E.A. Deverell - FREE worksheets (characters, world building, narrator, etc.) and paid courses;
Hiveword - Helps to research any topic to write about (has other resources, too);
BetaBooks - Share your draft with your beta reader (can be more than one), and see where they stopped reading, their comments, etc.;
Charlotte Dillon - Research links;
Writing realistic injuries - The title is pretty self-explanatory: while writing about an injury, take a look at this useful website;
One Stop for Writers - You guys... this website has literally everything we need: a) Description thesaurus collection, b) Character builder, c) Story maps, d) Scene maps & timelines, e) World building surveys, f) Worksheets, f) Tutorials, and much more! Although it has a paid plan ($90/year | $50/6 months | $9/month), you can still get a 2-week FREE trial;
One Stop for Writers Roadmap - It has many tips for you, divided into three different topics: a) How to plan a story, b) How to write a story, c) How to revise a story. The best thing about this? It's FREE!
Story Structure Database - The Story Structure Database is an archive of books and movies, recording all their major plot points;
National Centre for Writing - FREE worksheets and writing courses. Has also paid courses;
Penguin Random House - Has some writing contests and great opportunities;
Crime Reads - Get inspired before writing a crime scene;
The Creative Academy for Writers - "Writers helping writers along every step of the path to publication." It's FREE and has ZOOM writing rooms;
Reedsy - "A trusted place to learn how to successfully publish your book" It has many tips, and tools (generators), contests, prompts lists, etc. FREE;
QueryTracker - Find agents for your books (personally, I've never used this before, but I thought I should feature it here);
Pacemaker - Track your goals (example: Write 50K words - then, everytime you write, you track the number of the words, and it will make a graphic for you with your progress). It's FREE but has a paid plan;
Save the Cat! - The blog of the most known storytelling method. You can find posts, sheets, a software (student discount - 70%), and other things;
Also reading Meander, Spiral, Explode and The Emotional Craft of Fiction - How to Write the Story Beneath the Surface will broaden your understanding of writing.
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How to Structure a Oneshot That Hits Like a Thunderclap
“A good oneshot is a single breath—sharp in, slow out.”
A oneshot isn’t just a short story. It’s a moment, a mood, a slice of intimacy that wouldn’t survive being stretched into a full-length fic. Here’s how to make it count.
Pick One Core Emotion
Build the whole thing around a single feeling. Obsession. Longing. Regret. Euphoria. Grief.
If a full-length fic is a symphony, your oneshot is a single piano note.
Ask: What should the reader feel when they finish?
Ex: “This oneshot is about the moment someone realizes they’ve already fallen in love.”
Limit the Timeline
Don’t span days. Or even hours, if you can help it. The strongest oneshots focus on a single scene or moment.
A kiss in a hallway.
A final goodbye at dawn.
A confession said too late.
Tight time = tight tension.
Start Late, End Early
Drop us into the scene already in motion—no lengthy set-up. And leave us just after the climax, not long after.
Don’t: “They met three years ago and…”
Do: “It’s raining the night he finally says it.”
Your oneshot should feel like eavesdropping on something private.
Structure Like This
ACT I: Setup (15–25%)
Who are we with? Where are we? What’s simmering under the surface?
ACT II: The Shift (50–70%)
Something changes. A kiss. A fight. A confession. A memory.
The mood deepens or flips—this is your emotional peak.
ACT III: The Fallout (15–25%)
How does it end? A single line. A final look. A choice not made.
Leave a lingering echo, not an epilogue.
Let Style Do the Heavy Lifting
A oneshot gives you space to lean into voice, imagery, and metaphor. Write like it’s the last thing you’ll ever write.
“He says her name like it’s a prayer, but the gods stopped listening hours ago.”
let you story marinate. keep it in your head. create little what ifs in your head and let your characters simmer in the stew until they take on a life of their own
oh and please give them a name. no placeholders in this household
Set a timer for 15 minutes (or however long you want) and then write. Do not stop. Don't edit or delete anything. Don't hesitate. These 15 minutes are just for you and your writing. Afterwards, you can leave the work as it is, delete it, or edit it. You can either move forward with it or move on from it. But for these 15 minutes, get it all out of your system.
