flicksotherwritingblog

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How to Make Your Characters Almost Cry

Tears are powerful, but do you know what's more impactful? The struggle to hold them back. This post is for all your hard-hearted stoic characters who'd never shed a tear before another, and aims to help you make them breakdown realistically.

The Physical Signs of Holding Back Tears

Heavy Eyelids, Heavy Heart Your character's eyelids feel weighted, as if the tears themselves are dragging them down. Their vision blurs—not quite enough to spill over, but enough to remind them of the dam threatening to break.

The Involuntary Sniffle They sniffle, not because their nose is running, but because their body is desperately trying to regulate itself, to suppress the wave of emotion threatening to take over.

Burning Eyes Their eyes sting from the effort of restraint, from the battle between pride and vulnerability. If they try too hard to hold back, the whites of their eyes start turning red, a telltale sign of the tears they've refused to let go.

The Trembling Lips Like a child struggling not to cry, their lips quiver. The shame of it fuels their determination to stay composed, leading them to clench their fists, grip their sleeves, or dig their nails into the nearest surface—anything to regain control.

The Fear of Blinking Closing their eyes means surrender. The second their lashes meet, the memories, the pain, the heartbreak will surge forward, and the tears will follow. So they force themselves to keep staring—at the floor, at a blank wall, at anything that won’t remind them of why they’re breaking.

The Coping Mechanisms: Pretending It’s Fine

A Steady Gaze & A Deep Breath To mask the turmoil, they focus on a neutral object, inhale slowly, and steel themselves. If they can get through this one breath, they can get through the next.

Turning Away to Swipe at Their Eyes When they do need to wipe their eyes, they do it quickly, casually, as if brushing off a speck of dust rather than wiping away the proof of their emotions.

Masking the Pain with a Different Emotion Anger, sarcasm, even laughter—any strong emotion can serve as a shield. A snappy response, a bitter chuckle, a sharp inhale—each is a carefully chosen defence against vulnerability.

Why This Matters

Letting your character fight their tears instead of immediately breaking down makes the scene hit harder. It shows their internal struggle, their resistance, and their need to stay composed even when they’re crumbling.

This is written based off of personal experience as someone who goes through this cycle a lot (emotional vulnerability who?) and some inspo from other books/articles

[flicksotherwritingblog]

fun behaviors to give dragons that aren't feline/canine based

cause as much as i love dragons purring and roaring i wish there was just more variety in how they would act

clacking their teeth together to show contentedness/happiness (budgies)

using tails as a defensive weapon in a whip like fashion (iguana)

twitching to express that they're not a threat to members of their species (hognose snake)

feeling calm when eyes are hooded/covered (birds of prey)

head bobbing as a threat display (anoles/bearded dragons)

flattening neck or sides to appear bigger (snakes/lizards)

mantling over food to protect it from hatchmates (birds of prey)

wiggling neck as a courting maneuver (budgies)

audibly grinding teeth as a warning (macaques)

maintained eye contact as a challenge (gorillas)

pounding wings against sides as a threat (gorillas)

slapping other dragons with their claws when their personal bubble is invaded (seals)

hoards used as a site to impress mates (birds of paradise)

snorting when undergoing heightened stress (horses)

making repeated loud noises with surroundings to establish territory (woodpeckers)

loud constant arguments with other dragons when roosting (bats)

building lairs that cause a domino effect of change in the land around them (beavers)

slapping their tails against the ground/water as a warning (beavers)

wiggling tail tip to attract prey (various animals)

wiggling tail tip as a warning (snakes)

plucking or scraping off scales as a sign of stress (parrots)

raising spines/frills as a response to danger and carrying on with their usual business as they believe they're protected (lionfish)

and im not saying canine and feline behaviors are wrong or bad to give a dragon (people wouldn't write dragons with those behaviors if they weren't fun in the first place!) but i feel for creatures that are mythological giant winged lizards that you can do more and get experimental with it. often the more unfamiliar behavior the more dragony the dragon feels

[flicksotherwritingblog]

‧₊˚ 🦇 ✩ fictober ‘25

my offerings for this coming october! see below the cut for a typed list of the prompts, and further down for alternates.

syrupy fake blood

mossy gravestones

a plastic femur

dense thickets of brambles

half-melted pillar candles

a cheap, plastic-wrapped costume

funhouse mirrors

sticky pumpkin guts

a weathered scarecrow

green facepaint

moonlight filtering in through stained glass

fistfuls of salty popcorn

a mystic’s warning

dusty vhs tapes

an overcast sky heavy with rain

burnt pie

shoulder-high cornstalks

a gauzy witch’s hat dotted with foil stars

whispers in the night

a one-eyed black cat

a cluttered oddities’ shop

dark glass bottles of sweet cider

a crumbling mausoleum

dog-eared horror novels

a rusted padlock

paths covered in fallen leaves

a flickering porchlight

wet specimens lined up along a shelf

no caller id

an abandoned farmhouse

a crescent moon

alternate prompts; to use in days where the given prompt just isn't doing it for you!

