devotedwaywardangel1

[devotedwaywardangel1]

[devotedwaywardangel1]

[devotedwaywardangel1]

Oh my gosh. I just found this website that walks you though creating a believable society. It breaks each facet down into individual questions and makes it so simple! It seems really helpful for worldbuilding!

[devotedwaywardangel1]

Well fucks? Get to it!

[devotedwaywardangel1]

✨ HOW TO ACTUALLY START A BOOK

(no ✨vibes✨, just structure, stakes, and first-sentence sweat)

hello writer friends 💌 so you opened a doc. you sat down. you cracked your knuckles. maybe you even made a playlist or moodboard. and then… you stared at the blinking cursor like it personally insulted your entire bloodline.

here’s your intervention. this post is for when you want to write chapter one, but all you have is aesthetic, maybe a plot bunny, maybe a world idea, maybe nothing at all. here’s how to actually start a book, from structure to sentence one.

—

🌶️ STEP 1: THE SPICE BASE ~ “WHAT’S CHANGING?”

start with this question:

what changes in the protagonist’s life in the first 5–10 pages?

doesn’t have to be earth-shattering. they could get a letter, lose a job, run late, break a rule, wake up hungover in the wrong house. what matters is disruption. the opening of your book should mark a shift. if their day starts normal, it shouldn’t end that way.

🏁 opening chapters are about motion. forward movement. tension. momentum. if nothing is changing, your story isn’t starting, you’re just doing a prequel.

—

⚙️ STEP 2: THE CRUNCHY BITS - CHOOSE AN ENTRY POINT

there are 3 classic places to start a novel. each one works if you’re intentional:

The Day Everything Changes most popular. you drop us in right before or during the inciting incident. clean, fast, efficient.

pro: immediate stakes con: harder to sneak in worldbuilding or character grounding

The Calm Before the Storm starts slightly earlier. show the character’s “normal” life, then break it. useful if the change won’t make sense without context.

pro: space to introduce your character’s routine/flaws con: risky if it drags or feels like setup

The Aftermath drop us in after the big event and fill in gaps as we go. works well for thrillers, mysteries, or emotionally heavy plots.

pro: instant drama con: requires precision to avoid confusion

📝 pick one. commit. don’t blend them or you’ll write three intros at once and cry.

—

🧠 STEP 3: CHARACTER FIRST, ALWAYS

readers don’t care about your setting, your magic system, or your cool mafia politics unless they’re anchored in someone.

in the first scene, we need to know:

what this person wants

what’s bothering them (externally or internally)

one trait they lead with (bold, anxious, calculating, naive, etc.)

that’s it. just one want, one tension, one vibe. no bios. no monologues. no “they weren’t like other girls” essays. put them in a situation and show how they act.

—

⛓️ STEP 4: OPEN WITH FRICTION

first scenes should create questions, not answer them.

there should be tension between:

what the character wants vs. what they’re getting

what’s happening vs. what they expected

what’s being said vs. what’s being felt

you don’t need a gunshot or a car crash (unless you want one). you need conflict. tension = momentum = readers keep reading.

—

✏️ STEP 5: WRITE THE FIRST SENTENCE - THEN IGNORE IT

okay. now you write it.

no pressure. you’re not tattooing it on your soul. this isn’t the final line on the final page. you just need something.

tricks that work:

start in the middle of an action

start with a contradiction

start with something unexpected, funny, or sharp

start with a small lie or a weird detail

💬 examples:

“The body was exactly where she’d left it - rude.” “He was already two hours late to his own kidnapping.” “There was blood on the welcome mat. Again.” “They said don’t open the door. She opened it anyway.”

once you’ve got it? keep going. don’t revise yet. don’t edit. just build momentum.

you can come back and make it ✨iconic✨ later.

—

📦 BONUS: WHAT NOT TO DO IN YOUR OPENING

don’t start with a dream

don’t info-dump lore in paragraph one

don’t give me three pages of your OC making toast

don’t try to sound like a Victorian cryptid unless it’s on purpose

don’t introduce 7 named characters in one scene

don’t start with a quote unless you are 800% sure it slaps

be weird. be sharp. be specific. aim for interest, not perfection.

—

🏁 TL;DR (but make it ✨useful✨)

something in your MC’s life should change immediately

pick a structural entry point and stick to it

give us a person, not a setting

friction = good

first lines are disposable, just make them interesting

and if you needed a sign to just start the damn book, this is it.

💌 love, -rin t.

P.S. I made a free mini eBook about the 5 biggest mistakes writers make in the first 10 pages 👀 you can grab it here for FREE:

[devotedwaywardangel1]

I'm writing a crossover fic and I have no clue what Dean's vigilante name would be any suggestions welcomed. And if you want to read the first chapters feel free to ask!

[devotedwaywardangel1]

Yes! Thank you so much!

Does anyone know where I can find that Dean Winchester fanart that is super realist, where he looks like he is throwing a playing card at the viewer or the one with butterflies on his arms. Many thanks.

[devotedwaywardangel1]

actually i think graduates of a university should have access to the library databases forever and ever amen

[devotedwaywardangel1]

Fun fact on asexuals not being treated as humans...

They did a study on that.

[devotedwaywardangel1]

Does anyone know where I can find that Dean Winchester fanart that is super realist, where he looks like he is throwing a playing card at the viewer or the one with butterflies on his arms. Many thanks.

[devotedwaywardangel1]

[devotedwaywardangel1]

Since we all agree that people of the Alley of Crime adore Red Hood and believe in him, I think it is time to imagine Jason in a scene similar to the one from OG Spiderman, where his identity is accidentally outted in front of crowd of people, and they all are just choose to protect him and help him out.

So maybe Gotham is facing especially nasty trouble, and vigilantes are on the receiving end this time. So maybe Jason is thrown at the dirty Alley in his part of town, wounded, with helmet flying off, and there is just a crowd of people staring as bleeds out, astonished. And Jason thinks, oh, that's the end — he can go and shoot himself, honestly, because he just failed the man rule every vigilante have: never show your face, never reveal your identity.

But people are... helping him? His eyes are half-open, breath laboured and pained, but all he hears is gentle murmuring:

'God, he is just a kid...'

'He must be younger than my son.'

'Poor child...'

He feels soft elderly hand against his cheek as someone from the crowd, an ex nurse, comes closer to bandage his injuries, while a kid, barely with the size of his helmet, brings it back, sticking out their tongue as they try to place it back on his head, to hide his face.

'It is okay,' the old woman reassures him. 'You are safe with us, son. We hadn't seen anything.'

Jason's eyes sting, because, oh.

It is his people. He loves them. He will die for them.

And they love him just as much.

He still waits for someone to out him, though. But the week ends, the villain is out of the picture, and no one says a thing. The only proof that it ever happened is civilians, who keep waving at Jason — not Red Hood, just Jason — when their paths cross somewhere in the shops or streets.

And that's how he knows that it is them; it is them, and they keep him safe as much as he keeps safe them.

[devotedwaywardangel1]

Well fucks? Get to it!

[devotedwaywardangel1]

[devotedwaywardangel1]

Legend has it she still flops around ireland👀

[devotedwaywardangel1]

[devotedwaywardangel1]

IT’S NOT ‘PEEKED’ MY INTEREST

OR ‘PEAKED’

BUT PIQUED

‘PIQUED MY INTEREST’

THIS HAS BEEN A CAPSLOCK PSA