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5 Tiny Writing Tips That Aren’t Talked About Enough (but work for me)
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.
What’s a tip that unexpectedly helped with your writing? Let me know!! 🍒
How to Structure a Oneshot That Hits Like a Thunderclap
“A good oneshot is a single breath—sharp in, slow out.”
A oneshot isn’t just a short story. It’s a moment, a mood, a slice of intimacy that wouldn’t survive being stretched into a full-length fic. Here’s how to make it count.
Pick One Core Emotion
Build the whole thing around a single feeling. Obsession. Longing. Regret. Euphoria. Grief.
If a full-length fic is a symphony, your oneshot is a single piano note.
Ask: What should the reader feel when they finish?
Ex: “This oneshot is about the moment someone realizes they’ve already fallen in love.”
Limit the Timeline
Don’t span days. Or even hours, if you can help it. The strongest oneshots focus on a single scene or moment.
A kiss in a hallway.
A final goodbye at dawn.
A confession said too late.
Tight time = tight tension.
Start Late, End Early
Drop us into the scene already in motion—no lengthy set-up. And leave us just after the climax, not long after.
Don’t: “They met three years ago and…”
Do: “It’s raining the night he finally says it.”
Your oneshot should feel like eavesdropping on something private.
Structure Like This
ACT I: Setup (15–25%)
Who are we with? Where are we? What’s simmering under the surface?
ACT II: The Shift (50–70%)
Something changes. A kiss. A fight. A confession. A memory.
The mood deepens or flips—this is your emotional peak.
ACT III: The Fallout (15–25%)
How does it end? A single line. A final look. A choice not made.
Leave a lingering echo, not an epilogue.
Let Style Do the Heavy Lifting
A oneshot gives you space to lean into voice, imagery, and metaphor. Write like it’s the last thing you’ll ever write.
“He says her name like it’s a prayer, but the gods stopped listening hours ago.”
💀 Making Your Villain Make Sense (Without Making Them Right™)
("because if I see one more war criminal with a sad diary entry get a redemption arc, I’m gonna throw my laptop.")
Here’s the thing: your villain doesn’t need to be redeemable. But they do need to make sense.
And I mean sense beyond "they’re evil and they monologue about it."
Or “they have a tragic past, so now they do murder <3.”
Or “they were right all along, the hero just couldn’t see it 🥺.”
Let’s fix that.
─────── ✦ ───────
🧠 STEP ONE: BUILD A LOGIC SYSTEM THAT ISN’T OURS
Your villain shouldn’t just be wrong, they should have their own internal system that works for them. Morally flawed? Absolutely. But coherent.
Ask yourself:
What do they value more than anything? (Power? Order? Loyalty? Vengeance?)
What do they believe about the world, and how did they get there?
What fear drives them? What future do they think they’re trying to prevent?
The villain doesn’t need to know they’re wrong. But you should.
Make their logic airtight. even if it’s awful. Give them cause and effect.
─────── ✦ ───────
👿 STEP TWO: STOP GIVING THEM THE BETTER IDEOLOGY
Listen. I love a “morally gray” moment as much as anyone. But if your villain is making all the good points and the hero’s just like “no because that’s mean,” your arc is upside down.
If your villain is critiquing injustice, oppression, or inequality, make sure their methods are the problem, not their entire worldview.
✖︎ WRONG:
Villain: “The ruling class is corrupt.”
Hero: “That’s not nice.”
✔︎ RIGHT:
Villain: “The ruling class is corrupt, so I’m burning the city and everyone in it.”
Hero: “So you’re just… committing genocide now?”
Your villain can touch a real issue. Just don’t let them be the only one talking about it, or solving it with horror movie logic.
─────── ✦ ───────
🔪 STEP THREE: GIVE THEM POWER THAT COSTS THEM
The best villains lose things too. They’re not just untouchable horror dolls in sexy coats. They make bad choices and pay for them. That’s where the drama lives.
Examples:
They isolate themselves.
