placetoscreamwritingthoughts

[placetoscreamwritingthoughts]

Writers: let's talk about how important it is to NOT take every bit of advice you see online. There will always be someone with a different process. Some people swear by plotting. Some people can't write if they plot things out in advance. Some people start with the characters, others start with the plot. What works for them might not work for you. If you want your manuscript to ever be finished, you have to take what serves you and leave what doesn't. 💜

– Beth Heyn (@/bethheynauthor)

[placetoscreamwritingthoughts]

[placetoscreamwritingthoughts]

Hey hey hey writers!!! Especially y'alls who are struggling to develop character or have white room/still character syndrome!!!

Look into Uta Hagen's acting techniques, specifically her 9 questions. I'm not kidding. She built off Stanislavski's techniques to help actors develop their characters and roles & bring that to the stage- specifically, and this is why I'm pushing Hagen specifically and not anyone else, their relationship with the set, props, other characters, setting (yes that's different from set), history and the play's plot, and how that changes how they act and speak. I have my textbook open I'll take some pictures.

If you need a transcript/image description I'll put it under the cut, they're a little blurry cause I'm bad at holding my phone... I know alt text is a thing but I don't want y'alls to have to scroll through a tiny box lmao.

[Image 1 alt text]

The lower part of a textbook page. The text reads:

Uta Hagen's acting exercises

[Out-of-transcript note: Most of these, with the exception of Three Entrances, are less useful in terms of writers, but you could make it work, especially for roleplay.]

Basic Object Exercise: Sometimes called "two minutes of daily life," this exercise requires the actor to replicate activities from their own daily routine in specific detail (think making breakfast or getting ready to go out). The goal of this exercise is to increase the actor's awareness of their un-observed behaviour.

Three Entrances: Starting offstage, the actor enters the environment of the scene. The actor's performance should answer three questions: What did I just do? What am I going to do? What is the first thing I want?

Immediacy: Hagen asked actors to search for a small object that they need. You can perform the exercise on a set or in your home. As you search, you should observe the behaviour and thoughts that arise as you authentically try to find something. The objective is to identify the thoughts, behaviours, and sensations you experience when you genuinely don't know the outcome, so you can use them on stage.

Fourth Side: This exercise starts with a phone call to a person you know. You should call them with a specific objective in mind. During the convention, Hagen wants you to focus on your surroundings and the specific objects that your eyes rest on. The purpose is to help actors observe how they interact with all dimensions of an enclosed physical space so they can recreate privacy on stage.

Endowment: this exercise is designed to help actors apply their observed behaviours to endow props with qualities that they cannot safely have on stage. Hot irons and sharp knives are typical examples. The Endowment excercise asks actors to believably treat objects on stage as though they have the qualities the actor needs in a scene.

Uta Hagen's exercises are her greatest gift to actors working today. She developed them between Broadway jobs to solve some acting problems she had never seen anyone tackle to her satisfaction. The result is that Hagen's exercises give actors a way to observe human behaviours and catalogue it so they can recall it onstage when useful in a role.

[Image 1 alt text end]

[Image 2 alt text]

Most of a textbook page. The image cuts off about 3 quarters of the way down the page. The text reads:

Uta Hagen's 9 Questions

Who am I? This question's answer includes all relevant details from name and age to physical traits, education, and beliefs.

What time is it? Depending on the scene, the most relevant measure of time can be the era, the season, the day, or even the specific minute.

Where am I? This answer covers the country, town, neighbourhood, room, or even the specific part of the room.

What surrounds me? Characters can be surrounded by anything from weather to furnishings, landscape or people.

What are the given circumstances? Given circumstances include what has happened, what is happening and what will happen to a character.

What are my relationships? Relationships can be with the other characters in the play, inanimate objects, or even recent events.

What do I want? Wants can be what the character desires in the moment, or in the overall course of the play. [Out-of-transcript note: I recommend figuring out both for writing, the former multiple times for whenever it changes! Outside of Hagen's technique, we call it objective and superobjective.]

