug of tea and a knife on the table”

sets a way stronger tone than

“There was a wooden table, two chairs, and a shelf.”

3. Use beats instead of dialogue tags sometimes.

Instead of:

"I'm fine," she said.

Try:

"I'm fine." She wiped her hands on her skirt.

It helps shows emotion, and movement.

4. Write your first draft like no one will ever read it.

No pressure. No perfection. Just vibes. The point of draft one is to exist. Let it be messy and weird — future you will thank you for at least something to edit.

5. When stuck, ask: “What’s the most fun thing that could happen next?”

Not logical. Not realistic. FUN. It doesn’t have to stay — but chasing excitement can blast through writer’s block and give you ideas you actually want to write.

Mr. Rochester: yes, I tried to get you to marry me when my wife, who suffers from violent psychosis and can never get help in this era, was still alive. without you knowing about her. also you are 18 and I'm 40. I do love you, though, and when you're being Very Jane(tm) I love that too, even if it's inconvenient for me

Me after meeting St. John Rivers: BRING ME BACK THE ATTEMPED BIGAMIST!!!

i need you to tell me, if you were back out there now, doing this, knowing all that you know, knowing what it cost you, would you stop? no. thank you. i'm going back to work. yeah.

and EVEN WHEN things were more muted/neutral, the neutrality was OFFSET by ACCENT COLORS and HIGH CONTRAST between the wood tones and everything ELSE

ALSO AMERICAN COLONIAL INTERIORS POPPED OFF, Y'ALL (IN TERMS OF COLOR/COZINESS)

PEOPLE USED WHITEWASH AND COLORFUL TRIM OR EVEN JUST COLORFUL FURNITURE IF THEY COULD AFFORD TO DO SO

AND DON'T GET ME STARTED ON FRENCH AND BRITISH AND AMERICAN WALLPAPERS

"ELIZABETH" YOU CRY, "WHY ARE YOU BEING SO EXTRA THIS MORNING?! IT'S MONDAY"

Because, my friend, my war on GREIGE will NEVER end.

Historic interiors were filled with LIFE and LIGHT and COLOR. ALWAYS HAVE BEEN.

Part of the reason we don't see a lot of textile art is because, frankly, textiles tend to degrade over time - especially ones that had utility! And yes, pigments and weaving and dying all boosted the expense of things, when we were finally reliably block-printing fabrics and broad reams of paper, it was no longer just the wealthy who could afford pretty patterns!

In the Americas, a far wider variety of pigments also became available because of the abundance of... well, a shitton of flora and minerals, some of which weren't as common in Europe.

WHY THE HIGHLIGHTER COLORS? you ask.

CANDLES.

Those colors reflect candlelight and natural sunlight REALLY WELL.

Humans LOVE bright colors, it's NOT just a thing for kids. We live in a brilliant, vibrant, multifaceted world. We ALWAYS have.

(If ever you have the opportunity to visit the Stencil House at the Shelburne Museum in Vermont (pictured above at 3, 4, and 5), I highly recommend.)

And that's before you get into American painted murals:

With his recognizable profile:

And this gorgeous hair:

The man who can portray being tired and broody:

Rumpled and sexy:

Crazy and possibly dangerous:

Hilariously out of his depth:

Flirty:

Heartbroken:

Completely done in:

And who generally pierces my heart:

— then it's art nouveau

and if the sexy lady has a bob cut or a hair cap and is wearing a column or flapper dress; there's a lot of geometry like rectangles, arches, rays, and diamonds; angels have super sharp wings and a lot of muscles; everything is steel, concrete, marble, gold, and red velvet seats; everything is VERY angular; and all the foliage is basically papyrus fronds; things feel vaguely Egyptian or Turkish or Mesopotamian; the fonts play with being very skinny or very thick and are sans serif with extra lines; or Gatsby would be found floating dead in that pool

— with lots of lush flora, tiny insects (like dragonflies) or graceful birds, stained glass, iron, warm golden lighting, lots of wood and wood carving (but now it's more wood paneling), a stylistic fondness for Japan, line weight variation in the font, and tile (but this time it's carved or sculpted on, not tiny mosaic)

but you're worried it's art deco

— because the forms (especially foliage) are very symmetrical and slightly more angular or blocky and graphic looking, things are more rectangular than circular or curvy in architecture, the patterns repeat more often, and more of the lamps are pyramids or rectangular, and there are nods to Egyptian or Ottoman style, and they used the color red (probably in an accent chair or carpet rug)

BUT there's no steel, concrete, gold plating or gilding, marble, big muscles, spiky or radiating diamond shapes, angular people, or flappers,

AND the vibes are jacobean, gothic, or spanish mission revival; they love some brick and stone; the wallpaper is an explosion of colorful pattern that could give you arsenic poisoning or help depict a descent into postpartum psychosis in a famous short story; but there are NO people to be seen, not even sexy ladies,

It is hope and love and compassion that saves each character individually, and because of that, the world. Frodo fails in the end, but his acts of compassion from earlier in the story save the day. And even as the world is saved, it is acknowledged that Frodo failed—without judgement, without blame. He fails, and he is still loved.

And like what can happen in the real world, he is still irrevocably changed by his trauma. But there is still hope—he has to leave, but he leaves with the promise of healing, and the promise that his ever-faithful Sam will follow.

Aragorn, Boromir, Frodo, Sam; each and every one of the characters are driven by their love of the people around them and their hope for the future. They cling to that love and hope throughout their trials, and that bears them through.

Of course people are watching it for comfort!!!! Lotr is eternally consistent in its promise, which Sam articulates so clearly in The Two Towers: “Even darkness must pass. A new day will come. And when the sun shines, it’ll shine out the clearer.”

Day 2924, 16 June 2026