kiyasepicverse

[kiyasepicverse]

How to Describe Faces in Writing

A human face reveals a lot about a person.

In creative writing, describing a character’s face can uncover information about who they are and how they feel.

Writers can zoom in on individual features, like the eyes or mouth, or describe a face in its entirety to paint a picture of a character.

Develop a character through their most telling attribute—their face.

Tips for Describing Faces in Your Writing

Use figurative language when describing a character’s face. When you’re introducing a character for the first time and want the reader to create an image in their mind, use figurative language to describe the character’s face instead of just stating the obvious qualities. For example, you can use similes and metaphors. It’s okay to simply say, “She has blonde hair,” but you could also use a simile: “Her hair was golden like the sun.” In Great Expectations Charles Dickens uses a unique metaphor to describe a feature of a character’s face: “His mouth was such a post-office of a mouth that he had a mechanical appearance of smiling.”

Create facial expressions that reveal emotions. How a character’s eyes, eyebrows, nose, forehead, mouth, and chin move in unison can let a reader in on their emotions. A character can have a facial tic when they get nervous. Whether it’s raised eyebrows and a mouth curved into a smile or a furrowed brow and an upper lip curled into a scowl, you can use a character’s expressions instead of dialogue to reveal their feelings about a situation.

Frame your character’s face with a hairstyle that reflects their story. A crewcut might signify a military soldier or someone who likes to be in control. A ponytail or pigtails might indicate a young character. Describe a character’s hair color—black hair, dark hair, brunette, redhead, blonde, gray, or white—in interesting ways instead of just stating the shade. It makes a difference whether your character dyes their hair or keeps it its natural shade. Describe the length of their hair. A confident businesswoman might have short or shoulder-length hair. A musician might have longer hair. Match your character’s hairstyle with their personality.

Make facial hair an element of a character’s style. How a male character keeps his facial hair is telling. If he’s constantly clean-shaven, he might go to a regular corporate job. A bit of stubble can signify a more casual career. From a beard to sideburns to a goatee, facial hair helps paint a picture of a male character and can help represent their life and what they do.

Realize that eyes are windows to the soul. There are endless ways to depict eyes. Describe obvious characteristics like eye color—green eyes, blue eyes, brown eyes, gray eyes, or black eyes. Highlight their shape—round, almond, narrow. Think about the entire orbital structure, from eyelids to eyelashes. Illustrate how the eyes are placed in relation to the character’s face—deep-set, wide-set, or close-set. Give eyes their own movements to tap into a character’s feelings. Let a character’s eyes twinkle, squint, gaze, or glare.

Describe your character’s skin. The tone and texture of a character’s skin can provide insights into a character’s life. A child’s face might be freckled. A sickly character might look pasty. An old cowboy might be good looking and rugged with craggy skin.

Give your character unique facial features. Set a character apart with distinguishing facial features. Give them dimples, freckles, or unique markings on their face. Give them poor vision so they need to wear eyeglasses. Maybe they wear heavy makeup or have piercings. Think of different ways you can create unique facial features that help define a character.

Source ⚜ More: Notes & References ⚜ Writing Resources PDFs

[kiyasepicverse]

Hi, so, decided to give the MHA Fantasy AU another shot after two years (due to the poor reception on the last fic). Here's the sequel to Tranquil Flames, Shimmering Armor.

I struggled with this fic... a lot. But still enjoyed writing it.

°°°

☽ SNEAK PEAK ☾

[kiyasepicverse]

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.

[kiyasepicverse]

Your story is still worth writing even if it veers off from what you planned originally.

It’s still worth writing even if you aren’t feeling it right now.

It’s still worth writing even if it’s fanfiction.

It’s still worth writing even if you don’t think anyone else would ever want to read it.

It’s still worth writing even if it doesn’t get published.

It’s still worth writing even if it doesn’t get adapted into a huge blockbuster movie.

