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12kl23 · 22 days ago

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When Should You Describe a Character’s Appearance? (And When You Really, Really Shouldn’t)

It’s one of the first instincts writers have: describe your character. What they look like, what they wear, how they move. But the truth is — readers don’t need to know everything. And more importantly, they don’t want to know everything. At least, not all at once. Not without reason.

Let’s talk about when to describe a character’s appearance, how to do it meaningfully, and why less often says more.

1. Ask: Who Is Seeing Them? And Why Now?

The best descriptions are filtered through a perspective. Who’s noticing this character, and what do they see first? What do they expect to see, and what surprises them?

She looked like someone who owned every book you were supposed to have read in school. Glasses slipping down her nose. Sharp navy coat, sensible shoes, and an air of knowing too much too soon.

Now we’re not just learning what she looks like — we’re learning how she comes across. That tells us more than eye color ever could.

2. Use Appearance to Suggest Character, Not List Facts

Avoid long physical checklists. Instead, choose a few details that do double work — they imply personality, history, class, mood, or context.

Ineffective: She had long, wavy brown hair, green eyes, a small nose, and full lips. She wore jeans and a white shirt.

Better: Her hair was tied back like she hadn’t had time to think about it. Jeans cuffed, a shirt buttoned wrong. Tired, maybe. Or just disinterested.

You don’t need to know her exact features — you feel who she is in that moment.

3. Know When It’s Not the Moment

Introducing a character in the middle of action? Emotion? Conflict? Don’t stop the story for a physical description. It kills momentum.

Instead, thread it through where it matters.

He was pacing. Long-legged, sharp-shouldered — he didn’t seem built for waiting. His jaw kept twitching like he was chewing on the words he wasn’t allowed to say.

We learn about his build and his mood and his internal tension — all in motion.

4. Use Clothing and Gesture as Extension of Self

What someone chooses to wear, or how they move in it, says more than just what’s on their body.

Her sleeves were too long, and she kept tucking her hands inside them. When she spoke, she looked at the floor. Not shy, exactly — more like someone used to being half-disbelieved.

This is visual storytelling with emotional weight.

5. Finally: Describe When It Matters to the Story, Not Just the Reader

Are they hiding something? Trying to impress? Standing out in a crowd? Use appearance when it helps shape plot, stakes, or power dynamics.

He wore black to the funeral. Everyone else in grey. And somehow, he still looked like the loudest voice in the room.

That detail matters — it changes how we see him, and how others react to him.

TL;DR:

Don’t info-dump descriptions.

Filter visuals through a point of view.

Prioritize impression over inventory.

Describe only what tells us more than just what they look like — describe what shows who they are.

Because no one remembers a checklist.

But everyone remembers the girl who looked like she’d walked out of a forgotten poem.

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12kl23 · 22 days ago

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Character Names Masterpost

How to choose a first name

How to choose a last name

How to name a character

How to use nicknames

List of Names

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12kl23 · 23 days ago

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Avoiding the “Mary Sue” trap while creating characters.

A “Mary Sue” is that charact. Perfect; bends the story to their will, faces no meaningful struggles, and often feels too idealized to be relatable. The thing I like most is when an author makes a character, a situation, a scene, realistic. I like heavy realism in my books. I know we read to escape reality, but there's a way to do that.

1. Give Them Flaws Not the checklist kind. Not "clumsy" or "bad at math" unless that genuinely bleeds into who they are and how they move through the world. I mean the kind of flaws that crack open relationships. That drive certain choices. That make you want to shake them. Flaws should cost them something. Otherwise, they’re decoration.

2. Let Them Fail Failure is the most human thing. It brings shame, doubt, growth, all the stuff that makes a character feel alive. Let them try, and stumble. Let them mess up something important. Let them hurt people and not know how to fix it. Failure opens narrative doors that perfection just slams shut.

3. Don’t Make Everyone Love Them If every side character is just there to admire your MC, you’re not writing a story—you’re writing propaganda. Let people mistrust them. Let some hate them. Not everyone sees the same version of a person. Maybe someone sees behind their act, maybe someone’s immune to their charm. That gives perspective.

4. Make Their Skills Believable A skill with no backstory is just plot armor. If they're good at something, show why. Time. Training. Failure. Maybe they’re not even the best—just someone who works harder than they should have to. That’s infinitely more compelling than someone who just is talented for no reason.

5. Avoid Overloading Them With Traits They don’t need to be smart, funny, hot, tragic, a prodigy, a rebel, and an empath who bakes when sad. Choose what matters. Strip it down to the few traits that define them, the ones they carry into every scene. Complexity is about layers, not a pile of labels.