the sweet, earthy smell of hay

bat wings

a slashed tire

rows of masks lining the shelves of a costume store

coven

a bucket of sweets left on a porch

dewy spiderwebs

a creaking, draughty haunted house

rigged carnival games

a dying sycamore

[flicksotherwritingblog]

Tips for Writing a Difficult Scene

Every writer inevitably gets to that scene that just doesn't want to work. It doesn't flow, no matter how hard you try. Well, here are some things to try to get out of that rut:

1. Change the weather

I know this doesn't sound like it'll make much of a difference, but trust me when I say it does.

Every single time I've tried this, it worked and the scene flowed magically.

2. Change the POV

If your book has multiple POV characters, it might be a good idea to switch the scene to another character's perspective.

9/10 times, this will make the scene flow better.

3. Start the scene earlier/later

Oftentimes, a scene just doesn't work because you're not starting in the right place.

Perhaps you're starting too late and giving too little context. Perhaps some description or character introspection is needed before you dive in.

Alternatively, you may be taking too long to get to the actual point of the scene. Would it help to dive straight into the action without much ado?

4. Write only the dialogue

If your scene involves dialogue, it can help immensely to write only the spoken words the first time round.

It's even better if you highlight different characters' speech in different colors.

Then, later on, you can go back and fill in the dialogue tags, description etc.

5. Fuck it and use a placeholder

If nothing works, it's time to move on.

Rather than perpetually getting stuck on that one scene, use a placeholder. Something like: [they escape somehow] or [big emotional talk].

And then continue with the draft.

This'll help you keep momentum and, maybe, make the scene easier to write later on once you have a better grasp on the plot and characters.

Trust me, I do this all the time.

It can take some practice to get past your Type A brain screaming at you, but it's worth it.

So, those are some things to try when a scene is being difficult. I hope that these tips help :)

Reblog if you found this post useful. Comment with your own tips. Follow me for similar content.

[flicksotherwritingblog]

I wanted to write a little something about the harmful depiction of stereotypes surrounding Muslim people that many people fall into due to the Islamophobia and the propaganda that's spread by the western world as well as ignorance.

As a person who grew up Muslim and specially AFAB, I'm not going to deny the harm that our community and sometimes culture causes.

A big distinction that I feel people should be more aware of when writing Muslim characters (especially if you yourself aren't Muslim and trying to represent said population) is the overlap between religion and culture. Oftentimes people mix those two together and get a false impression on one of the two.

My biggest take on that is "Don't judge the believer but the religion itself." Because many believers tend to nitpick what they like and use it against others. A huge example of that is men picking only what benefits them and ignoring what compels them to have some responsibility towards the women or others in general.

I wont get too deep into that though. I'm going to break down some of the harmful stereotypes people have and explain why sometimes no matter what, you aren't qualified to write on those with your perspective if you, yourself haven't lived that.

- Muslim people are backwards and very fanatic. I've seen it many times. Someone makes a character either for a story or for a roleplay and they pick a Muslim girl and make her terrified of her parents, make her uneducated, sheltered, naive, easy to trick all because she's Muslim and her Dad and Mom are restricting her freedom. That, is oftentimes VERY offensive, especially if written by a white non-muslim man. Especially if the story they want to explore ISN'T something they should be telling. To me it just feels, very weird for someone to attempt and spread that message when they themselves never ever experienced it. It's like a non-black person writing about a black person being under slavery in an attempt to talk about slavery. That's simply not your story to tell. Leave it to others.

- Muslim women are uneducated or married off. While oftentimes, women in Islamic countries end up being wed at an early age or not getting education, the issue lies in the blame that people point towards it being related to them being Muslim. This issue mainly stems from the culture and the circumstances of said countries. We all know many Islamic countries are poverty ridden and or under wars that are caused by the Western countries. (USA, ISRAEL, BRITAIN ETC). LIKE. Let's be for real. Under poverty getting your education gets hard and making a livelihood gets even harder, so it's only a natural causation that many muslim women living in poverty laden countries end up getting married without getting their education. Of course I do not agree with that sentiment and how a woman's education takes the backseat in sake of the sons receiving their education BUT TRUST ME, even men don't receive education in these countries. My mom and dad, both Palestinian Jordanians, had a different course regarding their academic lives. Someone ignorant would probably assume that my dad received education and my mom didn't, right? Well. It's the exact opposite actually. My mom received higher education and my dad quit highschool and had to work. They were both poor as well. Even further, my dad's both and only sisters GRADUATED from university with degrees in Mathematics and Religion Education. People that live in the better part of islamic countries like the Gulf (kuwait, saudia etc) receive education regardless of their gender and even have governmential benefits pushing them towards higher education. That does not erase the women who are forced to quit school to marry or to take care of the household; again an issue in culture, misogyny and economical status usually rather than the religion itself. Even women in the western world still experience these gender based discriminations.