What is in my way? This is the actor's chance to understand the obstacles the character must react to and overcome.

What do I do to get what I want? In Hagen's teaching, "do" means physical action.

Uta Hagen's nine questions help actors develop the granular details of their character's backstory. The questions come from Hagen's first book, "Respect for Acting," though in her later book, "A Challenge for the Actor," she condensed her original nine questions into six steps.

Uta Hagen's revised six steps to building a character are:

Who am I?

What are the circumstances?

What are my relationships?

What do I want?

What is my obstacle?

What do I do to get what I want?

Later in her life, Hagen distances herself from her first book and encouraged her students to rely on her second book, which she felt was clearer about her concepts. Both books are popular with acting teachers and students today, however. Hagen's questions and steps are the foundation for all of her acting exercises. Whether you rely on the nine questions or the six steps depends on personal preference.

[Image 2 alt text end]

Personally I like the 9 questions more, but like the book says, personal preference! So yeah, if you're a writer, try some of these out for your characters. :]

[placetoscreamwritingthoughts]

Zoom In, Don’t Glaze Over: How to Describe Appearance Without Losing the Plot

You’ve met her before. The girl with “flowing ebony hair,” “emerald eyes,” and “lips like rose petals.” Or him, with “chiseled jawlines,” “stormy gray eyes,” and “shoulders like a Greek statue.”

We don’t know them.

We’ve just met their tropes.

Describing physical appearance is one of the trickiest — and most overdone — parts of character writing. It’s tempting to reach for shorthand: hair color, eye color, maybe a quick body scan. But if we want a reader to see someone — to feel the charge in the air when they enter a room — we need to stop writing mannequins and start writing people.

So let’s get granular. Here’s how to write physical appearance in a way that’s textured, meaningful, and deeply character-driven.

1. Hair: It’s About Story, Texture, and Care

Hair says a lot — not just about genetics, but about choices. Does your character tame it? Let it run wild? Is it dyed, greying, braided, buzzed, or piled on top of her head in a hurry?

Good hair description considers:

Texture (fine, coiled, wiry, limp, soft)

Context (windblown, sweat-damp, scorched by bleach)

Emotion (does she twist it when nervous? Is he ashamed of losing it?)

Flat: “Her long brown hair framed her face.”

Better: “Her ponytail was too tight, the kind that whispered of control issues and caffeine-fueled 4 a.m. library shifts.”

You don’t need to romanticise it. You need to make it feel real.

2. Eyes: Less Color, More Connection

We get it: her eyes are violet. Cool. But that doesn’t tell us much.

Instead of focusing solely on eye color, think about:

What the eyes do (do they dart, linger, harden?)

What others feel under them (seen, judged, safe?)

The surrounding features (dark circles, crow’s feet, smudged mascara)

Flat: “His piercing blue eyes locked on hers.”

Better: “His gaze was the kind that looked through you — like it had already weighed your worth and moved on.”

You’re not describing a passport photo. You’re describing what it feels like to be seen by them.

3. Facial Features: Use Contrast and Texture

Faces are not symmetrical ovals with random features. They’re full of tension, softness, age, emotion, and life.

Things to look for:

Asymmetry and character (a crooked nose, a scar)

Expression patterns (smiling without the eyes, habitual frowns)

Evidence of lifestyle (laugh lines, sun spots, stress acne)

Flat: “She had a delicate face.”

Better: “There was something unfinished about her face — as if her cheekbones hadn’t quite agreed on where to settle, and her mouth always seemed on the verge of disagreement.”

Let the face be a map of experience.

4. Bodies: Movement > Measurement

Forget dress sizes and six packs. Think about how bodies occupy space. How do they move? What are they hiding or showing? How do they wear their clothes — or how do the clothes wear them?

Ask:

What do others notice first? (a presence, a posture, a sound?)

How does their body express emotion? (do they go rigid, fold inwards, puff up?)

Flat: “He was tall and muscular.”