6. Give Them Internal Conflict We all contradict ourselves. That’s the beauty of it. Your character should wrestle with decisions. Regret them. Say one thing and feel another. Inner conflict is what separates a walking trope from a person we believe in.

7. Let the Plot Push Back The world shouldn’t bend for your character. The plot should push them, break them, make them bleed for the win. Their goals should cost something. The story isn’t just their playground—it’s the pressure cooker where they get tested. If they’re never cornered, what’s the point?

8. Ensure They Don’t Eclipse the Entire Cast Other characters are not props. Give them wants, voices, limits. They don’t exist to spotlight the protagonist—they exist to breathe life into the story. And your MC is more interesting when they’re surrounded by people who push them, contradict them, challenge them.

9. Avoid Unrealistic Morality Nobody’s always right. And honestly, it’s annoying when they are. Let them justify things that aren’t justifiable. Let them fail to see another perspective. Let them believe they’re in the right—until they’re not. Give them a compass that doesn’t always point true north.

10. Make Them Struggle to Earn Trust Trust is a slow build. People remember hurt. They hesitate. Let your MC do the work—prove themselves, fail, rebuild. Trust earned over time is more satisfying than instant loyalty that comes out of nowhere.

I hate perfect characters. Especially when it’s pretend perfection. Like what do you mean he has abs when he has no time to workout? Like what do you mean she is so put together all the time? In this economy?

let's write something raw, something realistic.

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12kl23 · 30 days ago

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When a Character Feels Like They’re Losing Control

(Emotionally. Mentally. Internally. Completely.)

There’s a quiet kind of horror that comes with realizing you’re not okay and can’t fix it. When a character starts unraveling, it doesn’t always look like screaming or smashing things. Sometimes it’s the slow, subtle slipping of the reins...

╰ They overcompensate. Suddenly everything needs to be spotless, perfect, hyper-organized. Their planner is full, their schedule is packed, their smile is pinned on too tight. It’s not control, it’s panic dressed up in structure.

╰ They talk faster, louder or stop talking at all. They dominate conversations so they don’t have to think. Or they fall silent because words feel too risky. Either way, their voice is no longer safe territory.

╰ They get weird about small decisions. Choosing a sandwich becomes a full-body crisis. What should be easy isn’t, because nothing feels certain. It’s not about the sandwich. It’s about everything spinning too fast.

╰ They feel detached. Like they’re watching their life from a distance. They float above the room, disconnected from themselves, and laugh at things they don’t really find funny.

╰ They lash out in ways that don’t fit the moment. It’s never really about what triggered them. They explode over the dishes, or cry because someone asked if they’re okay. Their emotions are no longer matching the moment.

╰ They start avoiding mirrors. They don’t want to look at themselves, because they know. They know something’s off. They know their smile doesn’t reach their eyes. And they can’t face that truth yet.

╰ They apologize too much or not at all. They either spiral into guilt, overexplaining everything. Or they shut off and go stone-cold, too afraid that acknowledging the damage will make it real.

╰ They miss things. Conversations. Appointments. Easy tasks. Their brain is overwhelmed, trying to hold it together, and things slip through the cracks. And when they realize it, they panic more.

╰ They crave control but trust no one. They don’t delegate, don’t ask for help, because what if that help makes it worse? Trusting someone means letting go, and that’s the scariest thing of all right now.

╰ They feel like a passenger in their own life. There’s a version of them who used to be present. Who felt joy. Who wasn’t this… numb, terrified shell. And they don’t know where that person went, or how to bring them back.

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12kl23 · 1 month ago

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Writing is like a hard video game level

You’re bitching and screaming at the screen as you try and fail to make progress

But when someone concernedly suggests you take a break?

“Oh no, it’s fun and relaxing!”

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12kl23 · 1 month ago

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When a Character Is Grieving Someone They Never Got to Say Goodbye To

✧ They talk about the person in past tense… then correct themselves. Then stop talking entirely.

✧ They touch things that belonged to the person like they’re fragile, sacred, about to disappear.

✧ They hoard the last voicemail, last message, last anything. Play it. Don’t play it. Just knowing it exists hurts enough.

✧ They leave something untouched, an empty seat, a half-packed bag, a coffee order that isn’t theirs.

✧ They get irrationally angry when someone else seems to be “moving on.” As if forgetting is betrayal.

✧ They don’t let themselves cry all at once. It comes in pieces. Like they’re afraid too much grief will drown them.

✧ They over-apologize. For being quiet. For being distant. For not being okay.

