dssystemwriting

[dssystemwriting]

The volume 1 document is starting to lag big time after like 670 pages. Unfortunately for it, there are 100 more chapters of it to go before I can switch to another document.

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Speedrunning through these next few chapters of ORV just to get to the part LSH appears because of no reason whatsoever I'm not playing favorites, you are.

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Officially past the 1/3 mark for Volume 1. This volume is like ridiculously long for some reason.

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I think the most common interpretation of how YJH's regressions go by is that they went quickly and she killed herself the moment something went wrong, but there's another part of me that feels like she actually toughed out every single timeline and earnestly made it as far as she could in each regression before being forced to return.

Like it would be weird if a story that literally tells KDJ how to goddamn survive when your world falls apart around you would constantly feature the main protagonist killing herself at the slightest unfavorable deviation. Like, HSY wouldn't say that, she would be encouraging KDJ to live for as long as feasibly possible, right? Making the most of the life he had, and all that corny shit.

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In hindsight, KDJ saying writers "frequently experienced a dissociative personality disorder due to stress" is an insane sentence. Dude, not every writing hoe has DID. Don't look at me though, I'm just saying in general-

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People were right, using specific royal titles regardless of gender is fun as hell.

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"YJH needs a Mental Barrier that's at least level 80,000 to survive the Theater Master, sorry but it's true." Says the same man who has a dissociative disorder so severe it made itself into his main ability. You're just as mentally ill as her, fucker. Get back in line.

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Currently trying to produce a more trans-friendly version of ORV right now, and I gotta say. ORV is definitely the kind of story you should read twice. There's so much foreshadowing I missed it's actually insane.

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huge fan of when the good guys are themed on dark colors and spiky scrappy punk aesthetics and the bad guys are themed on light colors and angelic imagery and order. always such a banger.

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i wish i could remember who made the recommendation to "make a list of all the different ways someone could feel about a topic in your fictional setting and then make each of them a character" because it is a great technique and is also extremely fun

[dssystemwriting]

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

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🕳️ What to Write When You Have No Idea What Happens Next

aka: you’re staring into the creative abyss and the abyss is not only staring back, it’s asking for a rough draft

hi writer. welcome to that fun little liminal space in your project where ✨absolutely nothing✨ makes sense. you wrote the last scene. you know you’re not at the end. but suddenly your characters are just standing there like NPCs waiting for a quest marker and your brain is doing the spinning beachball of death.

so. what now?

let’s break down some actually useful strategies for when you hit That Point™️. not vibes. not ✨manifest your way out✨ energy. not the “just keep writing” slog. here’s what to do when your story is refusing to tell you what happens next:

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zoom out: do a “scene audit” ———————————————

you don’t need a full outline to do this. take five minutes and sketch a bullet list of every scene that’s happened so far. not just what happened, but why it mattered.

like this:

MC lied to their boss (sets up stakes re: trust/power)

antagonist shows up at cafe (establishes tension + location crossover)

best friend gets suspicious (emotional complication, adds pressure)

this gives you a birds-eye view of what you’ve set in motion. often you’re stuck because you’ve lost sight of the threads you were pulling, your own story has momentum, you just need to feel it again.

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try “ghost drafting” (aka fake writing) —————————————————————

open a doc. start typing what would happen, if you were writing. super casual. something like:

“okay i think the next scene is maybe them at the train station?? or wait--maybe we need to see the fallout of the argument. i don’t really know what x character wants rn but i think y might be planning something…”

this trick works bc it removes pressure. no fancy prose, no perfect structure. it’s literally you telling yourself what might happen. and weirdly? your brain will often finish the scene for you without asking. (the number of times I’ve ghost drafted myself into 800 usable words… witchcraft.)

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pin your characters to a corkboard and interrogate them ——————————————————————————

not literally. (unless you're into that. i don’t judge.)

but seriously: when you’re stuck, it’s often because your character has no immediate goal or emotion. pause and ask:

what does this character want right now? like, in this moment?

what are they trying to avoid?

what’s keeping them from getting either?

character-driven scenes are rarely static. even if it’s just an awkward dinner or walking to the store, someone’s always trying to do or hide something. if everyone in the scene is just reacting or waiting, you’ve got fog. bring in the fire.

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don’t skip the “boring” stuff--weaponize it —————————————————

sometimes we’re stuck because we think the next scene is dull. like “ugh i guess they just… travel to the manor” or “they regroup at the safe house.” but these slow beats are GOLD if you embed purpose.

try giving the “boring” scene:

a time limit or interruption (they’re hiding but someone knocks)

a secret (someone is lying about something small but important)

a reversal (what they expected is the opposite of what happens)

even if it’s a quiet scene, layer it. conflict isn’t just yelling or action. it’s discomfort. it’s misalignment. tension between what’s said and unsaid.

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when all else fails: write the next emotional beat —————————————————————

strip it back. forget plot. forget pacing. ask yourself:

then write that. a monologue. a journal entry. an outburst. a line of whispered dialogue.

sometimes it’s not that you don’t know what happens next. it’s that your character hasn’t processed what just happened, and until they do, the story can’t move forward.

✨✨✨

the void is normal. getting stuck doesn’t mean you failed or picked the wrong idea or that the muse packed up and left for a better writer’s house. it just means your brain needs space to regroup.

writing isn’t linear. stories aren’t built in perfect lines. they loop. they stall. they circle back. and that’s okay.

if you’re in the middle of nowhere, here’s your sign to sit on the side of the metaphorical road, open your weird little notebook, and write anyway. write wrong. write messy. write ghost drafts. the path shows up when you start walking.

🕳️ you got this, writer.

tag me if you end up crawling out of your stuck scene with a little victory paragraph. i’ll bring snacks for the next one 🧃✨

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:

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Switching mindsets from a hard fantasy to a cheesy gay romcom sure is a switch up, but I think I needed this. Now I can be as hilarious as I want.

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Hey dude. I noticed that you seem to be having a lot of symbolic association with the ouroboros icon and I just wanted to know if you were like. ok. or like, that you're experiencing time linearly and not stuck in an eternal loop of the same events.

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I made these as a way to compile all the geographical vocabulary that I thought was useful and interesting for writers. Some descriptors share categories, and some are simplified, but for the most part everything is in its proper place. Not all the words are as useable as others, and some might take tricky wording to pull off, but I hope these prove useful to all you writers out there!

(save the images to zoom in on the pics)

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So you know when you're writing a scene where the hero is carrying an injured person and you realize you've never been in this situation and have no idea how accurate the method of transportation actually is?

Oh boy, do I have a valuable resource for you!

Here is a PDF of the best ways to carry people depending on the situation and how conscious the injured person needs to be for the carrying position.

Literally a life saver.

(No pun intended.)