It’s still worth writing even if you can’t have fancy illustrations at the beginning of chapters or a map of the world at the beginning.

It’s still worth writing even if someone you trusted told you to stop.

It’s still worth writing if you just rolled your eyes at me.

It’s still worth writing, SO WRITE IT.

[kiyasepicverse]

idk how to word this properly but wrt the fanfic thing you reblogged earlier. Why do fanfic writers have such different expectations than any other content hosting platform?

Like lets take youtube as a point of comparison, Engagement like comments and likes largely exists to boost the works place in algorithm, thats why youtubers put in calls to action and other engament bait. Few with decent reach even read the comments and the audience shouldnt try to develop any weird parasocial relationship with the youtuber. Fanfic authors ask for likes (kudos, because the websites gotta use nonstandard language for some reason) and comments despite them not having any impact on an algorithm, and seem to want the audience to try and develop a relationship with the author based on tumblr posts like that one.

Why the radical difference in behaviour away from the norm? And honestly with all the (usually) metaphorical blood spilled online about parasociality why are authors really surprised that the audience tries to keep their distance as is best practice with any other content producer?

okay I am going to answer this as kindly and as calmly as I can and try to assume that you are asking this in good faith. because my friend, the fact that you feel the need to ask is, to me, The Problem.

[this is, for the record, in response to this post]

fanfiction writers are not *posting content.* (I also have reservations about engaging with the term "content producer" or "content creator" but let's put that aside for now, I'll circle back to it.) you say "they seem to want the audience to try and develop a relationship with the author" as though it is strange, off-putting, and incomprehensible to you, when in fact that is the point of writing fanfiction. it is a way of participating in fandom. it is a way of building community and exchanging ideas and becoming closer with people.

if authors wanted to solely ~generate content~ that would get them attention (?? to what end, the dynamic you have described seems to equate algorithmic supremacy as winning for winning's sake, as though all anyone wants to do is BUILD an audience without ENGAGING with them, which I cannot fathom but let's pretend for a moment that is, in fact, true) then like. if that were the case why on earth would they choose a medium in which they categorically cannot succeed and profit, because it isn't their IP?

you are equating two things that are not at all the same thing. to the degree that parasocial relationships are to be avoided, and "that person is not trying to be your friend they are trying to entertain you, please respect their boundaries" is a real dynamic -- which it is!! -- like. you have to understand that the reason that is true for the people of whom it is true is because it is their JOB. they are storytellers by profession, and they are either through direct payment, or sponsorship, or advertising, or through some other means, profiting off of your attention. i don't say this to be dismissive, many wonderful artists and actors and comedians and any number of a thousand things that i enjoy very much go this route but they do so as a *career choice.* and so when you violate the public/private boundary with them, you are presuming to know a Person rather than their Worksona. the people who work at Dropout or who stream their actual play tabletop games or who broadcast on TikTok or YouTube are inviting me to feel like i know them to the degree to which that helps them succeed in their medium and at their craft, but there MUST be a mutual understanding that that's a feeling, not a fact.

however.

a fanfiction writer is not an influencer, not a professional, and is not looking to garner "success." there is no share of audience we are trying to gain for gain's sake, because we are not competition with one another, because there is nothing to win other than the pleasure of each other's company. we are doing this for no other reason than the love of the game; because we have things we want desperately to say about these worlds, these characters, these dynamics, and because we *want more than anything to know we are not alone in our thoughts and feelings.* fanfiction is a bid for interaction, engagement, attention, and consideration. it is not meant to be consumed and then moved on from because we are NOT paid for our work, nor do we want to be. the reward we seek is "attention," but attention as in CONVERSATION, not attention as in clicks. we are not IN this for profit, or for number-go-up. there is no such thing: legally there cannot be. we are in this because we want to be seen and known.

like. please understand. i am now married to someone i met because of mutual comments on fanfiction. our close friend and roommate, with whom i have cohabitated for over a decade now, is someone I met because of mutual comments on fanfiction and livejournal posts. that is my household. beyond my household, the vast majority of my closest personal friends are people with whom I built relationships in this way.