✧ They become hyper-aware of time, dates, anniversaries, time zones, the exact moment everything ended.

✧ They get superstitious. Ritualistic. As if doing things "right" might reverse something.

✧ They smile when they talk about the person. But it’s brittle. And it never quite touches their eyes.

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12kl23 · 1 month ago

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How I Made Loneliness Feel Like a Lifestyle Choice

What it means to live inside pauses, and why I still think solitude is sexier when no one notices it’s deliberate. (from my Substack)

Everything smelled like rain, and I thought that was enough. It reminded me of the garden after someone had hosed it down. I didn't grow up around cities, but they always seemed to tolerate me. I think I liked being somewhere that didn't know my name, but still assumed I belonged.

Striped sweaters, pleated skirts, tangled headphones, clothes that made me feel like I was always en route to class. Or auditioning for a French indie film. Moving through a city of lights that buzzed louder than conversations, a dull, constant hum that never really stopped, even when the streets emptied or the shops pulled down their metal shutters. I moved through it the way you walk through static: alert, but blurred around the edges. Roaming through busy stations, empty cafés, quiet library aisles, the kind of spaces that were public but impersonal, where everyone passed through but no one stayed long enough to be noticed.

I knew the schedule of trains I wasn't taking, the smell of pastries I never bought, the sound of my own shoes across polished floors. I always wondered what it would feel like to walk in and choose something without thinking, to point at a donut, maybe, and eat it right there. Like a normal person. Like someone with blood sugar, zero shame, and no existential beef with breakfast. But I'm very strict with myself. I'd linger just long enough to let the air hit, warm sugar, butter, vanilla rising from trays behind glass—and then I'd keep walking like it hadn't crossed my mind.

I wasn't running out of anything. That's what made the slowness feel indulgent, not dangerous. Being there didn't serve a purpose, and maybe that's why it felt like a secret, like I was getting away with something small and private, a softness no one had to witness. I came from a world that didn't use public transport. That's probably why I liked it, the quiet subversion of being somewhere unchauffeured. Sitting alone felt earned. Watching the city move without me in it felt like a choice.

I liked places where no one stayed long, where nothing stuck. Where it was normal to be alone, to be quiet, to be looking down at nothing in particular, most of it passed without detail. Just motion. Noise, breath, movement. The lift of a coat sleeve. The scratch of a chair leg on tile.

I wasn't trying to stand out. But I didn't want to vanish into the wallpaper either. I wanted to be the kind of girl you looked at twice, but never remembered why. I wanted to be looked at without having to speak. The kind of presence that makes people wonder but not ask. I think I learned that posture in school, that specific neutrality. Just polished enough to blend in with the ones who mattered, just distant enough to never be mistaken for someone waiting to belong. I walked like I knew where I was going, even when I didn't. That was usually enough. It worked 90% of the time. The other 10%, I accidentally stumbled into a linguistics conference breakroom or a storage unit filled with mannequins missing their hands, with no recollection of how I had ended up there.

No one talks about how loud fluorescent lights are until you've been under them too long. And I was under them a lot. Not because I had anywhere to be, but more because they were always on in the places I ended up. They flickered sometimes, but mostly they just buzzed, high, steady, and inescapable. You don't notice it at first. But then it's all you can hear, like the sound is inside your head, not around it. It doesn't hurt, exactly. It just presses. Constant and low, a hum under everything else. After a while, I stopped noticing until I left the building and felt the sudden quiet of normal air. Even the street seemed softer in comparison.

I think I liked that. The sudden relief. The way silence felt like something you could wear.

I miss subway lights in my eyes, the way they flickered across the windows, breaking my reflection into something softer. Less defined. Easier to look at. Not quite me, but close enough to follow with my eyes as the train moved. There was something comforting in the blur, in the way the glass doubled everything, made it all a little less certain. I could sit across from myself without having to explain anything. No smile. No correction. Just the outline of a girl who looked like she read too much and might start crying if you asked about her favourite movie.

Sometimes I'd stare until my own face went unfamiliar, my mouth wrong, my eyes too far apart, and my hair a bit too dark. It never felt dramatic. Just distant. Like someone I'd borrowed things from.

Loneliness wasn't dramatic then. It didn't lurch or shout or demand anything from me. It just sat next to me like noise, like background static, easy to ignore until everything else went quiet. It lived in the pauses. In the space between songs. In the wait before the train doors closed. I wouldn't have called it sadness. I still don't think I would. It was just a feeling I couldn't shake, one that stayed close but never really touched me. Like a bruise I'd forgotten about until something pressed against it.