Better: “He had the kind of height that made ceilings nervous — but he moved like he was trying not to take up too much space.”

Describing someone’s body isn’t about cataloguing. It’s about showing how they exist in the world.

5. Let Emotion Tint the Lens

Who’s doing the describing? A lover? An enemy? A tired narrator? The emotional lens will shape what’s noticed and how it’s described.

In love: The chipped tooth becomes charming.

In rivalry: The smirk becomes smug.

In mourning: The face becomes blurred with memory.

Same person. Different lens. Different description.

6. Specificity is Your Superpower

Generic description = generic character. One well-chosen detail creates intimacy. Let us feel the scratch of their scarf, the clink of her earrings, the smudge of ink on their fingertips.

Examples:

“He had a habit of adjusting his collar when he lied — always clockwise, always twice.”

“Her nail polish was always chipped, but never accidentally.”

Make the reader feel like they’re the only one close enough to notice.

Describing appearance isn’t just about what your character looks like. It’s about what their appearance says — about how they move through the world, how others see them, and how they see themselves.

Zoom in on the details that matter. Skip the clichés. Let each description carry weight, story, and emotion. Because you’re not building paper dolls. You’re building people.

[placetoscreamwritingthoughts]

Writing Advice that Will Save You from Crying over Chapter 3 Again

☽ Sometimes “writer’s block” is actually just your story being broken and your brain knowing before you do. Respect the vibes, go back. Something stinks.

☽ If you’re stuck in the middle, skip to the part you’re excited to write. Chronological writing is a suggestion, not a law.

☽ “Kill your darlings” is not about deleting every cool thing you love. It’s about not hoarding scenes like a dragon with dialogue you wrote in 2017 that doesn’t even make sense anymore.

☽ You do not need to write like your favorite author. You need to write like you, caffeinated and slightly unstable.

☽ Talking to yourself in the mirror as your character is not weird. It’s called method writing. You’re not unhinged, you’re dedicated.

☽ Aesthetic Pinterest boards and playlists are writing progress if they make you feel like a god again.

☽ You can write the climax before you finish Act 1. You can rewrite Chapter 1 thirty times and then delete it anyway. You’re not behind, you’re in hell with the rest of us.

You’re allowed to write stuff that’s not “marketable.” You’re allowed to be weird. Write the story that would make you feel seen. The niche finds its freaks.

☽ Beta readers are not gods. Take what resonates, ignore what doesn’t. If five people say your story drags at Chapter 8? Maybe listen. If one person says “make it all about the dog,” maybe don’t.

[placetoscreamwritingthoughts]

🍖 How to Build a Culture Without Just Inventing Spices and Necklaces

(a worldbuilding roast. with love.)

So. You’re building a fantasy world, and you’ve just invented: → Three types of ceremonial jewelry → A spice that tastes like cinnamon if it were bitter and cursed → A holiday where everyone wears gold and screams at dawn

Cute. But that’s not culture. That’s aesthetics.

And if your worldbuilding is all outfits, dances, and spice blends with vaguely mystical names, your story’s probably going to feel like a cosplay convention held inside a Pinterest board.

Here’s how to fix that—aka: how to build a real, functioning culture that shapes your story, not just its vibes.

─────── ✦ ───────

🔗 Culture Is Built on Power, Not Just Style

Ask yourself: → Who’s in charge, and why? → Who has land? Who doesn’t? → What’s considered taboo, sacred, or punishable by death?

Culture is shaped by who gets to make the rules and who gets crushed by them. That’s where things like religion, family structure, class divisions, gender roles, and social expectations actually come from.

Start there. Not at the embroidery.

─────── ✦ ───────

2.🪓 Culture Comes From Conflict

Did this society evolve peacefully? Was it colonized? Did it colonize? Was it rebuilt after a war? Is it still in one?

→ What was destroyed and mythologized? → What do the survivors still whisper about? → What do children get taught in school that’s… suspiciously sanitized?

No culture is neutral. Every tradition has a history, and that history should taste like blood, loss, or propaganda.