They sacrifice people they love.
They get what they want, and it destroys them.
They know they’re the monster, and choose it anyway.
If your villain can kill a dozen people and feel nothing, that’s not scary. That’s boring.
Let them bleed. Let them regret it. Let them double down anyway.
─────── ✦ ───────
🧱 STEP FOUR: MAKE THEM PART OF THE WORLD, NOT OUTSIDE IT
Villains shouldn’t feel like they were patched in from another genre. They should be part of the world’s logic, culture, class system, history. They should reflect something about the setting.
Villains that slap:
The advisor who upheld the regime until they decided they deserved to rule.
The noble who’s using war to reclaim stolen legacy.
The ex-hero who thinks the system can’t be saved, only reset.
The priest who truly believes the gods demand blood.
They’re not just evil, they’re a product of the same world the hero is trying to save.
─────── ✦ ───────
👁 STEP FIVE: SHOW US THEIR SELF-JUSTIFICATION
You don’t need a tragic backstory™. But you do need to show us why they think they’re right. Not just with exposition, through action.
Let us watch them:
Protect someone.
Choose their goal over safety.
Justify the unjustifiable to a character who loves them.
Refuse to change, even when given a chance.
A villain who looks into the mirror and goes “Yes. I’m correct.” is 1000x scarier than one who sobs into a journal and says “I’m so broken 🥺.”
─────── ✦ ───────
🧨 BONUS ROUND: DON’T MAKE THEM A HATRED MEGAPHONE
Especially if you’re writing marginalized characters: don’t let your villain become a mouthpiece for slurs, abuse, or extremism just to make them “evil enough.” That’s lazy. And harmful.
You don’t need real-world hate speech to build a dark character. You need power, consequence, and intent.
─────── ✦ ───────
TL;DR:
Good villains don’t need to be right. They need to be real.
Not a vibe. Not a sad boy in a trench coat. Not a trauma monologue and then a sword fight.
They need logic. They need cost. They need to scare you because you get them, and still want them to lose.
Make them dangerous. Not relatable.
Make them whole. Not wholesome.
Make them make sense.
—rin t.
// thewriteadviceforwriters
// villain critic. final boss consultant. licensed chaos goblin
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:
✦ A free (and actually helpful) guide to leveling up your first 10 pages ✦If you're unsure whether your opening is ✨doing enough✨ to hook re
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In creative writing, describing a character’s face can uncover information about who they are and how they feel.
Writers can zoom in on individual features, like the eyes or mouth, or describe a face in its entirety to paint a picture of a character.
Develop a character through their most telling attribute—their face.
Tips for Describing Faces in Your Writing
Use figurative language when describing a character’s face. When you’re introducing a character for the first time and want the reader to create an image in their mind, use figurative language to describe the character’s face instead of just stating the obvious qualities. For example, you can use similes and metaphors. It’s okay to simply say, “She has blonde hair,” but you could also use a simile: “Her hair was golden like the sun.” In Great Expectations Charles Dickens uses a unique metaphor to describe a feature of a character’s face: “His mouth was such a post-office of a mouth that he had a mechanical appearance of smiling.”
Create facial expressions that reveal emotions. How a character’s eyes, eyebrows, nose, forehead, mouth, and chin move in unison can let a reader in on their emotions. A character can have a facial tic when they get nervous. Whether it’s raised eyebrows and a mouth curved into a smile or a furrowed brow and an upper lip curled into a scowl, you can use a character’s expressions instead of dialogue to reveal their feelings about a situation.
Frame your character’s face with a hairstyle that reflects their story. A crewcut might signify a military soldier or someone who likes to be in control. A ponytail or pigtails might indicate a young character. Describe a character’s hair color—black hair, dark hair, brunette, redhead, blonde, gray, or white—in interesting ways instead of just stating the shade. It makes a difference whether your character dyes their hair or keeps it its natural shade. Describe the length of their hair. A confident businesswoman might have short or shoulder-length hair. A musician might have longer hair. Match your character’s hairstyle with their personality.