That's the part that's stayed with me. Probably always will.

I moved without urgency. There was rarely a reason to be anywhere, and even when there was, I didn't feel like rushing to meet it. Sometimes I rode past my stop on purpose just to see how long I could go before anyone noticed I wasn't where I said I'd be. Sometimes I just forgot to get off. Not in a distracted way, just in that quiet, slow kind of forgetting that happens when the lights blur and the announcements start to sound the same. I always stood in the same place, by the door, leaning against the divider on the side facing forward. I liked the way the movement pressed me into it, like the city was gently holding me in place, even if just by force.

The train kept going, so I did too.

There wasn't much to say about it. Long walks that led nowhere in particular, though they usually ended at water. The kind that gathers without spectacle, canals, harbours, the quiet undersides of bridges. Places where things collect. Leaves. Bottles. Thoughts. I'd stand there for a while, coffee in hand, like I was waiting for something to surface, though I never really expected it to. I always kind of hoped I'd see a seal. Something about their vibe, fat, quiet, mysterious, felt aspirational. I imagined us nodding at each other like two girls who just get it. The coffee would go cold before I finished it, not because I forgot, but just because I didn't like it that much. But it gave me something to hold. And sometimes that was enough. It made me look busy. Like I had somewhere to be, or someone waiting. People don't ask questions when you're holding coffee. It's basically an invisibility cloak for awkward people.

Now I don't even know if I ever liked it, or if I just got used to the taste the way you get used to minor inconveniences, like blisters, or boys who say they hate small talk and then spend forty-five minutes telling you about their crypto portfolio.

Afternoons slid into evenings. Evenings into nights. The kind of hours that don't announce themselves, they just collect. Soft and weightless, but heavy if you stack too many. I stopped keeping track after a while. Someone once asked if I was lost. I wasn't. But I said yes anyway. Just to try on the softness of being helped. Some days blurred at the edges, others vanished completely. I'd look up, and it would already be dark, and I'd have nothing to show for it except a half-drunk coffee and some vague memory of walking somewhere. Sometimes I bought things, like books, mugs, bracelets, or old things. Small enough to fit in a coat pocket. I never needed them, but I always found a way to use them. At one point, I was probably one paperweight away from becoming a hoarder.

I didn't feel bad, exactly. Just delayed, like I was waiting for something to begin, only the beginning kept moving further out of reach. People always talk about time as if it's passing them by. Mine never passed. It hovered. So soft and idle, just out of reach. It felt like holding your breath without realising it until the exhale came in the form of darkness outside the window, the kind that arrives before you're ready, even if you knew it was coming. That's what threaded through. The weightless ache of not moving. Of being still for so long, the air starts to fold around you.

I miss how easy it was to let days slip by without asking for more. To let them spool out behind me like a thread. Nothing dramatic, nothing wasted, just hours layered on hours. Some light enough to forget, some heavy enough to keep. But none of them urgent. I could move through them like scenery, like I was there to notice and not to shape.

And I miss the way that almost felt like enough. Not good. Not exciting. But bearable in a way that made me believe there was something elegant about it. And sometimes, when it's late and everything smells like rain, it still does. The trains, the coffee, the blur in the window, they never really stopped. I still take the long way home. Not out of forgetfulness anymore. My mind knows where to get off. But there's something about delaying arrival that still makes sense to me.

The city feels smaller now. Familiar. I've stopped needing to read the signs. I know where the doors open. I know which step on the stairs creaks. And the buzzing, I don't notice it as much. It's in the walls, it's in the air, it's in the glow of shopfronts at night. It's less intrusive now. Almost gentle. Like background radiation. It's just part of how the world hums.

I think that's the part no one ever talks about—how some patterns don't mean anything until you realise you never left them, how stillness starts to look like stability if you don't call it by its name. It's not that I want to go back. It's just that I never really moved forward. I've stayed exactly where I was. Just quieter now. More fluent in waiting.

In Latin, the imperfect tense describes an action that was ongoing but never finished. I liked that. It felt honest, like naming something without needing to change it.

my insta -> malusokay

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12kl23 · 1 month ago

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I control the narrative, I whisper to myself like a lunatic while the characters in the story I'm writing are not following my orders.

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12kl23 · 2 months ago

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C᥆꧑᥆ ᥱᥙ ᥲ᥉᥉ᥙ꧑ι bᥱᥣᥱzᥲ ᥲᥒgᥱᥣιᥴᥲᥣ

Uma thread para o loa

✩࿐࿔ ꒰ঌ𝒜ngel is my soul ໒꒱

lembrando que essa thread é com métodos que eu usei e inventei pra mim mesma

♡ eu na pré adolescência me achava muito “masculina” por antigamente não ter corpo, muitos pelos e minha voz era tbm muito esquisitinha.