─────── ✦ ───────

3.🧠 Belief Systems > Customs Lists

Sure, rituals and holidays are cool. But what do people believe about: → Death? → Love? → Time? → The natural world? → Justice?

Example: A society that believes time is cyclical vs. one that sees time as linear will approach everything—from prison sentences to grief—completely differently.

You don’t need to invent 80 gods. You need to know what those gods mean to the people who pray to them.

─────── ✦ ───────

4.🫀 Culture Controls Behavior (Quietly)

Culture shows up in: → What people apologize for → What insults cut deepest → What people are embarrassed about → What’s praised publicly vs. what’s hidden privately

For instance: → A culture obsessed with stoicism won’t say “I love you.” They’ll say “Have you eaten?” → A culture built on legacy might prioritize ancestor veneration, archival writing, name inheritance.

This stuff? Way more immersive than giving everyone matching earrings.

─────── ✦ ───────

5. 🏠 Culture = Daily Life, Not Just Festivals

Sure, your MC might attend a funeral where people paint their faces blue. But what about: → Breakfast routines? → How people greet each other on the street? → Who cooks, and who eats first? → What’s considered “clean” or “proper”? → How is parenting handled? Divorce?

Culture is what happens between plot points. It should shape your character’s assumptions, language, fears, and habits—whether or not a festival is going on.

─────── ✦ ───────

6. 💬 Let Your Characters Disagree With Their Own Culture

A culture isn’t a monolith.

Even in deeply traditional societies, people: → Rebel → Question → Break rules → Misinterpret laws → Mock sacred things → Act hypocritically → Weaponize or resist what’s expected

Let your characters wrestle with the culture around them. That’s where realism (and tension) lives.

─────── ✦ ───────

7.🧼 Beware the “Pretty = Good” Trap

Worldbuilding gets boring fast when: → The protagonist’s homeland is beautiful and pure → The enemy’s culture is dark and “barbaric” → Every detail just reinforces who the reader should like

You can—and should—challenge the aesthetic hierarchy. → Let ugly things be beloved. → Let beautiful things be corrupt. → Let your MC romanticize their culture and then get disillusioned by it later.

─────── ✦ ───────

📍 TL;DR (but like, spicy): → Culture is not food and jewelry. → Culture is power, fear, memory, contradiction. → Stop inventing spices until you know who starved last winter. → Let your world feel lived in, not curated.

The best cultural worldbuilding doesn’t look like a list. It feels like a system. A pressure. A presence your characters can’t escape—even if they try.

Now go. Build something real. (You can add spices later.)

—rin t. // writing advice for worldbuilders with rage and range // thewriteadviceforwriters

Sometimes the problem isn’t your plot. It’s your first 5 pages. Fix it here → 🖤 Free eBook: 5 Opening Pages Mistakes to Stop Making:

🕯️ download the pack & write something cursed:

[placetoscreamwritingthoughts]

What to give a fuck about,while writing your first draft!

I`ve posted a list about things you don´t need to give a fuck about while writing your first draft. Here are things you NEED TO CARE about! (in my opinion)

Your Authentic Voice: Don't let the fear of judgment or comparison stifle your unique voice. I know it´s hard,but try to write from your heart, and don't worry about perfection in the first draft. Let your authenticity shine through your words.

Your Story, Your Way: It's your narrative, your world, and your characters. Don't let external expectations or trends dictate how your story should unfold. Write the story you want to tell.

Progress Over Perfection: Your first draft is not the final product; it's the raw material for your masterpiece. Give a fuck about making progress, not achieving perfection. Embrace imperfections and understand that editing comes later.

Consistency and Routine: Discipline matters. Make a commitment to your writing routine and stick to it.

Feedback and Growth: While it's essential to protect your creative space during the first draft, be open to constructive feedback later on. Giving a f*ck about growth means you're willing to learn from others and improve your work.