you ask why fanfiction writers want THIS and not "the norm," but the idea of everything being built to cater to an algorithm to continue to build clout, as though the only method of reaching people is Distant Overlord Creator and Passive Receptive Audience being "the norm" is EXTREMELY NEW. this is not how it has always been!! please think of the writers of zines in a pre-internet fandom, using paper and glue and xerox to try and meet like-minded people in a world that was designed for you to only ever meet people in person, by happenstance, in your own hometown. imagine the writers of the early internet, building webrings from scratch to CREATE a community to find each other, despite distance. imagine livejournal groups, forums, and -- yes, indeed, of course -- comment threads IN STORIES -- as places where people go to *converse.* in the past, we had an entire Type Of Guy that everyone knew about, the BNF ("Big Name Fan") whose existence had to be described via meme because it was SO DIFFERENT THAN THE NORM. treating fellow fans like celebrities or people too cool for the regular kids to know was an OUTLIER, and one commonly understood to lead to toxicity.

in the past, I have likened writing fanfiction to echolocation. i am not screaming because I like hearing the sound of my own voice, though i can and do find my voice beautiful. i am screaming so that the vibrations can bounce back to me and show me the world. the purpose is in the feedback. otherwise it is just noise.

does this make any sense? can you see, when i describe it that way, why an ask like yours makes me feel despair, because it makes us all sound so horribly separate from one another?

perhaps I will try another metaphor:

a professional chef who runs a restaurant will not have her feelings hurt if you never fight your way into the kitchen to personally tell her how much you enjoyed the meal. that would, indeed, violate a boundary. professional kitchens are a place of work, and you have already showed her you enjoyed the meal by paying for it, or by perhaps spreading your enjoyment by word of mouth to your friends so they, too, can have good meals. you show your appreciation by continuing to come back. if a bunch of people sitting around randomly happen to have a conversation about how much they love the food, it wouldn't hurt that chef's feelings to not be included in the conversation. however: EVEN IN THIS INSTANCE, it is ADVISABLE AND APPROPRIATE to leave a good review! you might post about how much you like this restaurant on Yelp, and it would probably make the chef feel great to see those positive comments. but the chef doesn't NEED them, because the chef is, again, *also being paid to cook.* that's why she started the restaurant, to be paid to cook!

i am not being paid to cook.

i am at home in my own kitchen, making things for a community potluck where i hope everyone will bring something we can all enjoy together. some people at the potluck are better bakers, some better cooks; some can't cook at all but are great at logistics and make sure there's enough napkins for everyone; some people come just to enjoy the food, because that's what the party is for. and if I, as this enthusiast chef who made something from my heart for this reason alone, learned after the fact that a bunch of people got together in the parking lot to rave about my dish but no one of them had ever bothered to tell me while I sat alone at my table all night, occasionally seeing people come by to pick up a plate but never saying anything to me -- of course that would bother me, because I am not otherwise profiting off the labor I put in. this is not a bid to be paid, because if someone WERE to say "hey, great cake!! here's five bucks for a slice" i would say no, friend, that is not the point and give them the money back. i'm not trying to Get Mine. I am in it to see the look on your face. I'm in it so you can tell me what about it moved you, so that I can say back what moved me to make it in the first place. so we can TALK about it.

because what happened in the first place is this: one time I had a cake whose sweetness, richness, flavor, intensity, and composition moved me so much that I *taught myself to bake.* so I could see how much vanilla and sugar was too much, so I could learn how to make things rise instead of fall flat, so I could even better appreciate the original cake by seeing for myself the effort and talent and inspiration that goes into making one even half as good.

learning to do so is a satisfying accomplishment in and of itself, yes.

but I also did it because at the end of the day we should EAT the cake. and it's a lonely thing, to eat alone when a meal was always designed and intended to be shared.

so, to answer your last question: i'm not surprised, i'm just sad. because somehow two things that were never meant to be seen as the same have been labeled "content," and thus identical. and it diminishes both the things that ARE intended to be paid for AND the things that are not, because it removes any sense of intimacy or meaning from the work.

i hope you know i'm not mad at you for asking. but i'm frustrated we've come to live in a world where the question needs to be asked, because the answers are no longer intuitively obvious because we're so siloed.