♡ eu nunca sofri bullying por aparência ou corpo mas já sofri por voz e personalidade.

Para ter noção eu não mandava áudio de jeito nenhum antes de 2019 e se eu ouvia minha voz eu chorava. Quando quis manifestar beleza angelical era mais um combo de hyper feminilidade e doçura

♡ eu fiz 4 passos

1- ouvi subs

2- fiz uma cartinha sobre mim

3- e escutei uma playlist que eu fiz no Spotify

1 passo: as subs eu pequei tudo de, beleza, aura, hyper feminina etc

Link subliminal

♡ Mas eu tinha um diferencial quando ouvia subs. Eu ouvia só no por do sol pq pra mim, me dava uma sensação boa (fazia no verão né) eu gostava de escuta os subs fazendo massagem no rosto como se fosse uma princesa rica, drenando o rosto. E tbm dançava com alguns subliminal me imaginando. Eu tinha na cabeça exatamente como eu (anjo) queria parecer.

♡ A carta eu fiz tipo aquelas carta mágica de lda. Porém falando e contando pra lua, SIM PRA LUA, como eu era, cabelo longo dourado, braços finos e brancos, boca redondinha tudo e no final falava umas paranoia minha que tenho com a lua que é tipo falando que sou sua filha etc..

(Sempre gostei da lua então era algo meu sabe, mas apoio fazer) aí quando eu escrevia essa carta eu deixava na lua cheia lá no quintal, e tbm dançava pra lua com a playlist do Spotify que vou deixa aqui. Juro dança com os olhos fechados com aquelas música angelical, imaginando meu cabelo longo, e um vestido branco como se eu estivesse em um rio na lua cheia sendo iluminada pela lua e deixando minha beleza ainda maior. Eu fiz isso em umas 4 luas cheia. E eu via resultados no outro dia assim. E o melhor vejo até hoje. Porque como disse eu odiava minha voz!

Mas hoje só recebo comentário como “sua voz é doce” “sua voz é calma angelical” EXATAMENTE COMO EU ASSUMI, tanto na carta como nas dança. Fiz o mesmo com elfo e anjo então pode juntar os dois. Agora minha voz mudo tbm porque eu assumi que queria uma voz doce igual minha imagem

Minha playlist é essa

Mas a música que eu dançava na lua era essas duas:

open.spotify.com/track/7B57RVr1…

open.spotify.com/track/0yGSHv94…

Lembrando que é uma crença que criei porque tenho hyper foco em astros e principalmente a lua e natureza.

Hoje recebo exatamente os comentários que queira ouvi, e pretendo levar isso pra um patamar bem mais “conto de fadas” tirando que assumi poderes angelicais como proteção a quem gosta de mim sorte e outras coisas. Meio que assumi sucesso aqueles que me amam e tem conexão cmg

Isso tbm é para mostrar que o poder estar somente em você e nada mais no externo. Eu assumi com músicas normais que me conectava, não tinha afirmação alguma. Então lembre-se o poder tá em você e somente você pode assumir as coisas. Nada no 3d tem poder de assumir como você tem.

—— 𝔇𝔞𝔫𝔠𝔢, 𝔣𝔩𝔲𝔱𝔲𝔞 𝔰𝔬𝔟𝔯𝔢 𝔞 𝔦𝔪𝔢𝔫𝔰𝔦𝔡𝔞̃𝔬 𝔡𝔬 𝔰𝔢𝔲 𝔭𝔬𝔡𝔢𝔯, 𝔞𝔠𝔢𝔰𝔰𝔢 𝔰𝔢𝔲 𝔭𝔬𝔡𝔢𝔯 𝔠𝔬𝔪 𝔞 𝔪𝔲́𝔰𝔦𝔠𝔞 𝔞 𝔡𝔞𝔫𝔠̧𝔞 𝔢 𝔰𝔲𝔞 𝔦𝔪𝔞𝔤𝔦𝔫𝔞𝔠̧𝔞̃𝔬. 𝔈𝔵𝔭𝔢𝔯𝔦𝔪𝔢𝔫𝔱𝔢 𝔢𝔫𝔱𝔯𝔞𝔯 𝔡𝔢𝔫𝔱𝔯𝔬 𝔡𝔬 𝔳𝔞𝔷𝔦𝔬 𝔡𝔢 𝔳𝔬𝔠𝔢̂

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12kl23 · 2 months ago

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not so subtle "i love you" romance dialogue + prompts

@celestialwrites for more!!