Self-Compassion: Mistakes, writer's block, and self-doubt are all part of the process. Give a f*ck about being kind to yourself. Don't beat yourself up if the words don't flow perfectly every time. Keep pushing forward and remember that writing is a journey.

Remember, the first draft is your canvas, your playground. Don't bog yourself down with unnecessary worries.

[placetoscreamwritingthoughts]

Fantasy Guide to Political Structures

A Horse! A Horse! My X for a Horse!

Let's be honest, fantasy authors love their kingdoms and empires. You can throw a rock in a bookshop or a library in the fantasy section and you will 99.99999% hit a fantasy book that will be set in or mention either of those structures. But what are they really? What's the difference between them all? Are there any more examples of structures that would suit your WIP better? Are you using the right terms? Let's have a closer look.

Duchy

A Duchy is a small territory ruled by a Duke/Duchess. While Duchies can be found in kingdoms, some duchies were sovereign states in their own right. Duchies are usually small by land mass but some duchies such as Burgundy were extremely powerful and influential. Independent Duchies were usually apart of a kingdom but grew so powerful that they eventually broke away to become a sovereign state in their own right. An example would be modern day Luxembourg, historic Milan and Burgundy.

Principality

A principality is territory ruled by a Prince/Princess. A principality is typically smaller than a kingdom and in some instances, can be apart of a larger kingdom or be a sovereign state. Principalities have a history of having broken away from a larger kingdom or eventually becoming apart of a kingdom. A principality within a kingdom is ruled by a Prince/Princess, usually an heir of the monarch and can be used to train them up to assume the throne in the future. Examples include Monaco, Liechtenstein and Andorra.

Kingdom

A sovereign state/country that is ruled by ruling King or a Queen. A kingdom is much larger and more powerful than a principality. Kingdoms can be feudal, meaning they are ruled in a strict hierarchy or an autocracy where the monarch rules alone with minimal input from the government or constitutional where the monarch is more of a figurehead and the government has a good chunk of control. Examples include England, Thailand and modern day Spain.

Commonwealth

A Commonwealth isn't a popular choice in fantasy but it is an interesting structure. A Commonwealth in its most basic form is a collection of states that are linked by either a shared culture or history. A Commonwealth can be a politically power or an economic power, with every state allowed to participate as much as they like. Not one state leads the others, it is all one group of equals. A Commonwealth can be a good idea for a group of nations that are more powerful together with them keeping their own independence.

Federation

A Federation is a political structure that is made up of united states or countries that are under a single government but each state is still independent and rules itself. Each state can have different laws, different cultures and economies but they all answer to the single government. Examples include the United States of America.

Republic

A Republic is a territory that is ruled by leaders and heads of state that have been elected on merit and by choice of the people. Republics are not just countries but can also be much smaller areas such as cities. Republics are democratic in nature, with the people having a say in who leads them in accordance to a constitution. There are many kinds of Republic: presidential, parliamentary, federal, theocratic, unitary. Examples of Republics include the Republic of Ireland and the city of Florence.

Protectorate

A Protectorate is a country/region/territory that is independent but relies on a larger, more powerful state for protection either in a military or diplomatic sense. A Protectorate was often used by Empires in order to maintain control over an area without annexing it. There are many reasons a larger state and the protectorate would agree to this, mainly the protectorate is much smaller meaning it is far more vulnerable to attack or it has very little power when compared to other states. A Protectorate allows the territory some power to rule itself but the larger state may feel the need or desire to interfere in the dealings of the territory. Examples of protectorates include the client kingdoms of the Roman Empire like Egypt before its annexation and Puerto Rico.

Empire

An Empire is a collection of nations that are united under one sovereign head of state or government. An Empire is formed by one nation steadily taking control of other nations, either through straight invasion and colonization or acquiring them through marriage and other less violent ways. An Empire is powerful mainly because it can drum up more resources, more influence and more military power. An Empire might impose the traditions, beliefs and culture of its principal nation - the nation that started it all - onto its colonies for better control and feeling of uniformity. Empires never last, that is something to always remember. Empires will eventually fragment due to the vast size and sometimes revolt among the conquered states. Examples of empires include the Roman Empire, the Byzantine Empire, the Ottoman Empire.