- Muslim people want to kill their kids if they deviate from the image they have for them. Now this is a very HEAVY and sensitive topic because it usually ties into LGBTQIA matters as well as religious expectations Muslim people might have of their kids or fellow Muslim people. As member of the LGBTQIA, I won't ever come out to my parents. Unfortunately, culture wise and religious wise there's a certain level of hatred people hold towards LGBTQIA Muslims. And it's unfortunate because according to Islam, YOU shouldn't be judging these people, you should try and guide them against it. Now I won't get into that part and what my stance is on it, simply because it's something i myself am struggling with rn and not agreeing with, but its what I grew up with, so essentially its not something I can speak about clearly. But, seeing non-muslim people try and write stories about Muslim characters getting killed or hunted by their Muslim parents about being gay? That shit pisses me off. It's not your story to tell. You aren't allowed to demonize the parents when it's a very sensitive topic and dependant on the dynamics people have with their families. Some people will have more accepting parents others won't. But that goes for non-muslims too. I've seen so many atheists disown their kids because they came out to them. Even christians...but it's only Muslim characters that i ever see getting bodily harmed or even killed when that's not something limited to muslim people? It just rubs me off the wrong way.

- Muslim people being depicted as barbaric and more accepting of hurting others around them. Now this is a notion that has slowly started to fade away THANK FUCKING GOD, but many times people writing muslim characters make them seem jaded towards others getting hurt? And its built on the harmful stereotype that Muslim people are fine with others getting hurt when that's not even something I've seen from actual Muslims and when that trait is something anyone from any background could have? Is it possible that many muslim people are jaded towards pain due to their countries being involved in conflict and pain? Yeah it is. But that does not mean we are ACCEPTING OF IT. It's just when you grow up hearing about your relatives getting bombed and murdered that you grow to view these things as common, but it doesn't mean you accept them. It's just the only way you can process losing your family to the violence enacted on you by the western world.

- As a Muslim person you'll get crucified if you drink alcoholic beverages. Riiiight. So this is a notion I see a lot. While drinking alcoholic beverages is DEFINITELY prohibited and haram, if you live in the Western world as a muslim person, chances are you a) drink, b) have muslim friends who drink, mainly because it depends on how religious someone is. I have a Muslim friend who isn't that religious and drinks. I dont. I know friends of my dad in Jordan who drink, even when they're heavily frowned upon. So people making Muslim ocs and then making them be super puritans and avoiding everything is... Weirdly infantilizing imo? We aren't perfect human beings. We are gonna commit acts that are considered sins. Sometimes some people will freak out about those and sometimes they won't. Not everyone is gonna feel the same amount of guilt over what they consider prohibited. Some muslim people get into dating despite it being prohibited. So shrug.

Anyways my main take away is that people should be MORE careful when writing a story about something they aren't. That's not to say you aren't allowed to write for these stories but it's more about whether you incorporate HARMFUL stereotypes only and end up with a representation that will only do damage.

Research. Talk to people. Generally not only when writing about Muslims. Even if you yourself are disabled, you can still write shitty disability rep about a disability that is not yours. Just cause you're ADHD it doesn't mean you cannot perpetuate harmful stereotypes about NPD ppl for example. Right?

That's all! Thank you for reading. Hopefully I wont get crucified for this lol.

[flicksotherwritingblog]

Whump & Carries/Drags

After going down that Combat Medic rabbit hole, allow me to put heavy emphasis on the one-person drag. Specifically, the Neck Drag pictured at the bottom right of this image.

Yes, we see the support carry, arm drag, and pack-strap carry very frequently in fiction. I would really, really like to see the Neck Drag used more frequently (please do hmu if you have written or read something with this drag being used <3).

The neck drag is when the injured party clasps their hands together behind the medic's neck, or the medic ties their hands together if they're unconscious. The medic then bear crawls forward until cover or safety is reached, where they can change to an easier carry or drag position, address immediate medical needs, or get carrying assistance from another medic. If the injured party is heavy, the medic would have to crawl forward in short bursts (almost like a scooting motion).

This makes for a very uncomfortable but effective way of extraction for the injured party. Now, if you like romantic tension when writing, this is a great form of forced proximity because the characters are practically on top of one another for the entire duration of this carry - not to mention the medic has to straddle the injured party at the start. Obviously they would have more pressing matters in mind, but us writers are all the same and you know it <3

So, take this idea and run with it! I already mentioned this resource in a previous post, but I'll share it again if you want to see more details. It's very helpful for writing research! Plus there are video demonstrations on how to apply different types of tourniquets, and of course the different carries and drags like the ones mentioned above.