♡ "your favourite colour is blue. not a bright blue, but a light one, a blue like the ocean waves just off the shore of your favourite beach."

♡ character waking up early every single morning so they can get coffee from their “friend's” favourite coffee shop for them.

♡ "how did you know that?" "you mentioned it once." "and you remembered?"

♡ when character A's ex dumps them, their favourite flowers show up the next day, freshly picked and without a note. character B hides the cuts the flower's thorns gave them.

♡ "i'll drive you home, you're on my way." "i thought you lived across the city...you know, in the opposite direction?"

♡ writing down all the little details their s/o mentions so they will never forget what makes them smile.

♡ "you speak (character A’s native language)?" "a little, i just learned."

♡ "i waited." "for what?" "you."

♡ character A, who cannot stand anyone, made a special ring tone for character B so they'd never miss a call.

♡ "if you were mine, i would never make you feel unwanted, not even for a second."

♡ character A gave character B a nickname years ago, and just recently character B realizes that character A has a tattoo that is symbolic of that nickname.

♡ “some people are not meant to be just friends.”

♡ “he hates me!” “he has spent the last two years going out of his way to get under your skin, to get your attention.”

REBLOG TO SUPPORT YOUR LOCAL WRITERS!!<3

apologies for the accidental hiatus<3

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12kl23 · 2 months ago

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What to Give a Sh*t About While Editing Your Book

↳ Emotional Impact

Ask yourself: Do I actually feel something here? If a scene is technically “well-written” but emotionally flat, it’s dead weight. Your readers won’t remember your clever metaphors, but they’ll remember the way a quiet line of dialogue made their stomach drop. So yeah—give a sh*t about that.

↳ Character Motivation That Actually Makes Sense

If your characters are making decisions just because the plot needs them to… we’ve got a problem. In edits, zoom in on their choices. Are they acting like real, flawed, complex humans? Or puppets? Edit until their actions make you nod and go, “Yep. That’s exactly what that little disaster would do.”

↳ Cutting the “Almost Good” Stuff

This hurts, but it’s necessary. Some lines are nice. Pretty. Kind of smart. But if they’re not serving the story, they’ve got to go. Save them in a “kill darlings” file. Grieve if needed. But don’t let “kinda good” block the greatness trying to come through.

↳ Scene Purpose

Every scene needs to earn its place like it’s paying rent. Does it move the plot? Deepen character? Build tension? Ideally, two out of three. If the answer is “it’s vibes,” that might work for a paragraph—but not for 3,000 words. Cut. Condense. Clarify. Your future reader will thank you.

↳ Pacing That Doesn’t Bore People to Death

Look, I love a moody slow burn too. But if your story crawls for 50 pages without conflict, tension, or curiosity—your reader will ghost you. Read your scenes out loud. If you’re zoning out? So will they. Tighten that sh*t up.

↳ Dialogue That Sounds Like Real People (and Not AI)

If your characters sound like they're reading from a very polite script, it’s time to rewrite. Interruptions, unfinished thoughts, weird little phrases—those are gold. Make it messy. Make it sound like how people actually talk when they’re nervous, angry, or halfway in love and lying about it.

↳ Themes You Accidentally Nailed (and Can Now Strengthen)

Themes tend to sneak in while you’re drafting. During edits? Time to spotlight them. Don’t slap it on with a neon sign—but do lean into the emotional throughline you already created. It’s probably smarter and more beautiful than you gave yourself credit for.

↳ Your Voice

Don’t edit your weird out. Editing is for clarity, not sanding down your style until it sounds like generic internet writing. Keep the voicey bits. The odd metaphors. The lines that sound exactly like you. That’s what readers fall in love with—not perfection.

↳ Trusting That You’ll Need Multiple Rounds

This isn’t one-and-done. Your second draft will suck differently than your first. Your third might suck less, but still suck. That’s fine. It’s part of the process. What matters is that each time, it gets sharper, truer, and more you.

↳ Not Quitting Halfway Through Just Because It’s Hard

Editing is hard. But you’ve already done the impossible: you wrote a damn book. That’s massive. Now you’re just sculpting it. Don’t give up because it’s messy. Don’t panic because it’s not “there” yet. Keep showing up. Even if it’s just one scene at a time. Even if you’re crying into your tea. Especially then.

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12kl23 · 2 months ago

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How to Write a CHARMING Villain

Everyone loves a good villain, and they especially love a charming one. If you want to write an antagonist who's both evil yet irresistible, look no further!