[placetoscreamwritingthoughts]

there’s a thing I think about sometimes when I’m writing that I call ‘the rabies condition’

by which I mean: there are no contraindications to getting the rabies vaccine for post-exposure prophylaxis.

every other vaccine usually has a few contraindications like ‘don’t take this if you’re allergic to it’ or ‘if you’re pregnant discuss the risks and benefits with your doctor’ or ‘don’t give to children below age 6′ or something, but not the rabies vaccine. if you’ve been exposed to rabies, there is literally no medical reason that can justify not getting the rabies vaccine–you can be deadly allergic to literally every single ingredient and the correct decision is still to administer the vaccine, because if you don’t, you’re 100% guaranteed to die of rabies. even the life-threatening allergies are a step up in survival rate (especially since anaphylaxis is something that can be managed, even if there are risks associated with it)

which is to say, the rabies condition: if a character has been ‘exposed to rabies’, aka, in some impending absolute worst-case scenario, like the apocalypse or some death curse or the destruction of their entire city via demons or whatever, then that character has to take action and the consequences and risks no longer matter, because literally any other outcome would be better, and 1% chance of survival is still better than 0%. that doesn’t make those actions necessarily good, the same way that injecting yourself with something you know you’re deadly allergic not a good thing to do, but it’s still better than dying horrifically of rabies. desperate times and desperate measures etc

and then, after your character’s prevented some horrible thing by doing some almost equally bad thing, they should absolutely experience the consequences of those choices.

[placetoscreamwritingthoughts]

characters who are so inauthentic. characters who only show what they want other people to see of them. characters who simply must have control over every part of themselves. do you even get it

[placetoscreamwritingthoughts]

Things That May Be Causing Your Writer's Block- and How to Beat Them

I don't like the term 'Writer's Block' - not because it isn't real, but because the term is so vague that it's useless. Hundreds of issues all get lumped together under this one umbrella, making writer's block seem like this all-powerful boogeyman that's impossible to beat. Worse yet, it leaves people giving and receiving advice that is completely ineffective because people often don't realize they're talking about entirely different issues.

In my experience, the key to beating writer's block is figuring out what the block even is, so I put together a list of Actual Reasons why you may be struggling to write:

(note that any case of writer's block is usually a mix of two or more)

Perfectionism (most common)

What it looks like:

You write one sentence and spend the next hour googling "synonyms for ___"

Write. Erase. Write. Rewrite. Erase.

Should I even start writing this scene when I haven't figured out this one specific detail yet?

I hate everything I write

Cringing while writing

My first draft must be perfect, or else I'm a terrible writer

Things that can help:

Give yourself permission to suck

Keep in mind that nothing you write is going to be perfect, especially your first draft

Think of writing your first/early drafts not as writing, but sketching out a loose foundation to build upon later

People write multiple drafts for a reason: write now, edit later

Stop googling synonyms and save that for editing

Write with a pen to reduce temptation to erase

Embrace leaving blank spaces in your writing when you can't think of the right word, name, or detail

It's okay if your writing sucks. We all suck at some point. Embrace the growth mindset, and focus on getting words on a page

Lack of inspiration (easiest to fix)

What it looks like:

Head empty, no ideas

What do I even write about???