Ran out of brain juice, so I'll stop here. I'm serious about recs with the neck drag though!

[flicksotherwritingblog]

Defanged vampires with silver fillings to keep them from regenerating.

[flicksotherwritingblog]

20 Ways to Show Extreme Fear in Your Writing

As I dive into researching signs of fear for my horror WIP, I wanted to share some of the most compelling and visceral reactions I’ve come across. Whether you’re writing a chilling scene or crafting a character’s panic, these 20 signs of fear can help bring tension and realism to your story.

Physical Reactions

Hyperventilating — sucking in air but never feeling like it’s enough

Chest tightens — feels like a weight or hands pressing down

Limbs shaking violently, knees buckling

Complete loss of muscle control — collapsing or unable to stand

Cold sweat soaking through clothes

Heart hammering so hard they feel it in their throat or head

Tunnel vision — the world narrowing down to one terrifying focal point

Ringing in the ears or sudden deafness, like the world drops away

Dizziness / feeling faint / vision blurring

Dry mouth — unable to speak or even scream

Uncontrollable Behavior

Screaming / sobbing / gasping — involuntary vocal outbursts

Panic run — bolting without thinking, tripping over everything

Clawing at their own skin / chest / throat — like trying to escape their body

Begging / pleading out loud even if no one’s there

Repeating words or phrases — “No, no, no” / “This isn’t happening”

Hiding instinctively — diving under tables, closets, or corners

Desperate grabbing — reaching for someone, anything solid

Loss of bladder or bowel control (for extreme terror)

Total mental shutdown — frozen, slack-jawed, staring blankly

Memory blackout — later can’t recall what happened during the worst moment

[flicksotherwritingblog]

I still think the most devastating enshittification I've ever seen has been picrew. One of the few dress-up game websites left that's not flash-based and it's become DRENCHED in ads. You can't open the home screen without being blasted by at least three or four ads. You can't open two picrews in a row without watching a video ad first. When you have a picrew open the ads cover up the different options and sometimes even stack on each other so you have to hit like 2 or 3 different x buttons to get it to go away, only for more to appear seconds later. Evil world

[flicksotherwritingblog]

Author rant incoming, but I don't know what pisses me off more: lazy assholes who act like they're 'the real deal' because they have an AI make a book or story for them.

Or actual authors who have no class solidarity & use AI slop for their covers.

I can't be the only one who gets pissed at that. There is just so much here to say about how little solidarity there is between different types of creatives, how easily one group will get rid of another because they can save up on money or they already get most of the money. The recent strikes for actors and animators are proof enough that some people got theirs so they don't care about other creatives.

But as a writer who's dirt poor & STILL would never consider using AI for a book cover, I can't help but be bloody disappointed in these people.

It's like that adage of 'if you couldn't be bothered to make it, why should I be bothered to consume it?' Except it's 'if you couldn't be bothered to support a fellow creative, why should I support you?'

[flicksotherwritingblog]

I listened to a really good video on healing magic last night, and how there’s no 1 magic cure that fits all types of injuries and illnesses. It makes me think of specialized magic users that are highly precise in how they create and administer their healing.

They don’t want to overstress the immune system by speeding EVERYTHING up, but specific cell types. Having to monitor the small but tedious task of ensuring they’re not mutating incorrectly.

Maybe a bodily life force from one creature has specific agents that can help others, but is hard to obtain in some ways. Like horseshoe crabs and their blood. Maybe only a few magic users at all have these creatures on hand, and they’re extremely sensitive to changes.

He also brought up how magic genetic healing can cause forms of eugenics to crop up that can entirely change how a society works. It’s such an interesting idea to deal with in a story.

The video is by Danny Phandom I think. It’s a good listen I think.

[flicksotherwritingblog]

We're rummaging through your OC's stuff! Name an object that…

…is purely decorative.

…was a gift.

…has sentimental value.

…they've had for a very long time.

…they keep around for somebody else.

…they use often.

…they could probably stand to get rid of.

…nobody but them likes.

…you wish you had.

…they wanted for a long time before they got it.

…they made themself.

…they couldn't live without.

…they keep in their workspace, whatever that may be.

…is on the floor.

…is hanging on the wall.

…they frequently lose.

…is in the bathroom.

…is in the kitchen.

…is a little outdated.

…encapsulates their overall aesthetic perfectly.

…is fragile.

…is very unique or even one of a kind.

…is edible.

…is older than they are.

…is their favorite color.

…is seasonal.

…is comforting to them.

…they usually keep handy, either at home or on the go.

…is either from nature or themed around nature.

…has a scent.