Make facial hair an element of a character’s style. How a male character keeps his facial hair is telling. If he’s constantly clean-shaven, he might go to a regular corporate job. A bit of stubble can signify a more casual career. From a beard to sideburns to a goatee, facial hair helps paint a picture of a male character and can help represent their life and what they do.
Realize that eyes are windows to the soul. There are endless ways to depict eyes. Describe obvious characteristics like eye color—green eyes, blue eyes, brown eyes, gray eyes, or black eyes. Highlight their shape—round, almond, narrow. Think about the entire orbital structure, from eyelids to eyelashes. Illustrate how the eyes are placed in relation to the character’s face—deep-set, wide-set, or close-set. Give eyes their own movements to tap into a character’s feelings. Let a character’s eyes twinkle, squint, gaze, or glare.
Describe your character’s skin. The tone and texture of a character’s skin can provide insights into a character’s life. A child’s face might be freckled. A sickly character might look pasty. An old cowboy might be good looking and rugged with craggy skin.
Give your character unique facial features. Set a character apart with distinguishing facial features. Give them dimples, freckles, or unique markings on their face. Give them poor vision so they need to wear eyeglasses. Maybe they wear heavy makeup or have piercings. Think of different ways you can create unique facial features that help define a character.
Every story begins with a spark an idea that won’t let go, a character who feels alive, a scene that plays like a movie in your mind.
Then you start writing… and reality hits.
1. What’s in your head vs. what’s on the page
The story feels vivid in your mind, but when you read it back, it falls flat. That gap? It can crush confidence.
2. Momentum fades
The first chapters flow. Then the middle drags. The plot twists feel messy. Doubt whispers: “Is this any good?”
3. Fear of judgment
“What if it’s cliché?”
“What if no one connects?”
“What if I’m not good enough?”
These questions hover while you try to write.
4. Too close to see clearly
You love your story, maybe too much. Months inside a manuscript make it hard to spot what works and what doesn’t.
5. Perfectionism stalls progress
Rewriting the same paragraph, deleting chapters, chasing the “perfect” sentence instead of finishing the draft.
6. Emotional exhaustion
Writing isn’t just typing. It’s giving pieces of yourself. That energy drain is invisible to most readers.
The problem isn’t talent it’s isolation, self-doubt, and carrying the weight alone.
Struggling with your manuscript? That doesn’t mean you’re failing. It just means you’re in the part no one talks about.
TRUE writers suddenly get writing urges at 1am mid-doomscroll and proceed to ramble out the most incoherent plot into a new doc and wake up and then just. stare at it.
In their natural state, are quite volatile and prone to oxidation.
Notes of lemon, bergamot, orange, and mandarin are used in perfumery to impart sharp, sour, and very refreshing top notes to a fragrance.
MINTY NOTES
Follow on from citrus notes as refreshing and clean-smelling top notes used extensively in functional perfumery like household cleaning products.
In addition, notes of peppermint, menthol, and eucalyptus give a cooling effect to many masculine fine fragrances and shower gels.
FRUITY NOTES
With the exception of Osmanthus and blackcurrant bud absolute, the majority of fruity notes used in perfumery are created with synthetic materials.
Gamma undecalactone (C14) - used for a peachy/apricot effect, along with other materials such as Raspberry Ketone, Benzaldehyde (for cherry), and Allyl amyl glycolate (for a sour pineapple note).
The large aromachemical manufacturers produce ready-made compounds, which makes adding fruity notes to a fragrance composition less of a challenge.
Dewfruit, which is a specialty base from the Swiss fragrance manufacturer Givaudan, gives a raspberry and lychee note and is used in a variety of commercial fine fragrances.
GREEN NOTES
Add freshness and naturalness to fragrances, from floral to fruity and chypre.
Cis-3-hexenol - a very powerful material that is reminiscent of freshly cut grass.
Galbanum - a natural material, likened to uncooked green beans.
Should be used sparingly because they can seem harsh if used in large quantities.
HERBAL NOTES
Lavender, rosemary, and clary sage are used in both masculine fragrances and functional products for their cooling and natural effect.
Herbs add naturalness to a fragrance and are usually the steam distillate of the aerial parts of the plant.