[kiyasepicverse]

This year some of my favourite books I read were written by indigenous American authors and I just wanted to shout out a couple that I fell in love with

The Only Good Indians by Stephen Graham Jones

Horror being my second most read genre, I did not think books could still get under my skin the way this one did lol. It follows four Blackfoot men who are seemingly being hunted by a vengeful... something... years after a fateful hunting trip that happened just before they went their separate ways. The horror, the dread, the something... pure nightmare fuel 10/10

Moon of the Crusted Snow by Waubgeshig Rice

An apocalyptic novel following an isolated Anishinaabe community in the far north who lose contact with the outside world. When two of their young men return from their college with dire news, they set about planning on how to survive the winter, but when outsiders follow, lines are drawn in the community that might doom them all. This book is all dread all the time, the use of dreams and the inevitability of conflict weighs heavy til the very end. An excellent apocalypse story if you're into that kind of thing.

My Heart is a Chainsaw by Stephen Graham Jones

This book follows Jade, a deeply troubled mixed race teenager with a shitty homelife who's *obsessed* with slasher movies. When she finds evidence that there's a killer running about her soon-to-be gentrified small town, she weaponises that knowledge to predict what's going to happen next. I don't think this book will work for most people, it's a little stream of consciousness, Jade's head is frequently a very difficult place to be in, but by the last page I had so much love for her as a character and the emotional rollercoaster she's on that I had to mention it here.

Elatsoe by Darcie Little Badger

Taking a bit of a left turn but this charming YA murder mystery really stuck with me this year. Elatsoe is a teenage girl living in an America where myths, monsters, and magic are all real every day occurrences. When her cousin dies mysteriously with no witnesses, she decides to do whatever she can, including using her ability to raise the spirits of dead animals, to solve the case. The worldbuilding was just really fun in this one, but the Native American myths and influence were the shining star for me, and the asexual rep was refreshing to see in a YA book too tbh

Split Tooth by Tanya Tagaq

The audiobook, the audiobook, the audiobook!!!! Also the physical book because formatting and illustrations, but the audiobook!!! Tanya Tagaq is an Inuit throat singer, and this novel is a genre blending of 20 years worth of the authors journal entries, poetry, and short stories, that culminates in a truly unique story about a young girl surviving her teenage years in a small tundra town in the 70s. It is sad and beautiful and hard but an experience like nothing else I read this year.

[kiyasepicverse]

15 African-Inspired Sci-Fi & Fantasy Books:

Escaping Exodus by Nicky Drayden

Children of Blood & Bone by Tomi Adeyemi

Binti by Nnedi Okorafor

The Rage of Dragons by Evan Winter

Beasts Made of Night by Tochi Onyebuchi

The Prey of Gods by Nicky Drayden

Sorcerer of the Wildeeps by Kai Ashante Wilson

Mirage by Somaiya Daud

The Hundred Thousand Kingdoms by N. K. Jemisin

Temper by Nicky Drayden

Akata Witch by Nnedi Okorafor

A Taste of Honey by Kai Ashante Wilson

Theonite by M. L. Wang

Black Leopard, Red Wolf by Marlon James

The Kishi by Antoine Bandele

Which of these books has your favorite African-based universe?

[kiyasepicverse]

[kiyasepicverse]

How to use Em Dash (—) and Semi Colon ( ; )

Since the ai accusations are still being thrown around, here's how i personally like to use these GASP ai telltales. 🦄✨

Em Dashes (—)

To emphasize a shift / action / thought.