(pro tip: name some ocs in the tags when you reblog this so newcomers can ask with ease, and be sure to send an ask to the person you reblog it from!)

[flicksotherwritingblog]

Creating Fear in Your Characters: A Writers Guide

Creating authentic emotions is vital for immersive storytelling, which is why I decided to make this series on how to write different emotions. After exploring rage, and sadness it's now time to delve into fear!

Fear is a powerful emotion that can manifest in various ways, from subtle apprehension to paralyzing terror. Here's a guide on how to write fear effectively, covering different aspects of your characters' behavior and reactions.

Facial Expressions

Fear often manifests first in facial expressions, conveying the initial shock or unease. Describe these expressions to immerse readers in your character's emotional state:

Widened Eyes and Dilated Pupils: Show the eyes widening in response to a sudden threat, with dilated pupils indicating heightened alertness.

Tense Jaw and Clenched Teeth: Mention the clenching of jaw muscles or teeth, signaling internalized stress or anxiety.

Furrowed Brow and Raised Eyebrows: Describe the furrowing of the forehead and raised eyebrows, revealing worry or confusion.

Quivering Lips or Lip Biting: Note subtle lip movements like quivering or biting, reflecting nervousness or fear.

Frozen or Stiff Facial Muscles: Highlight moments of fear-induced immobility, where facial muscles become tense and rigid.

Body Language and Gestures

Fear can also be expressed through body language and gestures, showcasing your character's instinctual responses to danger or threat:

Backing Away or Recoiling: Describe your character instinctively moving backward or recoiling from the source of fear, signaling a desire to retreat.

Raised Shoulders and Tensed Posture: Show how fear causes the shoulders to rise and the body to tense up, indicating readiness for fight or flight.

Trembling Hands or Shaking Limbs: Mention the trembling of hands or shaking of limbs, reflecting nervousness or anxiety.

Covering Vulnerable Areas: Describe your character instinctively covering vulnerable areas like their neck or torso, symbolizing a protective gesture.

Fidgeting or Restlessness: Note any fidgeting or restlessness, such as tapping feet or wringing hands, as signs of inner turmoil and fear.

Vocal Cues and Dialogue

Fear can alter vocal cues and dialogue, affecting how your character speaks and communicates their emotions:

Quavering Voice or Shaky Speech: Describe the voice quivering or becoming shaky, indicating nervousness or fear.

Rapid Breathing and Gasping: Mention rapid breathing or gasping for air, showcasing the physical impact of fear on the respiratory system.

Stammering or Hesitant Speech: Note any stammering or hesitant speech patterns, reflecting the character's struggle to articulate their thoughts coherently.

Sudden Silence or Lack of Verbal Response: Show moments of sudden silence or the inability to respond verbally, highlighting the overwhelming nature of fear.

Repetitive Phrases or Vocalizations: Describe repetitive phrases or vocalizations, such as muttering prayers or chanting reassurances, as coping mechanisms in fearful situations.

Reactions and Physical Responses

Fear triggers various physical responses in your characters, showcasing the body's instinctual reactions to perceived threats:

Increased Heart Rate and Sweating: Mention the character's heart rate increasing and sweating profusely, reflecting heightened physiological arousal.

Dilated Pupils and Heightened Senses: Describe dilated pupils and heightened sensory perception, as the character's senses become more attuned to potential dangers.

Muscle Tension and Rigidity: Note muscle tension and rigidity, as the body prepares for action or defense in response to fear.

Nausea or Stomach Churning: Show how fear can lead to feelings of nausea or stomach churning, as the body's stress response impacts digestive functions.

Fight, Flight, or Freeze Response: Highlight the character's instinctual response to fear, whether it's a readiness to fight, a desire to flee, or a state of frozen immobility.

Types of Fear and Emotional Depth

Different types of fear can evoke varying emotional responses in your characters, adding depth to their portrayal and the narrative:

Startle Fear: Describe the sudden, reflexive fear triggered by unexpected events or loud noises, leading to a quick, intense reaction.

Apprehensive Fear: Show the lingering sense of unease or dread that accompanies anticipated threats or impending danger, heightening tension over time.

Terror: Depict the overwhelming, paralyzing fear that arises from extreme danger or horrifying experiences, impacting the character's ability to think or act rationally.

Phobias: Explore specific phobias that trigger irrational and intense fear responses, shaping how your character navigates their environment and interactions.

Trauma-Induced Fear: Address fear resulting from past traumas or experiences, influencing the character's behavior and emotional resilience in present situations.