Lavender - a key component of the fougére family, with each variety and extraction giving a slightly different effect.
Lavender absolute is said to have a bright green color and warm, hay-like aroma.
ALDEHYDIC NOTES
Aldehydes - a group of materials that are most famous for their use at overdosed levels in Chanel No. 5.
Have a powerful aroma and are perceived as waxy, fatty, soapy, and clean.
On their own, they would be considered too harsh and chemical-ly, but in combination with floral notes of rose, jasmine, and ylang ylang, they impart sparkle and radiance.
C8 Octanol, C10 Decanal, C11 Undecylenic, C12 MNA, and C12 Lauric feature in this group, as do Hydroxycitronellal, Citral, Citronellal, and Benzaldehyde.
FLORAL NOTES
Floral notes make up the heart of most fragrance types.
There are many different types of floral, each with their own characteristics:
Rose Notes. These can include everything from rose absolute and rose otto to geranium and even guaiacwood which, although smoky and woody, has definite rosy undertones. Phenethyl alcohol is used as a blender in fragrances to give a rose note, and the Firmenich base Dorinia is used where a large amount of natural rose would be too costly or restricted. Apart from cost, one of the main issues with using natural rose absolute in a commercial fragrance is that it typically contains 1-1.5% Methyl eugenol, a naturally occurring component that is restricted in the EU and other parts of the world. The maximum amount of rose allowed in a leave-on skincare product is around 0.025%. Low Methyl-eugenol rose is available, but cost and minimal-order quantities are high, meaning it is out of the reach of many fragrance producers. Laboratoire Monique Rémy produce a molecular distillation of rose for this very reason, which enables large quantities to be used in the fragrance Portrait of a Lady (Editions de Parfums Frédéric Malle).
Jasmine Notes. As well as jasmine absolute and jasmine sambac, synthetic bases are created with Benzyl acetate and other jasmine-like chemicals such as Hedione, which is used in a huge range of fragrances to impart radiance and diffusion. Unfortunately, although used for centuries, jasmine has been severely restricted in commercial fragrances, due to sensitization, and it is only allowed currently in the EU at a maximum of 0.7% in a finished fragrance for on-skin usage.
Muguet Notes. The name of the lily-of-the-valley notes. There is no natural muguet extract, so all fragrances of this type will contain some synthetic materials. The muguet ingredient, Hydroxycitronellal, which was relied upon for many years, is now restricted to a maximum 5%, due to its potentially sensitizing effect. Other muguet-type replacements are Lyral, Lilial, and Dupical, which are used in combination with other materials.
Violet and Iris Notes. Natural violet absolute is from the leaf, and smells very green, wet, and mulchy. The sweet, powdery violet notes actually come from a group of materials called the ionones—Alpha, Beta, and Methyl ionones—which add a sweet, cosmetic violet note to rosy florals, as well as being a great link to woody notes in the base of a fragrance. Other notes that belong in this category are the orris notes, which are either natural and excruciatingly expensive (orris concrete), or come from a synthetic such Orivone.
Narcotic Floral Notes. Naturals such as ylang ylang, tuberose, and orange blossom are in this category due to their heavy, sweet, almost narcotic effect in a fragrance. With the exception of perhaps ylang ylang, which is available in a variety of grades, these materials offer a low yield and so are quite costly. In commercial fragrances, synthetic materials such as Aurantiol and Methyl anthranilate are used instead. White florals contain traces of the chemical indole, which can be added to a fragrance in trace amounts for effect. Alone, indole has an odor of decay and can be extremely unpleasant, as is the case with many animalic notes.
ANIMALIC NOTES
Indole brings us nicely on to the other animalic and musk notes used in fragrance.
Included here are the leather notes, as there is a fair amount of crossover.
The animalic notes are generally quite strong and often fecal.
The following are main animalic notes used:
Civet. This is the main material used and is extracted from the anal gland of the civet cat. Strange and unpleasant as it may seem, civet, when used in trace amounts, is said to give a sweet, exotic, and sexy edge to a fragrance and is reminiscent of the indoles present in white flowers.