They're accusing us—actually accusing us—of using AI.

To add drama.

They dismissed our skills as AI—didn't even think twice, the dimwits—and believed they were onto something.

To insert a sudden thought. Surely they wouldn't do that to us—would they?

To interrupt someone's speech. "Hey, please don't say that. I honed my craft through years of blood and tears—" "Shut up, prompter."

To interrupt someone's thoughts / insert a sudden event.

We're going to get those kudos. We're going to get those reblogs—

A chronically online Steve commented, “it sounds like ai, idk.”

Semi Colons ( ; )

To join two closely related independent sentences / connect ideas.

Not only ChatGPT is capable of correct punctuation; who do you think it learned from in the first place?

Ultimate pro tip: use them whenever the fuck you want. You don't owe anyone your creative process. 🌈

[kiyasepicverse]

my fave writing reminder

honestly, this phrase has been on my mind more times than i can count. i've kidnapped it, taken it as a hostage with no ransom money because i need it to live permanently in my head.

[kiyasepicverse]

dialogue tags like "he rasped" or "she hissed" aren’t cringe. they’re seasoning. use them.

[kiyasepicverse]

🕳️ 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:

———————————————

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.

—————————————————————

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.)

——————————————————————————

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.

—————————————————

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.

—————————————————————

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:

[kiyasepicverse]

I 've recently seen so many here's how to start writing posts that are simply "Just write." That I've decided to call out the terrible advice for what it is, terrible.

So here's some practical things you can do to prepare your environment to facilitate getting words on the page:

1. Clean your writing space

Vacum the carpet, dust the windowsill, empty the keyboard of your hair and crumbs. A clean writing space is a happy writing space.

2. Stay hydrated

Keep a large jug/1-2 litre bottle on your desk with delicious, life sustaining water. A hydrated writer is a happy writer.

3. Open the curtains

The sun might be a deadly laser, but it is also a freind. It will not harsh the vibes, unlike artificial lights, which are not freind.

4. Set a writing time

Pick a time during the day when you are least likely to be disturbed. This is your dedicated writing time. Even if you write a tiny amount of trash or do nothing but think about what you want to write. Stick to this schedule! A disciplined writer is a productive writer.

5. Keep your writing tools in good order

Store pens in their proper place and bin empty pens. Keep your software of choice updated, and save your documents in a project folder. Ensure your notepad is clean and in its proper place. The few barriers a project has the sooner work can begin.

6. Have an idea

This is the last and most important step. It's no good deciding you want to write without any ideas. Stories do not spawn from the void. Once you have an idea, write it down so you don't forget. That will be your official first sentence of your new project. It can be as simple and silly as: "My neighbour has too many baby strollers in his back yard."

A final thought, a happy hydrated writer in a happy place with a friend, can write stories. A dead writer with no friends tells none.

[kiyasepicverse]

This is a picture for those who think being a writer is easy: WE FEELING STRESSED ALL THE TIME!!!!!

[kiyasepicverse]

Cherry Blossoms in the Pond [JJK FIC]

READ THE FIC HERE!

Note: This is a locked fic, so you have to have an account to view it.

🌸

I had almost forgotten about MerMay this year and when I did remember, I had to write something and figured since I haven't did a Takako Uro fic in a while...

Here, fic where she is the mermaid!

There were some scenes and other characters I wanted to include, however, they just didn't fit right. So, depending on how I feel, I may write another fic with those other scenes and characters I had in mind.

🌸

SNEAK PEEK!

[kiyasepicverse]

👍 You can post fanfiction on AO3.

👍 You can post fanart on AO3.

👍 You can post fan essays on AO3.

👍 You can post original fiction on AO3.

🚫 You cannot post memes on AO3.

🚫 You cannot post requests on AO3.

🚫 You cannot post prompts on AO3.

🚫 You cannot post rp calls on AO3.

🚫 You cannot post placeholder fics on AO3.

[kiyasepicverse]

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