I don't have a plot, I just have an image

Want to write but no story to write

Things that can help:

Google writing prompts

If writing prompts aren't your thing, instead try thinking about what kind of tropes/genres/story elements you would like to try out

Instead of thinking about the story you would like to write, think about the story you would like to read, and write that

It's okay if you don't have a fully fleshed out story idea. Even if it's just an image or a line of dialogue, it's okay to write that. A story may or may not come out of it, but at least you got the creative juices flowing

Stop writing. Step away from your desk and let yourself naturally get inspired. Go for a walk, read a book, travel, play video games, research history, etc. Don't force ideas, but do open up your mind to them

If you're like me, world-building may come more naturally than plotting. Design the world first and let the story come later

Boredom/Understimulation (lost the flow)

What it looks like:

I know I should be writing but uugggghhhh I just can'tttttt

Writing words feels like pulling teeth

I started writing, but then I got bored/distracted

I enjoy the idea of writing, but the actual process makes me want to throw my laptop out the window

Things that can help:

Introduce stimulation: snacks, beverages, gum, music such as lo-fi, blankets, decorate your writing space, get a clickity-clackity keyboard, etc.

Add variety: write in a new location, try a new idea/different story for a day or so, switch up how you write (pen and paper vs. computer) or try voice recording or speech-to-text

Gamify writing: create an arbitrary challenge, such as trying to see how many words you can write in a set time and try to beat your high score

Find a writing buddy or join a writer's group

Give yourself a reward for every writing milestone, even if it's just writing a paragraph

Ask yourself whether this project you're working on is something you really want to be doing, and be honest with your answer

Intimidation/Procrastination (often related to perfectionism, but not always)

What it looks like:

I was feeling really motivated to write, but then I opened my laptop

I don't even know where to start

I love writing, but I can never seem to get started

I'll write tomorrow. I mean next week. Next month? Next month, I swear (doesn't write next month)

Can't find the time or energy

Unreasonable expectations (I should be able to write 10,000 words a day, right????)

Feeling discouraged and wondering why I'm even trying

Things that can help:

Follow the 2 min rule (or the 1 paragraph rule, which works better for me): whenever you sit down to write, tell yourself that you are only going to write for 2 minutes. If you feel like continuing once the 2 mins are up, go for it! Otherwise, stop. Force yourself to start but DO NOT force yourself to continue unless you feel like it. The more often you do this, the easier it will be to get started

Make getting started as easy as possible (i.e. minimize barriers: if getting up to get a notebook is stopping you from getting started, then write in the notes app of your phone)

Commit to a routine that will work for you. Baby steps are important here. Go with something that feels reasonable: every day, every other day, once a week, twice a week, and use cues to help you remember to start. If you chose a set time to write, just make sure that it's a time that feels natural to you- i.e. don't force yourself to writing at 9am every morning if you're not a morning person

Find a friend or a writing buddy you can trust and talk it out or share a piece of work you're proud of. Sometimes we just get a bit bogged down by criticism- either internal or external- and need a few words of encouragement

The Problem's Not You, It's Your Story (or Outline (or Process))

What it looks like:

I have no problems writing other scenes, it's just this scene

I started writing, but now I have no idea where I'm going

I don't think I'm doing this right

What's an outline?

Drowning in documents

This. Doesn't. Make. Sense. How do I get from this plot point to this one?!?!?! (this ColeyDoesThings quote lives in my head rent free cause BOY have I been there)

Things That Can Help:

Go back to the drawing board. Really try to get at the root of why a scene or story isn't working

A part of growing as a writer is learning when to kill your darlings. Sometimes you're trying to force an idea or scene that just doesn't work and you need to let it go

If you don't have an outline, write one

If you have an outline and it isn't working, rewrite it, or look up different ways to structure it

You may be trying to write as a pantser when you're really a plotter or vice versa. Experiment with different writing processes and see what feels most natural

Study story structures, starting with the three act structure. Even if you don't use them, you should know them

Check out Ellen Brock on YouTube. She's a professional novel editor who has a lot of advice on writing strategies for different types of writers

Also check out Savage Books on YouTube (another professional story editor) for advice on story structure and dialogue. Seriously, I cannot recommend this guy enough

Executive Dysfunction, Usually From ADHD/Autism

What it looks like:

Everything in boredom/understimulation

Everything in intimidation/procrastination

You have been diagnosed with and/or have symptoms of ADHD/Autism

Things that can help:

If you haven't already, seek a diagnosis or professional treatment

Hire an ADHD coach or other specialist that can help you work with your brain (I use Shimmer; feel free to DM me for a referral)