1. Show Their "Kindness"

Kindness? Wait, I thought you said we're writing a villain today.

Yup, I mean it--make your antagonist appear kind. Realistically, someone who's polite and friendly is often considered more attractive than someone who's rude and judgmental, so make them kind. It doesn't have to be honest kindness, but you want your readers to doubt the malevolence of your character, if that makes sense.

You can show this kindness through small, daily actions; they don't have to have a lot of impact on the story. Something simple like leaving a big tip, granting a minion a vacation, letting someone go first in the line, and holding open the door all contribute to this image.

2. Smooth Talker

Effective communication is everything. If your villain is eloquent, they seem more capable and intelligent! However, if you're looking to expand further, explore what they can do with their speech.

Does everyone pay attention when they start speaking? Are they able to calmly resolve conflicts verbally? Are they really persuasive? Do they speak elegantly?

Show the effects of their communication skills!

3. Good leader

Make them a good leader. Make them consider how their subordinates might feel. Make them choose good decisions. Perhaps they give their workers days off when they need it. Perhaps they engage with their followers often. Perhaps they're more down-to-earth.

A solid leader looks respectable while a poor one looks ridiculous.

4. Intelligent + Logic

I say this all the time, but make your villains smart, make them logical, make your readers understand where they're coming from. Some of the best antagonists I've ever seen are not the ones that seem excessively evil or unhinged, but rather the ones that seem logical in their actions. And knowing that they're well-aware of their actions and the consequences makes things that much scarier.

if you want a charming villain, you have to start with someone who is competent.

5. Conflicting Moments

At the end of the day, your character is still the antagonist. Yes, they might appear kind, but that's not going to last forever. There will be times when they act unnecessary cruel, and that's okay.

Your audience might be unsettled and confused from the whiplash, and that's okay. Don't force your character into being someone else to satisfy the readers. Embrace the difference.

6. Backstory

Backstories matter for all different types of reasons. From establishing the basis to one's goals, morals, and values to providing the foundation for their character, an effective backstory can do a lot.

However, I want to specifically talk about how the backstory demonstrates someone overcoming their obstacles. If they made it to the present, then they really defied all odds to be here, and honestly? That's admirable (and attractive), no matter what kind of person they turn out to be.

Now, if you're thinking "what if I don't give the antagonist a painful backstory?", I'll address that real quick. You don't have to give them a super depressing past, but there will always be pain and hurt in their past, even if it isn't something "lifechanging" or there 24/7. There is no such thing as a perfect, happy past.

CONCLUSION

To quickly conclude, a charming villain is often not one who appears visibly evil, but one who appears compassionate, intelligent, well-spoken, and acts like a good leader.

Happy writing~

3hks :)

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12kl23 · 2 months ago

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STUDY SYSTEM : DAILY STUDY ROUTINE ( EXAM EDITION)

hii looves so this blog is all abt how to optimizing your day for peak academic performance. This four-part daily system is the exact routine used during exam season especially finals to consistently achieve top grades with minimal stress. While the routine may appear complex at first glance it is built upon simple, intuitive principles rooted in human biology and psychology. It is not only practical but highly effective when followed consistently. You’ll learn to structure your day around ur natural energy cycles, use tools to boost focus, and incorporate essential periods of rest and release to maintain motivation and productivity.

SECTION 1: UNDERSTANDING UR ENERGY RHYTHM

The routine is built around the concept of the circadian rhythm, your body’s natural energy cycle throughout the day. On a standard day for example :

Energy peaks shortly after waking typically around 6:00 AM.

Energy dips mid-afternoon often around 2:30 or 3:00 PM.

A secondary energy peak occurs in the evening approximately around 7:00 PM.

Energy tapers off as bedtime approaches.

This predictable fluctuation is key to optimizing your study schedule. The two energy peaks will be your core study sessions, while the dip will be used as a rest period, and the late-night wind-down becomes your release period or bedtime .

SECTION 2: THE MORNING STUDY SESSION (STUDY SESSION #1)

◜⁠✧ Start Within One Hour of Waking Up

Your goal is to begin studying as soon as possible after waking, ideally within the first hour. Use the high energy of the morning to tackle your most challenging subjects.do ur morning routine quick as possible don't do intense workout or stuff like this cuz u will waste ur energy so always have a specific morning routine for days like these ! And u can workout go to the gym or whatever at the rest period !