Verbs and Adjectives for Writing Fear

Here's a list of verbs and adjectives to help you convey fear effectively in your writing:

Verbs: tremble, cower, gasp, quiver, shrink, freeze, recoil, sweat, pant, gulp, shudder

Adjectives: terrified, anxious, alarmed, horrified, shaken, jittery, panicked, petrified

[flicksotherwritingblog]

The Anatomy of Passing Out: When, Why, and How to Write It

Passing out, or syncope, is a loss of consciousness that can play a pivotal role in storytelling, adding drama, suspense, or emotional weight to a scene. Whether it’s due to injury, fear, or exhaustion, the act of fainting can instantly shift the stakes in your story.

But how do you write it convincingly? How do you ensure it’s not overly dramatic or medically inaccurate? In this guide, I’ll walk you through the causes, stages, and aftermath of passing out. By the end, you’ll be able to craft a vivid, realistic fainting scene that enhances your narrative without feeling clichéd or contrived.

2. Common Causes of Passing Out

Characters faint for a variety of reasons, and understanding the common causes can help you decide when and why your character might lose consciousness. Below are the major categories that can lead to fainting, each with their own narrative implications.

Physical Causes

Blood Loss: A sudden drop in blood volume from a wound can cause fainting as the body struggles to maintain circulation and oxygen delivery to the brain.

Dehydration: When the body doesn’t have enough fluids, blood pressure can plummet, leading to dizziness and fainting.

Low Blood Pressure (Hypotension): Characters with chronic low blood pressure may faint after standing up too quickly, due to insufficient blood reaching the brain.

Intense Pain: The body can shut down in response to severe pain, leading to fainting as a protective mechanism.

Heatstroke: Extreme heat can cause the body to overheat, resulting in dehydration and loss of consciousness.

Psychological Causes

Emotional Trauma or Shock: Intense fear, grief, or surprise can trigger a fainting episode, as the brain becomes overwhelmed.

Panic Attacks: The hyperventilation and increased heart rate associated with anxiety attacks can deprive the brain of oxygen, causing a character to faint.

Fear-Induced Fainting (Vasovagal Syncope): This occurs when a character is so afraid that their body’s fight-or-flight response leads to fainting.

Environmental Causes

Lack of Oxygen: Situations like suffocation, high altitudes, or enclosed spaces with poor ventilation can deprive the brain of oxygen and cause fainting.

Poisoning or Toxins: Certain chemicals or gasses (e.g., carbon monoxide) can interfere with the body’s ability to transport oxygen, leading to unconsciousness.

3. The Stages of Passing Out

To write a realistic fainting scene, it’s important to understand the stages of syncope. Fainting is usually a process, and characters will likely experience several key warning signs before they fully lose consciousness.

Pre-Syncope (The Warning Signs)

Before losing consciousness, a character will typically go through a pre-syncope phase. This period can last anywhere from a few seconds to a couple of minutes, and it’s full of physical indicators that something is wrong.

Light-Headedness and Dizziness: A feeling that the world is spinning, which can be exacerbated by movement.

Blurred or Tunnel Vision: The character may notice their vision narrowing or going dark at the edges.

Ringing in the Ears: Often accompanied by a feeling of pressure or muffled hearing.

Weakness in Limbs: The character may feel unsteady, like their legs can’t support them.

Sweating and Nausea: A sudden onset of cold sweats, clamminess, and nausea is common.

Rapid Heartbeat (Tachycardia): The heart races as it tries to maintain blood flow to the brain.

Syncope (The Loss of Consciousness)

When the character faints, the actual loss of consciousness happens quickly, often within seconds of the pre-syncope signs.

The Body Going Limp: The character will crumple to the ground, usually without the ability to break their fall.

Breathing: Breathing continues, but it may be shallow and rapid.

Pulse: While fainting, the heart rate can either slow down dramatically or remain rapid, depending on the cause.

Duration: Most fainting episodes last from a few seconds to a minute or two. Prolonged unconsciousness may indicate a more serious issue.

Post-Syncope (The Recovery)

After a character regains consciousness, they’ll typically feel groggy and disoriented. This phase can last several minutes.

Disorientation: The character may not immediately remember where they are or what happened.

Lingering Dizziness: Standing up too quickly after fainting can trigger another fainting spell.

Nausea and Headache: After waking up, the character might feel sick or develop a headache.

Weakness: Even after regaining consciousness, the body might feel weak or shaky for several hours.

4. The Physical Effects of Fainting

Fainting isn’t just about losing consciousness—there are physical consequences too. Depending on the circumstances, your character may suffer additional injuries from falling, especially if they hit something on the way down.

Impact on the Body

Falling Injuries: When someone faints, they usually drop straight to the ground, often hitting their head or body in the process. Characters may suffer cuts, bruises, or even broken bones.

Head Injuries: Falling and hitting their head on the floor or a nearby object can lead to concussions or more severe trauma.

Scrapes and Bruises: If your character faints on a rough surface or near furniture, they may sustain scrapes, bruises, or other minor injuries.