Seek out neurodiverse communities for advice and support

Try body doubling! There's lot's of free online body doubling websites out there for you to try. If social anxiety is a barrier, start out with writing streams such as katecavanaughwrites on Twitch

Be aware of any sensory barriers that may be getting in the way of you writing (such as an uncomfortable desk chair, harsh lighting, bad sounds)

And Lastly, Burnout, Depression, or Other Mental Illness

What it looks like:

You have symptoms of burnout or depression

Struggling with all things, not just writing

It's more than a lack of inspiration- the spark is just dead

Things that can help:

Forget writing for now. Focus on healing first.

Seek professional help

If you feel like it, use writing as a way to explore your feelings. It can take the form of journaling, poetry, an abstract reflection of your thoughts, narrative essays, or exploring what you're feeling through your fictional characters. The last two helped me rediscover my love of writing after I thought years of depression had killed it for good. Just don't force yourself to do so, and stop if it takes you to a darker place instead of feeling cathartic

[placetoscreamwritingthoughts]

Emotional Walls Your Character Has Built (And What Might Finally Break Them)

(How your character defends their soft core and what could shatter it) Because protection becomes prison real fast.

✶ Sarcasm as armor. (Break it with someone who laughs gently, not mockingly.) ✶ Hyper-independence. (Break it with someone who shows up even when they’re told not to.) ✶ Stoicism. (Break it with a safe space to fall apart.) ✶ Flirting to avoid intimacy. (Break it with real vulnerability they didn’t see coming.) ✶ Ghosting everyone. (Break it with someone who won’t take silence as an answer.) ✶ Lying for convenience. (Break it with someone who sees through them but stays anyway.) ✶ Avoiding touch. (Break it with accidental, gentle contact that feels like home.) ✶ Oversharing meaningless things to hide real depth. (Break it with someone who asks the second question.) ✶ Overworking. (Break it with forced stillness and the terrifying sound of their own thoughts.) ✶ Pretending not to care. (Break it with a loss they can’t fake their way through.) ✶ Avoiding mirrors. (Break it with a quiet compliment that hits too hard.) ✶ Turning every conversation into a joke. (Break it with someone who doesn’t laugh.) ✶ Being everyone’s helper. (Break it when someone asks what they need, and waits for an answer.) ✶ Constantly saying “I’m fine.” (Break it when they finally scream that they’re not.) ✶ Running. Always running. (Break it with someone who doesn’t chase, but doesn’t leave, either.) ✶ Intellectualizing every feeling. (Break it with raw, messy emotion they can’t logic away.) ✶ Trying to be the strong one. (Break it when someone sees the weight they’re carrying, and offers to help.) ✶ Hiding behind success. (Break it when they succeed and still feel empty.) ✶ Avoiding conflict at all costs. (Break it when silence causes more pain than the truth.) ✶ Focusing on everyone else’s healing but their own. (Break it when they hit emotional burnout.)

[placetoscreamwritingthoughts]

Character who's so emotionally repressed that when they get drugged with a love potion everyone thinks they're immune

[placetoscreamwritingthoughts]

how much do i care that some of this shit is going to repeat. i'm literally telling people up front "hey this is the short and sweet version, and this other one is the deluxe angst edition"

[placetoscreamwritingthoughts]

i'm definitely hammering away at this WIP!!!!! did some good connective work at the beginning and end of one, started trying to re-draft an extremely important line in the other. i prob should be resting now whoops

[placetoscreamwritingthoughts]

turns put the hurt/comfort fic i wrote today is a good bedtime story :) delivers the warm and fuzzy with only a hint of questions :)

now.... i just hope it isn't somehow better than the other one i wrote ... well i have at least a week to make that one better!!!!

[placetoscreamwritingthoughts]

secretly hoping my brain throws small and achievable hana/yuko fic ideas at me :)

i mean of course i have other projects to juggle. but like.... more fun ideas to add to the rotation