Castoreum. Comes from the glands of the beaver or a synthetic reproduction, which is slightly less alarming. It can have quite urine-like notes, which at low levels give a honey aroma. It is used in chypre and leather fragrances, along with woods, mosses, and labdanum or birch tar and Isobutyl quinoline (leather notes).
Ambergris. Comes from the sperm whale; the most gentle of the animalic notes. Often found washed up on beaches, mainly in New Zealand. It has an aromatic, almost marine-like note that can be soft, musty, and musky. The synthetic versions are most often used. It works well with sandalwood for a soft skin-like accord.
Natural musk. Use of this is now completely outlawed due to the near-extinction of the musk deer from which it was historically collected. The musk notes we experience today are all synthetic and, in fact, are perceived as much cleaner than you would expect considering their origin. This is due to their extensive use in laundry detergent fragrances, hence the term “laundry musk.” Nitro musks such as Galaxolide by IFF are used due to their substantive and long-lasting effects through a wash at high temperatures. They are not very soluble in water, which means that they will stay on the fabric through the wash cycle. Of course, this means that many are not biodegradeable or very environmentally friendly. Musk notes are used in most fragrances for their fixative properties and for the soft, comforting effect they give to a fragrance. Many people, including perfumers, are anosmic to different musks and so they are often used in combination with each other.
BALSAMIC AND VANILLA NOTES
Balsamic refers to the sweet, warm, and resinous notes of Peru balsam, benzoin, and oppoponax, which also have slightly vanilla and caramel undertones.
Vanilla absolute does not smell anything like the vanilla notes used in food or commercial bath products, which are more “ice-cream-like” and foodie.
These are usually created with Ethyl vanillin and vanillin, rather than the more costly vanilla absolute, which is actually less sweet and more woody. Vanilla absolute is difficult to work with in products due to its insolubility in alcohol.
It can also cause extreme discoloration in some products, turning lotions and soaps a dark brown to black.
HAY NOTES
Another sweet, powdery note is coumarin, which is a key component of the fougére family and works well with both vanilla and lavender.
Coumarin - a white, crystalline powder that occurs naturally in tonka beans.
It is created synthetically for perfumery use, but tonka absolute has a similar smell, which is that of powdery, newly mown hay.
WOODY NOTES
A key part of oriental fragrances, the woody notes can be soft and creamy, such as sandalwood, or cool and earthy, such as patchouli and vetiver.
Although patchouli is a distillation of the leaves rather than a wood, it does have some woody aspects.
Vetiver - rooty and has rich caramel undertones, and an earthy woodiness.
Cedarwood Virginian has a sharp, dry, pencil-shavings aroma.
Iso E Super is a lovely, transparent, woody ingredient to add to a fragrance as a blender and is even used alone as a fragrance in its own right.
MOSSY AND MARINE NOTES
Have a slightly yeasty, fungal, and pungent aroma.
Mossy notes - important in both the chypre and fougére fragrance families and, although oakmoss is being restricted, there are synthetic variants that will give similar effects.
Seaweed absolute - can be used for a natural marine note but the most widely used in fine fragrance is Calone, which was prolific in perfumes of the 1990s.
Calone - has a sweet, melon, ozone-like fragrance, which many people find extremely cloying. This is often used with other fruity, melon, and marine notes.
SPICY NOTES
Spice notes play a huge part in perfumery as accessory notes for floral and oriental fragrances.
Spices can be overpowering, and notes such as cumin can take on a slightly sweaty odor that may smell unpleasant on skin.
There are warm spices such as clove (or Eugenol), which can give a carnation effect to florals, and cooler, dry-spice notes like black pepper.
Shinus molle, or pink pepper, has been used extensively over the last few years in floral fragrances.
Cinnamon, nutmeg, and coriander can also be used, as can other foodie spices like cardamom in the form of distilled essential oils.
Source: Perfume: The Art and Craft of Fragrance by Karen Gilbert
More: Word Lists ⚜ Notes & References ⚜ Perfumery ⚜ Fragrance
Writing Resources PDFs
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