Pre-Study Essentials:

1. Set Your Daily Goals (5 minutes)

Before starting, sit with a notebook or your computer and write down what you intend to accomplish. Be specific. Define exact tasks e.g. which past papers you’ll solve, which topics to review so u will be more organized during the day

2. Activate Focus with Three Optional Tools:

Caffeine — coffee, yerba mate, or tea to boost dopamine and adrenaline.

Cold Showers — a physiological wake-up that increases alertness (personally I don't do that lmao but if u can that's good !)

Focus Warm-up (1–2 minutes) — pick a point in your environment and concentrate on it intensely. This warms up your cognitive focus system before you start.

◜⁠✧Deep Work Sprint Format

Commit to a 2–4 hour study block.

Use timed work intervals: e.g., 25–30 minutes of focused work followed by 5-minute breaks.

Use a visual timer to create urgency and focus. This serves as a “deadline generator,” helping you push harder and maintain hope by offering visible progress.

─ ⊹key principle: work Like a warrior

Study in focused sprints. The more intense your focus, the less time you’ll need to study. The idea is depth over duration not 12 hours of mediocre attention, but 2–4 hours of deep concentration.

SECTION 3: MIDDAY REST PERIOD

Timing: After First Study Block Ends (~Early Afternoon)

At this point in the day, your energy naturally dips. It’s essential to give yourself permission to rest. This period is not for distractions like Netflix, YouTube, or social media.

◜⁠✧ Approved Activities:

Exercise or light sports

Socializing with friends/family

Taking a walk, especially outdoors

Napping (ideal: 20 minutes)

The goal here is active recovery choose activities that contrast focused work. Avoid anything with dopamine stimulation that mimics your “vices” or release behaviors.so this break allows your mind to reset, preventing burnout and increasing productivity in the next session.

SECTION 4: EVENING STUDY SESSION (STUDY SESSION #2)

Timing: During the Second Energy Peak (~6:00–8:00 PM)

Return for your second battle. This session is similar in structure to the morning study session, but with a few differences:

◜⁠✧ Change Your Environment:

Consider studying in a different location e.g., library, a new room, or another productive setting. (Personally I move from my desk to the guest room cuz it's far from family chaotic activities ifykyk )

This provides novelty and reduces boredom, which helps counteract distractions that are more likely to arise in the evening.

◜⁠✧ Eliminate Distractions:

If possible, leave your phone behind take that shit in another room

Create a space where your brain associates the environment with productivity.

◜⁠✧ Study Format:

Continue using timed sprints.

Session length: 2 to 3 hours, depending on your focus reserves.

The goal is to extract one final productive effort from your remaining focus reserves for the day.

SECTION 5: NIGHTLY RELEASE PERIOD

Timing: 1–2 Hours Before Bed

This period is crucial and often overlooked. It functions as your psychological release valve a scheduled time for indulging in your “vices” or desires.

◜⁠✧ why it matter

Without a controlled release period, distractions tend to creep in throughout the day. When you tell yourself you’ll “resist” TikTok or YouTube for three straight weeks during exams, it almost always backfires. You end up scattering distractions across the day, killing momentum and u will feel like shit

◜⁠✧ so solution:

Contain those activities to this specific window. Give yourself full permission to indulge whether it's gaming, scrolling, or Netflix. The only rule: Only do it at night.

◜⁠✧ psychological benefit:

You’ll find it easier to say “no” to distractions earlier in the day when you know you can give in later. It reduces the mental burden of constant suppression.

Caution:

This is not a prescription to develop new addictions or deepen existing ones. If you don’t feel the need for this release, skip it . But if you’re honest with yourself about your impulses, this structure helps you keep them in check.

◜⁠✧ ADAPTATION AND FLEXIBILITY

✧ Everyone has a unique biology. Some wake up at 5:00 AM, others at noon.

✧ Adjust the energy curve and study blocks to match your personal circadian rhythm.

✧ This is a template, not a strict prescription. Principles stay constant, execution varies.

KEY TAKEAWAYS:

🗝️ Two deep-focus sessions aligned with your body’s energy peaks yield greater results than dragging your mind across a 12-hour marathon.

🗝️ Midday rest and nightly release are components of a sustainable routine.

🗝️ Use tools like caffeine, timers, environment changes, and goal setting to maintain momentum and focus.

🗝️ Structure breeds freedom. When your day is mapped with intention, your brain is free to focus trust me with this one

✧ This daily routine is not about rigid hours or perfection. It’s about aligning your habits with your biology and respecting your mental bandwidth. When implemented consistently, this system transforms exam season from a stressful grind into an enjoyable and productive challenge.Now take what you've learned and design your daily routine with intention ✧

@bloomzone

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