Physical Vulnerability

Uncontrolled Fall: The character’s body crumples or falls in a heap. Without the ability to brace themselves, they are at risk for further injuries.

Exposed While Unconscious: While fainted, the character is vulnerable to their surroundings. This could lead to danger in the form of attackers, environmental hazards, or secondary injuries from their immediate environment.

Signs to Look For While Unconscious

Shallow Breathing: The character's breathing will typically become shallow or irregular while they’re unconscious.

Pale or Flushed Skin: Depending on the cause of fainting, a character’s skin may become very pale or flushed.

Twitching or Muscle Spasms: In some cases, fainting can be accompanied by brief muscle spasms or jerking movements.

5. Writing Different Types of Fainting

There are different types of fainting, and each can serve a distinct narrative purpose. The way a character faints can help enhance the scene's tension or emotion.

Sudden Collapse

In this case, the character blacks out without any warning. This type of fainting is often caused by sudden physical trauma or exhaustion.

No Warning: The character simply drops, startling both themselves and those around them.

Used in High-Tension Scenes: For example, a character fighting in a battle may suddenly collapse from blood loss, raising the stakes instantly.

Slow and Gradual Fainting

This happens when a character feels themselves fading, usually due to emotional stress or exhaustion.

Internal Monologue: The character might have time to realize something is wrong and reflect on what’s happening before they lose consciousness.

Adds Suspense: The reader is aware that the character is fading but may not know when they’ll drop.

Dramatic Fainting

Some stories call for a more theatrical faint, especially in genres like historical fiction or period dramas.

Exaggerated Swooning: A character might faint from shock or fear, clutching their chest or forehead before collapsing.

Evokes a Specific Tone: This type of fainting works well for dramatic, soap-opera-like scenes where the fainting is part of the tension.

6. Aftermath: How Characters Feel After Waking Up

When your character wakes up from fainting, they’re not going to bounce back immediately. There are often lingering effects that last for minutes—or even hours.

Physical Recovery

Dizziness and Nausea: Characters might feel off-balance or sick to their stomach when they first come around.

Headaches: A headache is a common symptom post-fainting, especially if the character hits their head.

Body Aches: Muscle weakness or stiffness may persist, especially if the character fainted for a long period or in an awkward position.

Emotional and Mental Impact

Confusion: The character may not remember why they fainted or what happened leading up to the event.

Embarrassment: Depending on the situation, fainting can be humiliating, especially if it happened in front of others.

Fear: Characters who faint from emotional shock might be afraid of fainting again or of the situation that caused it.

7. Writing Tips: Making It Believable

Writing a fainting scene can be tricky. If not handled properly, it can come across as melodramatic or unrealistic. Here are some key tips to ensure your fainting scenes are both believable and impactful.

Understand the Cause

First and foremost, ensure that the cause of fainting makes sense in the context of your story. Characters shouldn’t pass out randomly—there should always be a logical reason for it.

Foreshadow the Fainting: If your character is losing blood, suffering from dehydration, or undergoing extreme emotional stress, give subtle clues that they might pass out. Show their discomfort building before they collapse.

Avoid Overuse: Fainting should be reserved for moments of high stakes or significant plot shifts. Using it too often diminishes its impact.

Balance Realism with Drama

While you want your fainting scene to be dramatic, don’t overdo it. Excessively long or theatrical collapses can feel unrealistic.

Keep It Short: Fainting typically happens fast. Avoid dragging the loss of consciousness out for too long, as it can slow down the pacing of your story.

Don’t Always Save the Character in Time: In some cases, let the character hit the ground. This adds realism, especially if they’re fainting due to an injury or traumatic event.

Consider the Aftermath

Make sure to give attention to what happens after the character faints. This part is often overlooked, but it’s important for maintaining realism and continuity.

Lingering Effects: Mention the character’s disorientation, dizziness, or confusion upon waking up. It’s rare for someone to bounce back immediately after fainting.

Reactions of Others: If other characters are present, how do they react? Are they alarmed? Do they rush to help, or are they unsure how to respond?

Avoid Overly Romanticized Fainting

In some genres, fainting is used as a dramatic or romantic plot device, but this can feel outdated and unrealistic. Try to focus on the genuine physical or emotional toll fainting takes on a character.

Stay Away from Clichés: Avoid having your character faint simply to be saved by a love interest. If there’s a romantic element, make sure it’s woven naturally into the plot rather than feeling forced.

8. Common Misconceptions About Fainting

Fainting is often misrepresented in fiction, with exaggerated symptoms or unrealistic recoveries. Here are some common myths about fainting, and the truth behind them.

Myth 1: Fainting Always Comes Without Warning

While some fainting episodes are sudden, most people experience warning signs (lightheadedness, blurred vision) before passing out. This gives the character a chance to notice something is wrong before losing consciousness.

Myth 2: Fainting Is Dramatic and Slow

In reality, fainting happens quickly—usually within a few seconds of the first warning signs. Characters won’t have time for long speeches or dramatic gestures before collapsing.

Myth 3: Characters Instantly Bounce Back

Many stories show characters waking up and being perfectly fine after fainting, but this is rarely the case. Fainting usually leaves people disoriented, weak, or even nauseous for several minutes afterward.

Myth 4: Fainting Is Harmless

In some cases, fainting can indicate a serious medical issue, like heart problems or severe dehydration. If your character is fainting frequently, it should be addressed in the story as a sign of something more severe.

Looking For More Writing Tips And Tricks? 

Are you an author looking for writing tips and tricks to better your manuscript? Or do you want to learn about how to get a literary agent, get published and properly market your book? Consider checking out the rest of Quillology with Haya Sameer; a blog dedicated to writing and publishing tips for authors! While you’re at it, don’t forget to head over to my TikTok and Instagram profiles @hayatheauthor to learn more about my WIP and writing journey! 

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How to Write a Character Who Feels Like Throwing Up

When fear, dread, or guilt gets sickening—literally—your character is consumed with a gut-clenching feeling that something is very, very wrong. Here's how to write that emotion using more than the classic "bile rose to the back of their throat".

Start with the Stomach

This isn’t just about discomfort. It’s about a complete rebellion happening inside their body.

Their stomach twists like a knot that keeps pulling tighter

A cold sweat beads on their neck, their palms, their spine

Their insides feel sludgy, like everything they’ve eaten is suddenly unwelcome

They double over, not from pain, but because sitting still feels impossible

Add Sensory Overload

Vomiting isn’t just a stomach reaction—it’s the whole body.

Their mouth goes dry, and then too wet

Their jaw tightens, trying to contain it

A sudden heat blooms in their chest and face, overwhelming

The back of their throat burns—not bile, but the threat of it

Breathing becomes a conscious effort: in, out, shallow, sharp

Emotional Triggers

Nausea doesn’t always need a physical cause. Tie it to emotion for more impact:

Fear: The kind that’s silent and wide-eyed. They’re frozen, too sick to speak.

Guilt: Their hands are cold, but their face is flushed. Every memory plays like a film reel behind their eyes.

Shock: Something just snapped inside. Their body registered it before their brain did.

Ground It in Action

Don’t just describe the nausea—show them reacting to it.

They press a fist to their mouth, pretending it’s a cough

Their knees weaken, and they lean on a wall, pretending it’s just fatigue

They excuse themselves quietly, then collapse in a bathroom stall

They swallow, again and again, like that’ll keep everything down

Let the Consequences Linger

Even if they don’t actually throw up, the aftermath sticks.

A sour taste that won’t leave their mouth.

A pulsing headache

A body that feels hollowed out, shaky, untrustworthy

The shame of nearly losing control in front of someone else

Let Them Be Human

A character feeling like vomiting is vulnerable. It's real. It’s raw. It means they’re overwhelmed in a way they can’t hide. And that makes them relatable. You don’t need melodrama—you need truth. Capture that moment where the world spins, and they don’t know if it’s panic or flu or fear, but all they want is to get out of their own body for a second.

Don't just write the bile. Write the breakdown.

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Writing With Color – Featured Description Posts

Some of our most useful posts on describing People of Color, all in one place.

Words to Describe Hair

Words to Describe Skin Tone

Describing Asian Eyes

Describing Wide Noses

Describing Undead & Sick Dark Skin

Describing POC and Avoiding Caricatures

Describing Unnatural Skin Tones: Green

Describing Unnatural Skin Tones: Jaundice

Indicating Race of Characters (FAQ Questions #3-4)

Not Indicating Race at All – Note: You Probably Should

Praising Beauty Without Fetishizing

Describing Characters Without Othering

Olive Skin, Race and Ethnicity

Specific Description Posts  

Describing Skin as Swarthy (Spoiler alert: it’s sketchy)

Describing East Asian Skin as Porcelain (Spoiler alert: it’s also sketchy)

Describing Skin as Russet (Spoiler alert: it’s alright)

Describing PoC as Exotic (SA: it’s othering)

Describing Skin as Ebony (SA: it’s cliche)

Describing Natural Hair as Cloud-Like (SA: it’s cool)

Describing Black Hair as Unkempt (SA: it’s offensive)

Describing Black Hair as Kinky (SA: it depends)

Describing Skin as “Dark as Night” (SA: it also depends)

Describing Skin as Like Dirt or Soil (SA: See above)

Describing Skin as just “Dark.” (SA: it’s vague)

Describing Black Hair as “Nappy” (SA: it ain’t recommended)

Describing Skin With Food (SA: it’s a no-no)

–WWC